From the press release:
The brilliant, high chroma works frequently contain acreage of bright white surface, showing Lehr to be a master printer: his pure white areas are clean and dazzling, his colors are stark reminders of the possibilities of the pigment range.
There are two subjects addressed in the “Gibberish” installation – advertising signage and suburban storefronts – both showing the waywardness and humor of our seductive capitalism and its striking visual appeal. The first series of ten signs are folded, swagged, bagged and in almost every case unreadable reflecting, with a Conceptualist’s strategy, the disconnect between text and true meaning in our gibberish driven society.
As a subtext or “double” of this work, Lehr presents a suite of images about suburban structures – storefronts and homes – that, even in their abandoned states, because of his approach to them, are bright and sparkling follies.
The works in “Gibberish” straddle the boundary between the documentary photo, in the vein of Walker Evans’ survey of a precise era in American cultural history, and the set-up photo, in which Lehr carefully chooses his angle, light, and composition to alter the culturally understood meaning of the sign, or concept of the building, from an object of potential consumption or habitation to the focus of the contemplative gaze.
John Lehr’s work has been exhibited at The Museum of Modern Art, New York, NY, Walker Art Center, Carnegie Museum of Art, The Corcoran Gallery of Art, Yancey Richardson Gallery, Kate Werble Gallery, Yale School of Art, and Artspace, among other venues.