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Lehmann’s mysterious, frequently nocturnal paintings draw from sources as varied as the Flemish Primitives, aeronautic technical bulletins, how-to photography manuals, Gothic altarpieces, and radiographic simulators. The work explores the continuity of symbolic motifs over the course of centuries, but is united by a persistent concern with the iconography of the unseeable.Prior to completing this body of work, Lehmann co-curated, with Ann Temkin, “Ileana Sonnabend: Ambassador for the New,” at the Museum of Modern Art in New York; coauthored the anthology Artists Who Make Books (Phaidon/PPP Editions); and wrote “Color Goes Electric,” a widely read history of standard test images and the digitization of color, for Triple Canopy. A former editor at Cabinet and a contributor to Artforum, Lehmann received a BA from Harvard College in Visual and Environmental Studies (1998–2003).
[…] Claire Lehmann spoke to us in early June of 2022 when she was beginning a new group of paintings. At the time, her studio was a bit bare following a recent show. She was in the research phase of her process, sifting through sources and feeling what resonates and beginning the generation process. Lehmann is always attempting to reach the central themes of her work, bringing together images from various sources to induce a sense of recognition or familiarity for the viewer. To hear more about her work and process, listen to the complete interview. […]
[…] Claire Lehmann spoke to us in early June of 2022 when she was beginning a new group of paintings. At the time, her studio was a bit bare following a recent show. She was in the research phase of her process, sifting through sources and feeling what resonates and beginning the generation process. Lehmann is always attempting to reach the central themes of her work, bringing together images from various sources to induce a sense of recognition or familiarity for the viewer. To hear more about her work and process, listen to the complete interview. […]