Laura Letinsky

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 𝘕𝘰. 24, 1995. From 𝘝𝘦𝘯𝘶𝘴 𝘐𝘯𝘧𝘦𝘳𝘳𝘦𝘥, 1989–1996. The bed fills the foreground—unmade, warm, still holding the shape of bodies. In the mirror, small and sharp in the distance, Laura looks back. Like Cindy Sherman before her, Laura turns the camera on herself—but where Sherman assumes characters, Laura offers no such shelter. This is her, in a room, after all. Author and subject collapsed into one, which raises the questions the series has been circling all along: who holds knowledge here, who holds power, and what does the photograph actually tell us? The mirror doubles the image and halves the certainty. #LauraLetinsky #VenusInferred #ContemporaryPhotography #CindySherman #DomesticLife

𝘈 𝘱𝘭𝘦𝘢𝘴𝘶𝘳𝘦 𝘪𝘯 𝘴𝘰𝘭𝘪𝘥 𝘰𝘣𝘫𝘦𝘤𝘵𝘴 𝘢𝘯𝘥 𝘴𝘤𝘳𝘢𝘱𝘴 𝘰𝘧 𝘶𝘴𝘦𝘭𝘦𝘴𝘴 𝘪𝘯𝘧𝘰𝘳𝘮𝘢𝘵𝘪𝘰𝘯 opens May 8 at Galerie Miranda, Paris. Preview reception on May 7, 6–8:30pm, with Laura in person. The exhibition brings together three bodies of work that move across time and process: 𝘐𝘭𝘭 𝘍𝘰𝘳𝘮 & 𝘝𝘰𝘪𝘥 𝘍𝘶𝘭𝘭, 𝘞𝘩𝘰 𝘓𝘰𝘷𝘦𝘴 𝘵𝘩𝘦 𝘚𝘶𝘯, and the new series 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯‘𝘵 𝘉𝘦—iPhone images printed as tintypes, one of photography’s oldest processes. Alongside the photographs, a curated selection of porcelain by Tsé & Tsé associées. Galerie Miranda, 21 rue du Château d‘Eau, Paris 10e. On view through July 4. Link in Bio. #LauraLetinsky #GalerieMiranda #Paris

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 𝘕𝘰. 21 (𝘚𝘢𝘳𝘢 & 𝘑𝘦𝘧𝘧), 1993. From 𝘝𝘦𝘯𝘶𝘴 𝘐𝘯𝘧𝘦𝘳𝘳𝘦𝘥, 1989–1996. Laughing, tangled, half-dressed. This is not the image of desire that art history prepared us for — no classical repose, no body arranged for the viewer’s ease. Just two people in the ungovernable middle of it, where love is least photogenic and most itself. The pillow’s fleur-de-lis is the only thing here with any dignity. #LauraLetinsky #VenusInferred #ContemporaryPhotography #StillLife #DomesticLife

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 𝘕𝘰. 1, from 𝘗𝘦𝘢𝘤𝘩 𝘍𝘶𝘻𝘻 𝘝𝘦𝘯𝘶𝘴, 1993–1996. And 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 𝘕𝘰. 64, from 𝘏𝘢𝘳𝘥𝘭𝘺 𝘔𝘰𝘳𝘦 𝘛𝘩𝘢𝘯 𝘌𝘷𝘦𝘳, 2003. April Fools! There is no 𝘗𝘦𝘢𝘤𝘩 𝘍𝘶𝘻𝘻 𝘝𝘦𝘯𝘶𝘴. But there is a peach, and it has things to say. The body and the fruit have always been in conversation—in Dutch vanitas painting, in Renaissance allegory, in every perfume advertisement ever made. We think of desire as utterly singular, a snowflake, irreducibly ours. And yet we learned it from somewhere: from religious iconography that quietly became pop culture, from Madonna, from a thousand images that told us what wanting is supposed to look like before we ever wanted anything ourselves. 𝘝𝘦𝘯𝘶𝘴 𝘐𝘯𝘧𝘦𝘳𝘳𝘦𝘥 was always asking this question. The body withheld, turned away, caught mid-gesture—because the frontal nude, offered cleanly to the viewer, already belongs to a tradition that owns it. Laura photographs around that tradition. The peach in 𝘏𝘢𝘳𝘥𝘭𝘺 𝘔𝘰𝘳𝘦 𝘛𝘩𝘢𝘯 𝘌𝘷𝘦𝘳 arrives later, after the bodies have left the frame—small, split at the center, soft with a little fuzz. It doesn’t announce itself. It doesn’t have to. Fuzz, bloom, the soft give of ripe flesh. The still life was never just about food. #LauraLetinsky #VenusInferred #ContemporaryPhotography #StillLife #DomesticLife

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 𝘕𝘰. 37 (𝘓𝘢𝘶𝘳𝘢 & 𝘌𝘳𝘪𝘤), 1993. From Venus Inferred, 1989–1996. Two figures, a mirror, a bathroom. She tends to herself; his gaze finds her reflection. The image holds intimacy and distance in the same frame without resolving the tension between them. 𝘝𝘦𝘯𝘶𝘴 𝘐𝘯𝘧𝘦𝘳𝘳𝘦𝘥 takes its title from the Roman goddess of love, so often portrayed in the nude—and consistently turned to face the viewer. Laura pushes back against that tradition. The body here is not offered up; it is caught in the ordinary negotiation of being seen and not seen, of presence that is also private. While the nature of the love relationship is impossible to fully articulate, and photography itself is an inherently silent medium, 𝘝𝘦𝘯𝘶𝘴 𝘐𝘯𝘧𝘦𝘳𝘳𝘦𝘥 works toward building a visual vocabulary of romance—recording the promises, disharmonies, and disappointments that inhere in modern coupling. Turning the camera on herself and Eric, Laura is simultaneously author and subject. The mirror doubles that question: which image is true? Which one is performed? #LauraLetinsky #VenusInferred #ContemporaryPhotography #StillLife #DomesticLife

