Currently
Recent
The Chisel & The Pencil
Abakus Projects
December 2024—January 2025
New Terrain
Worcester Art Museum
April 6, 2024—July 7, 2024
Wintertide Darkroom Residency
Millay Arts
Austerlitz, NY
Winter 2023
Living Marble
Turley Gallery
Hudson, NY
September 3—September 25, 2022
Abakus Projects
December 2024—January 2025
New Terrain
Worcester Art Museum
April 6, 2024—July 7, 2024
Wintertide Darkroom Residency
Millay Arts
Austerlitz, NY
Winter 2023
Living Marble
Turley Gallery
Hudson, NY
September 3—September 25, 2022
Dead Ringer
TBW Books
Softcover with exposed binding and dust jacket
120 pages, 95 color plates
9 x 12 in.
Essay by Clément Chéroux
ISBN: 978-1-942953-64-7
Vernacular photographs, typically produced as single prints, circulate through the secondhand market, often losing all connection to the personal stories of those who made them. This detachment makes duplicates rare within this genre.
Each set of doubles (or triples, quadruples, etc.) is made from the same original film negative. The condition of each image offers clues into the history of the object and its owner. This collection serves a dual purpose: as a visual archive of various 20th-century photofinishing processes and as a sociological index of how the physical photograph creates a connection between people.
Softcover with exposed binding and dust jacket
120 pages, 95 color plates
9 x 12 in.
Essay by Clément Chéroux
ISBN: 978-1-942953-64-7
Vernacular photographs, typically produced as single prints, circulate through the secondhand market, often losing all connection to the personal stories of those who made them. This detachment makes duplicates rare within this genre.
Each set of doubles (or triples, quadruples, etc.) is made from the same original film negative. The condition of each image offers clues into the history of the object and its owner. This collection serves a dual purpose: as a visual archive of various 20th-century photofinishing processes and as a sociological index of how the physical photograph creates a connection between people.
Yael Eban, Matthew Gamber
Marbre Vivant
Assembled from both original and collected photographic objects, this project examines a consumer culture fascinated with marble as an aspirational material, historical signifier, and decorative commodity. The collaboration explores marble’s ubiquity from high to low art through tropes of kitsch, trompe-l'œil, and the uncanny.
Since antiquity, marble has been used as a stand-in for divinity, the body, and even light—the word itself is derived from the Greek verb marmairein (to shine, to flash). As photography is a medium that collects and records light, it is the ideal analogy for Eban and Gamber to explore marble and its various recreations.
Using a wide palette of photographic approaches, Marbre Vivant intersects the materiality of marble with photography’s unique power to emulate and commodify surfaces.
Using a wide palette of photographic approaches, Marbre Vivant intersects the materiality of marble with photography’s unique power to emulate and commodify surfaces.
Yael Eban, Matthew Gamber
About
Yael Eban and Matthew Gamber’s collaborative and multidisciplinary practice investigates
the role of photography in material culture, specifically focusing on mass reproduction. Both artists have worked in photography archives,
which greatly informs their artistic endeavors. They are based in
Austerlitz, NY.
yaeleban.com
matthewgamber.com
yaeleban.com
matthewgamber.com
Contact
info@eban-gamber.com