Showing posts with label Richard Learoyd. Show all posts
Showing posts with label Richard Learoyd. Show all posts

10/03/25

Richard Learoyd @ Pace Gallery, NYC - "A Loathing of Clocks and Mirrors" Exhibition

Richard Learoyd
A Loathing of Clocks and Mirrors
Pace Gallery, New York
March 7 — April 26, 2025

Richard Learoyd Photography
RICHARD LEAROYD
Untitled Portrait, 2024 
© Richard Learoyd, courtesy Pace Gallery

Pace presents new and recent work by photographer RICHARD LEAROYD. The exhibition includes portraits, still lifes, and landscapes produced between 2018 and 2025.

Deeply inspired by Dutch Golden Age painting, Learoyd’s latest works take viewers on a journey through intimate moments and intricate details, examining the relationship between subject, light, and space. The photographs on display explore a range of subjects, from hauntingly evocative portraits to still-life compositions that breathe life into the simplest of objects.

Learoyd’s unique photographic processes require an immense degree of technical precision, resulting in incredibly detailed, luminous prints with a tactile richness rarely seen in contemporary photography. Reflecting on the delicate interplay between light, shadow, and form, Learoyd’s work is imbued with a surreal, auratic presence that speaks to his enduring interest in the notion of collective photographic memory—the idea that a picture can be felt and understood on a subconscious level. The artist is renowned for his masterful use of light and his ability to capture the profound depth and stillness of the human experience.
“Light and space have always been central to my work," Richard Learoyd explains. "I want to capture more than just an image; I want to convey a sense of time, intimacy, and presence—things that transcend the immediate and evoke a more timeless feeling."
Highlights in the exhibition, carefully curated by Richard Learoyd, include a photograph of clasped hands, an ode to Alfred Stieglitz’s images of Georgia O’Keeffe’s hands from the first half of the 20th century. Also on view is the artist’s most recent body of work, a series of photographs created using a new and transformative process of multiple impression printing layered with hand coated gesso on canvas. These multi-dimensional works showcase the artist’s exploration of depth, texture, time, and the relationship between photography and materiality.

In recent years, Richard Learoyd has mounted solo exhibitions at the Fundación Mapfre Casa Garriga Nogués in Barcelona, the Victoria & Albert Museum in London, the Getty Center in Los Angeles, and the Nelson-Atkins Museum of Art in Kansas City. His presentation at Pace in New York coincides with AIPAD’s 2025 Photography Show at the Park Avenue Armory, where the gallery organizes a special program with the artist.

RICHARD LEAROYD

Richard Learoyd (b. 1966, Lancashire, United Kingdom) uses a camera obscura to create large-scale portraits, still lifes, nudes, and landscape photographs in color and black-and-white. After using large-format cameras in the early 1990s as a student at the Glasgow School of Art—studying under landscape photographer Thomas Joshua Cooper—Richard Learoyd revisited the format around 2003 amidst the increasing shift toward digital photography. In 2005, he expanded his subject matter from the quiet landscape images that occupied his practice and began to explore still lifes and portraiture. The same year, he built a camera obscura and has since constructed subsequent versions, all structures with two room-like chambers connected by a bellows with an inset lens. Working with Ilfochrome paper as film, Richard Learoyd uses the camera obscura to render a single positive, full-color image without the use of a negative transparency, resulting in a unique image. Because of restrictions inherent to working with large cameras, limitations in depth of field and color impact his choices of photographic subjects.

Richard Learoyd received a BA from The Glasgow School of Art (GSA), United Kingdom, in 1988 and an MA from GSA in 1991. Important one-artist exhibitions of his work include Richard Learoyd: Unique Photographs, McKee Gallery, New York (2009); Richard Learoyd: Dark Mirror, Victoria and Albert Museum, London (2015); Richard Learoyd: In the Studio, Getty Center (2016), which traveled to The Nelson-Atkins Museum of Art, Kansas City, Missouri (2017); Richard Learoyd, Fundación MAPFRE Casa Garriga Nogués Exhibition Hall, Barcelona (2019); and Richard Learoyd, Pace Gallery, Palm Beach, Florida (2021), among others. His work is held in numerous public collections worldwide including Centre Georges Pompidou, Paris; The J. Paul Getty Museum, Los Angeles; San Francisco Museum of Modern Art; The Metropolitan Museum of Art, New York; Tate, London; and Yale University Art Gallery, New Haven, Connecticut, among many others. Richard Learoyd lives and works in London.

PACE NEW YORK
508 West 25th Street, New York City

27/09/09

Richard Learoyd, McKee Gallery, NYC - Unique Photographs - Text by Martin Barnes

Richard Learoyd: Unique Photographs
McKee Gallery, New York
September 24 – October 31, 2009

McKee Gallery presents the first exhibition in America by the English photographer RICHARD LEAROYD. This is also the first ever exhibition of photographs at the McKee Gallery.

After graduating in photography from the Glasgow School of Art in 1992, Richard Learoyd has taught and lectured in various art schools, all the while experimenting in unconventional technique based on the principles of the ‘camera obscura’. The extraordinary results are best described by Martin Barnes, chief curator of photography at the Victoria and Albert Museum, London, in his 2007 essay “Reverie and Presence.” Originally published in the book Richard Learoyd: Twenty-Two Photographs 2005/2007, the essay was later reprinted in Hot Shoe International Magazine: Fresh Perspectives on Contemporary Photography, February/March 2008, p. 18-27:
Richard Learoyd’s photographs have recently emerged into the art world seemingly from nowhere. Visually, they are bold, poised, and magnetically beautiful. Beneath their alluring appearance lies a deeply inquiring and subtle intellect. Although his images convey something of their power when reproduced, nothing can compare with the wonder and presence felt when seeing one of the original, large-scale photographs. By sheer force of visual impact, they initially jolted my default tools of critique out of kilter – and replaced them with the pure pleasure of the eye. Observing his work has reinvigorated for me the profound delight of simply looking at photographs…

I am reminded of the haunting thrill particular to looking at nineteenth-century daguerreotypes, the very first types of photographs introduced in 1839, on which the images is fixed on a highly polished and silver metal plate. In daguerreotypes we come face to face with the dead, seemingly resurrected through the act of looking at them in the surface of a mirror. Learoyd’s photographs feel uncannily similar. But where monochrome daguerreotypes fit in the palm of the hand, Learoyd’s over-life-sized color works have impact on the wall. His processes of production, subjects and sitters are modern; yet the feelings his images evoke seem to beckon from the dawn of photography. Learoyd rekindles something of the marvel of this creative collision of science and art that so captivated and bewitched the Victorians. His evident passion for experimentation, his knowledge and interest in the chemistry and optics of photography, comes across I image like those who were fired by the medium over one-hundred and sixty years ago…

Learoyd’s images occupy a unique place in the practice of contemporary fine art photography. I can think of no-one else working with the same methods or in quite the same way. His pictures are refreshingly, not conceptually driven; but neither do they fall as a result into mere decoration or technical display. They carry historical relevance, but they are undeniably f our time. Due to their visual impact, we cannot help but stare at them and feel perhaps even a mild embarrassment over the painfully sensuous proximity they reach in relation to our senses …

We come to know his subjects intimately, yet they remain paradoxically and beautifully mysterious…
MCKEE GALLERY
745 Fifth Avenue, New York, NY 10151