(1944, Racine, US - 2014, Montréal, CA)
For more than thirty years, Lynne Cohen has photographed interior spaces without characters: laboratories, spas, waiting rooms or training rooms. Their decoration, often very kitschy, can be comical, even if it helps to reinforce their intriguing, even worrying aspect. The rigorous framing, at the same distance, the light that highlights materials and colours gives these images a constructed appearance. Focusing on the imaginary aspect of places, sometimes with ill-defined uses, Lynne Cohen suggests a social control that is exercised in a diffuse way
For 30 years, the photographic work of Lynne Cohen has developed in a radical way through images of spaces of quasi-fictional appearance, where human presence is made manifest by its absence.
Rather, human presence is implied by our recognition of common objects and, above all, because it is known that all those spaces exist and are in use.
These interiors are not a figment of the artist's imagination ; they are found places.
The work of Lynne Cohen voluntarily plays within the ambiguity between ready-made and installation, between the found place and the set-up.
After her first works of a very kitsch aesthetics, and since the 1980's, Lynne Cohen orchestrates a typology of place which has become emblematic of her work : class rooms, work places, leisure spaces, rooms for military training, police schools, spas, laboratories, libraries - places to which we usually give little attention to. By isolating those places and by setting these spaces within her photographic negative, Lynne Cohen reconfigures that familiar terrain to transform it into a work of art; thus, the known terrain becomes strange to us, indeed alien.
In 1998 Lynne Cohen that had always resisted the use of colour, decides to use it in order to put in evidence its synthetic and chemical nature, as well as the properties that render it more unnatural such as plywood, aluminium, or polystyrene.
Lynne Cohen's training as a sculptor is evident in the monumental quality of the objects and the places that she chooses and in the precise rendition of the textures of materials.
She underlines this sculptural dimension by exhibiting her prints framed in Formica, which reinforces the object quality of the images.
LYNNE COHEN, BY ANDREA BLUM
"I first saw the photographs of Lynne Cohen in Paris at Galerie des Archives several years ago. The work put me in a world somewhere between Stanley Kubrick and Ansel Adams and I must admit I was freezing! It is difficult to say whether it is the stark quality of the images, the confusion of realities, or fear of uncomfortable places which gives the work its resonance, but I keep coming back to it as a reference on a multiple of levels.
The work is staged as object and subject. It is classical in form yet baroque in detail. It provides information about "us" but we are absent from view. It is literary yet converts to cinema. It is a document of some sci-fi 60?s film but it represents our lives in the late '90's. It is a representation of who we are where we are and how we live and it is extremely shocking! The work causes the viewer to travel with it be it to the gymnasium, the club house, the waiting room. The more you see the less credible it becomes.
It is for these reasons that I think Lynne Cohen deserves support. Her images take the form of questions and it is through this that she lets you into another world."
"There are a few truisms about Lynne I feel I must mention.
Lynne loved the uncanny. Her work turned fiction into fact and fact into fiction,
and showed us how insane the world was
She was irreverent, but not mean
She was smart.
She was a true lefty, with a tendency to rage against the stupidity of those in power
She didn?t mind living in Canada but remained unhappy that the Canadian dollar was not worth that of the US.
She loved Montreal so she could speak French
She secretly believed she was French
She always had several thoughts running concurrently never fully finishing a sentence.
She turned words into sounds & sounds into words
She wished blueberry muffins had no calories
She was an exercise maniac
She enjoyed life
She was generous
She adored Andrew
And it is without question that she was a wonderful friend to us all."
