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  • Provenance

    Andrea Meislin Gallery, New York

  • Catalogue Essay

    The constructed natured of reality is exposed and consequentially challenged in Barry Frydlender’s Smoking, Sinai, 2004. While seemingly natural at first glance, a closer look reveals a trail of barely visible hints that Frydlender confides in his viewers to discover and cull. Thereby, Frydlender allows the scene to gradually unfold and reveal his meticulous synthesizing of hundreds of different images into an allegedly unified vision. While Smoking, Sinai, projects a perfectly believable scene of leisure and serenity, in reality, it is a fabricated mirage whose sole link to reality is in the mind of viewers. The notion of “taking a photograph” is accordingly collapsed and replaced with “making a photograph”, or even, “building a photograph”, a method that purposefully flaunts the artist’s handling, control and manipulation of the image. In a Post Modernist age of digital media, Frydlender embraces and eloquently articulates the diffusion and pluralization of a single vision of reality—and truth.
    Frydlender’s work has been exhibited at The Museum of Modern Art,New York; The FLAG Art Foundation, New York; The Jewish Museum,Paris; and Tel A viv Museum of Art, Tel Aviv, among others.

396

Smoking, Sinai

2004
Color coupler print, Diasec mounted.
45 x 82 5/8 in. (114.3 x 209.9 cm).
Signed in ink on a label accompanying the work. One from an edition of 5.

Estimate
$30,000 - 40,000 

Sold for $52,500

PHOTOGRAPHS

8 October 2010
New York