Book Room

All That’s Fit

with Deadbeat Club

May 11 - June 15, 2024

Ian Bates
Taylor Galloway
Yoko Ikeda

Ward LongChad Moore

Established in 2011 by Clint Woodside, Deadbeat Club is a renowned independent publisher & coffee roaster located in Los Angeles, California. Rooted in contemporary photography, our ethos on small run, limited edition publications carries into our small batch single origin, signature blend and limited release coffees.

Deadbeat Club curates its projects in the spirit of collaboration and lasting partnership. Together with the artists - whether established or up-and-coming - we work closely to produce a body of work that we are proud to share with our community.


Beyond The Apparatus

May 11 - June 15, 2024

David Campany
Edward Cushenberry
Eduardo Consuegra
Don Edler
Luke Harnden
Steve Kado
Soo Kim
Jacob Murtle
Juliana Paciulli
Pacifico Silano

Before photography became a tool to fix the three-dimensional world onto the two-dimensional surface of an object, society relied on artists to depict reality. Photography relieved artists of this duty. It can be argued that the way we view the world since the invention of photography is through a series of images. This multiplicity of images has allowed reality to be bent to the will of its handlers, creating multiples that lead to multiple realities. Thus, images lost our trust to depict reality. Photography is no longer a reliable tool except to its user, and to those who believe in the merit of that user. So maybe, the power of the image has shifted back to the artist’s ability to use the medium of photography to depict reality.

It is the system of photography itself that is instrumental in asking the critical questions, and these questions, rather than the material that elevates the medium. Inherent in its use, photography has always reacted to both technology and science. Perhaps, having reached the edge of both, photography is moving towards a place where there is no longer a normal system, there is no order of operation, becoming a truly conceptual medium. And maybe, the material of photography is now only another simulacrum attempting to trigger multiple levels of memory in order to arrive at more malleable levels of engagement than the cold digital system that is the contemporary order of the day. If we, the users of the medium, continue to explore the ethos of photography, and its output continues to be dematerialized in digital form, where does that take us as a society and what is it that now constitutes a photographic object?

The Fulcrum Press

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