Pavillon Populaire, Montpelier, FR
Lynne Cohen: These Walls, Burnaby Art Gallery, British Columbia, BC
Vintage: 1970-1980, Galería Bacelos, Madrid, ES
Vintage: 1970-1980, Galería Bacelos, Vigo, ES
Tate Modern, London (with Taryn Simon), GB
Lynne Cohen: Vintage Work, 1970-1980, Art 45, Montreal, CA
Lynne Cohen, Art 45, Montreal, CA
Lynne Cohen : un hommage, In Situ - fabienne leclerc, Paris, FR
Faux indices, Musée d'art contemporain de Montréal, CA
Lynne Cohen, Fondation Mapfre (curator : Nuria Enguita), Madrid, ES
Lynne Cohen, Sala Rekalde, Bilbao, ES
Olga Korper Gallery, Contact Festival Toronto, CA
Fototeca, Havana, CU
Lynne Cohen - Clear arrangements, Braunschweig Museum of Photography, DE
Access points d'accès, Parisian Laundry Gallery, Montréal, CA
Hasted/Hunt, New York, USA
Galerie Visor, Valencia, ES
Banff Center for the Arts, a Walter Phillips Gallery Collection exhibition, Jeanne and Peter Lougheed Building, Alberta, CA
Camouflage, Galerie Wilma Tolksdorf, Frankfort, DE
Galerie Bacelos, Vigo, ES
Lynne Cohen, Museum voor Fotografie, Anvers, BE
Karsten Schubert, London, GB
Galerie Rodolphe Janssen, Bruxelles, BE
Interim Art, London, GB
Samia Saouma Gallery, Paris, FR
06Emissaires_QC08, Québec City, Québec, CA
DZ Bank's collection, Staedel Museum, Frankfurt, Germany
Images d'un renouvellement urbain, Le Point du Jour, Cherbourg-Octeville, FR
La Grande traversée-Horizons photographique, Musée du Nouveau Monde, La Rochelle, FR
La Grande traversée-Horizons photographique, Musée du Bas-Saint-Laurent, Rivière-du-loup, CA
National Gallery of Canada, CA
Galerie Bacelos et Visor, ARCO, Madrid, ES
Rivages, Musée d'art et d'histoire de Saint-Brieuc, FR
Artéfacts, Fondation Daniel & Florence Guerlain, Les Mesnuls, FR
Aquaria, Landesgalerie am Oberösterreichischen Landesmuseum, Linz, AU
Galeria Visor, ARCO, Madrid, ES
Salamanca, Un proyecto fotografico, Sala Millares, Madrid; Centro de Arte de Salamanca, ES, Aquaria, Kunstsammlungen, Chemnitz, AU
Le regard de l'autre, Musée des Beaux-Arts de Rouen, FR
Photography, Olga Korper Gallery, Toronto, CA
Dunlop Art Gallery, Regina, CA
Aquaria: über die ungewöhnlichte Beziehung zwichen Wasser und Mensch, Oberösterreichischen, AU
Galeria del angels, Barcelona, ES
Le Siegle du Corps, Musée de l'Élysée Lausanne, CH
Territoires ordinaires (Bustamante, Cohen, Duncan and Oroczo), Centre culturel du Colombier, Rennes, FR
Esuards Distants, IVAM, Valencia, ES
Power Plant, Toronto, CA
Under Construction, Olga Korper Gallery, Toronto, CA
Le donné, le fictif, Centre National de la Photographie, Paris, FR
Musée d'Art Moderne, Villeneuve d'Ascq, FR
Photography's Multiple Roles, Museum of Contemporary Photography, Chicago, US
Double Mixte (Barry X. Ball, Lynne Cohen, Pascal Convert, Rachel Whiteread), Galerie Nationale du Jeu de Paume, Paris, FR
Visions of Hope and Despair, Museum of Contemporary Art, Chicago, US
Beyond Recognition: Contemporary International Photography, Logan Art Gallery, Queensland, AU
Intimité et froideur, Galerie des Archives, Paris, FR
Sheldon Memorial, Sheldon, USA
Gallery Lincoln, Loveland, USA
Tufts University Arts Gallery, Medford, USA
Vivid: Intense Images by American Photographers , Raab Galerie, Berlin, DE
Raab Boukamel Galleries, London, UK
Gian Ferrari Arte Contemporanea, Milano, IT
Magicians of Light, National Gallery of Canada, CA
Ecole des Beaux-Arts de Bordeaux, FR
Ecole des Beaux-Arts de Paris (Préfiguration), FR
International Photography Seminar, Alden Biesen, BE
Arteleku, San Sebastian, ES
Ecole Nationale de la Photographie, Arles, FR, 1995
Centre d'Art Contemporain de Guérigny, FR
Light Work, Syracuse University, US
Wexner Center for the Arts, Columbus, US
Museum voor Fotografie, Antwerp, BE
Universitat de Valencia, ES
Academie Sint Joost, Breda, NL
Hoger Instituut voor Schone Kunst, Antwerp, BE
Nothing is hidden. Scotiabank/Steidl Publishers, 2012.
Cover. Le Point du jour, Cherbourg-Octeville, 2009.
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Evidence: Photography and Site. Wexner Center for the Arts, 1997
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Fonds régional d'art contemporain--Limousin: 1989-1995. Limoges, 1996.
Embedded Metaphors. Independent Curators, New-York, 1996.
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