MAX SHUSTER Acid Rain
catalog
4107 Hillsboro Circle Nashville, TN 37215 615 297 0296
March 11th – April 22nd 2017 Opening reception Saturday March 11th, 6 – 8PM
Please call for prices 615 297 0296 www.cumberlandgallery.com
“My work has always explored the impermanent versus permanent. The camera is able to document that transitory moment in time when I snapped a button beneath the buildings yet the later studio constructions prove that time can be manipulated to allow another elapsed moment before time is snapped again.� Max Shuster
Foundations 1, 1/5, chromogenic print, 20” x 16”, 2017.
Foundations 2, 1/5, chromogenic print, 20” x 16”, 2017.
Foundations 3, 1/5, chromogenic print, 20” x 16”, 2017.
Foundations 4, 1/5, chromogenic print, 20” x 16”, 2017
Jagati 1, 1/15, archival pigment print, 8� x 10�, 2017
Jagati 2, 1/15, archival pigment print, 10� x 8�, 2017.
Jagati 3, 1/15, archival pigment print, 8� x 10�, 2017.
Jagati 4, 1/15, archival pigment print, 8� x 10�, 2017.
Vintig 1, unlimited edition, archival pigment print, 7� x 5�, 2017.
Vintig 2, unlimited edition, archival pigment print, 7� x 5�, 2015.
Vintig 3, unlimited edition, archival pigment ink, 7� x 5�, 2017.
Vintig 4, unlimited edition, archival pigment print, 7� x 5�, 2016.
Vintig 5, unlimited edition, archival pigment print, 7� x 5�, 2016.
Vintig 6, unlimited edition, archival pigment print, 7� x 5�, 2017.
Vintig 7, unlimited edition, archival pigment print, 7� x 5�, 2014.
Vintig 8, unlimited edition, archival pigment print, 7� x 5�, 2016.
Vintig 9, unlimited edition, archival pigment print, 5� x 7�, 2017.
Vintig 10, unlimited edition, archival pigment print, 7� x 5�, 2014.
Vintig 11, unlimited edition, archival pigment print, 7� x 5�, 2013.
Vintig 12, unlimited edition, archival pigment print, 7� x 5�, 2012.
Vintig 13, unlimited edition, archival pigment print, 5� x 7�, 2016.
Vintig 14, unlimited edition, archival pigment print, 5� x 7�, 2014.
Vintig 15, unlimited edition, archival pigment print, 7� x 5�, 2017.
Vintig 16, unlimited edition, archival pigment print, 7� x 5�, 2015.
Vintig 17, unlimited edition, archival pigment print, 7� x 5�, 2013.
Vintig 18, unlimited edition, archival pigment print, 7� x 5�, 2009.
Vintig 19, unlimited edition, archival pigment print, 7� x 5�, 2015.
Vintig 20, unlimited edition, archival pigment print, 7� x 5�, 2015.
Vintig 21, unlimited edition, archival pigment print, 5� x 7�, 2014.
Biography Max Shuster earned his MFA in Photography from the Maryland Institute College of Art after receiving a BFA in photography from Watkins College of Art. Currently based in California, he has shown work extensively throughout the southeast for ten years, as well as Baltimore and L.A., and has been covered in The Tennessean, The Nashville Scene, and Harper’s Magazine. Public collections include Cummings Station, Edward Jones Financial Institution, and the office of Senator Bob Corker, among others. Shuster received the Maryland Institute College of Art Graduate Research Grant in 2013 and a MICA merit scholarship award in 2012.
Artist Statement Photography is always the last step in recording what I already have made, yet its role has been crucial to the temporary nature of my work. Creating objects, constructing sculptures, and building sets out of found materials such as seafood, televisions, toys, sleeping pills, and other absurd things is always the focus of my efforts before the camera’s role. When I moved to Los Angeles, I was fascinated by how unusually crisp the sunlight was, so I felt obligated to venture outside with my camera-- something I hadn’t done in nearly a decade since shooting film with my analog Nikon. The “Foundations Series” are buildings around Los Angeles that I photographed, fabricated into three-dimensional constructions using multiple photographic prints and other materials, and then photographed using studio lights. My work has always explored the impermanent versus permanent. The camera is able to document that transitory moment in time when I snapped a button beneath the buildings yet the later studio constructions prove that time can be manipulated to allow another elapsed moment before time is snapped again. The “Vintig Series” is a continuing series of work in which I place objects on found vintage photographs and photograph the results. This work stems from a playful yet bizarre attempt to manipulate the rigidity of the past, the stoic figures presented. The photographing of a photographic print, especially one that was used for sentimental purposes, also plays with the temporal nature of snapped time.