David Benjamin Sherry
| David B. Sherry | |
|---|---|
| Born | 1981 (age 35–36) |
| Nationality | American |
| Alma mater |
Rhode Island School of Design, Yale University |
| Known for | Landscape photography |
David Benjamin Sherry (born January 14, 1981 in ) is an American photographer based in Los Angeles. Sherry's work consists primarily of large format film photography, focusing on landscape and portraiture, and has been exhibited in New York, Los Angeles, London, Berlin, Aspen and Moscow.
Sherry received his BFA in Photography from Rhode Island School of Design in 2003 and an MFA in Photography from Yale University in 2007.
His work has been featured in museum and gallery exhibitions such as MoMA PS1's "2010 Greater New York," the Aspen Art Museum's "The Anxiety of Photography" in 2011, Saatchi Gallery's "Out of Focus" in 2012,LACMA's "Lost Line" exhibition in 2013, "What is a Photograph?" at the International Center for Photography in 2014. Since 2011 he has presented numerous solo exhibitions at Salon 94 gallery in New York City and Moran Bondaroff gallery in Los Angeles, CA. In 2011 he was a recipient of Rema Hort Mann Foundation Visual Arts Grant.
Sherry's work varies from landscape and studio photography, to collage and sculpture, often with a heavy focus on color. Working with analogue film and printing techniques "the use of anachronistic, primitive methods reflects a concern with craft, introducing the hand of the artist into a medium most commonly associated with mechanical reproduction." Sherry's work often merges human and natural subjects, creating images in which landscapes take on anthropomorphic qualities and the humans in them become part of the landscape, as opposed to inhabitants. His exhibition "Astral Desert", at Salon 94 gallery in New York City explored the topography of the desert and American West through multiple processes pushing photography to a "chromatic extreme." In the exhibitions "Climate Vortex Sutra" and "Paradise Fire" Sherry's work continued to explore themes of queer landscape, as well as climate change and its effects on the American landscape.
Sherry's insertion of queer themes into the trajectory of modernist photography gives us space to stop and consider the erotic body of the image itself... In Deep Blue Sea Rising, Oregon, 2014, for example Sherry's vision of the American landscape breaks down into the tactile skin of the sea, only to be brought back together by swaths of pigment.
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