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (1991). An installation view from 𝘗𝘭𝘦𝘢𝘴𝘶𝘳𝘦𝘴 𝘢𝘯𝘥 𝘛𝘦𝘳𝘳𝘰𝘳𝘴 𝘰𝘧 𝘋𝘰𝘮𝘦𝘴𝘵𝘪𝘤 𝘊𝘰𝘮𝘧𝘰𝘳𝘵, MoMA, New York. Laura was a recent MFA graduate when this image entered that room—hanging alongside Cindy Sherman, Carrie Mae Weems, and Nan Goldin: artists she had studied, been shaped by, and looked to as proof of what a photograph could carry. Curated by Peter Galassi, the exhibition marked a shift—away from the public street, toward the lit interiors of American domestic life, described not from the outside in, but from within. This image was made at the very start of what would become 𝘝𝘦𝘯𝘶𝘴 𝘐𝘯𝘧𝘦𝘳𝘳𝘦𝘥—a six-year project bringing her large-format camera into the homes of ordinary people, attempting to document what love looks like. The series became a touring exhibition and a monograph with an essay by the late Lauren Berlant. If 𝘝𝘦𝘯𝘶𝘴 𝘐𝘯𝘧𝘦𝘳𝘳𝘦𝘥 was the night before, 𝘏𝘢𝘳𝘥𝘭𝘺 𝘔𝘰𝘳𝘦 𝘛𝘩𝘢𝘯 𝘌𝘷𝘦𝘳—the still life work that followed—was the morning after: empty tables, decomposing fruit, the absence of people leaving a palpable melancholy among the remains. The table, the aftermath, Molosco—it all traces back here. Two people in a room, and what remains when the photograph holds still. 📍 MoMA, New York, 1991 #LauraLetinsky #ContemporaryPhotography #StillLife #DomesticLife #MoMA

Join us in the studio for a very special event on March 12th… Step into an exhibition where Laura Letinsky’s photographs meet the tactile forms of her porcelain line, Molosco, in a celebration of the long table. Discover how contemporary pieces mingle with vintage and heirloom objects, creating a layered conversation between past and present. Date: Thursday, March 12th Exhibition: 12 - 6 pm Reception: 3:30 pm Maker’s Talk: 4:30 pm RSVP REQUIRED: [ link in bio ] Food and drink will be served at 3:30 pm, curated by TXA TXA Club [ @txatxaclub ] and inspired by Laura’s work. Enjoy a styled tablescape and light bites, with a facilitated conversation with Laura to follow at 4:30 pm. Location: @design.at.329 Host: Lexa Glade 329 W 18th St, Suite 503 Chicago, IL 60616 Hope to see you there! __ #chicagodesigners #artmeetsdesign #oldmeetsnew

In 𝘛𝘩𝘢𝘵 𝘸𝘩𝘢𝘵 𝘤𝘢𝘯’𝘵 𝘣𝘦 𝘯𝘰. 09 (𝘸𝘩𝘪𝘵𝘦), fragments of paper, flowers, and glass gather into a composition that feels both sculptural and slipping away. These gestures echo earlier works—collage cutouts from Albeit, wilted blooms from Hardly More Than Ever, the layered residues of celebration and aftermath—now filtered through the hazy, mercurial surface of the tintype. What was once arranged in the studio is now pressed flat by light and metal, becoming something more fugitive: part still life, part collage, part memory refusing to resolve. #LauraLetinsky #ThatWhatCantBe #Tintype #StillLife #ContemporaryPhotography

In 𝘣𝘰𝘥𝘺 𝘱𝘳𝘰𝘣𝘭𝘦𝘮 𝘯𝘰. 06, the body folds into itself—ridges and curves that drift between flesh, fabric, and something more geological. A torso becomes a hillside, a shoulder reads like draped linen; musculature softens into strata. These slippages invite a kind of double vision: what’s bodily, what’s sculptural, and how easily one masquerades as the other. #LauraLetinsky #ThatWhatCantBe #Tintype #BodyProblem #ContemporaryPhotography

𝘣𝘰𝘥𝘺 𝘱𝘳𝘰𝘣𝘭𝘦𝘮 𝘯𝘰. 05 leans into the slippage between body and object—musculature that hints at marble, folds that flirt with ham, skin that wavers toward abstraction. A study in how close looking unsettles what we think we recognize. #LauraLetinsky #ThatWhatCantBe #Tintype #BodyProblem #ContemporaryPhotography

Introducing 𝘈𝘳𝘵 𝘴𝘤𝘩𝘰𝘰𝘭 𝘯𝘰. 3 𝘣𝘦𝘯𝘥𝘦𝘥 𝘨𝘳𝘪𝘥, the first work we are showing from Letinsky’s new tintype series 𝘛𝘩𝘢𝘵 𝘞𝘩𝘢𝘵 𝘊𝘢𝘯’𝘵 𝘉𝘦. Made from a phone snapshot and printed as an 11 × 14 in tintype, the image bends scaffolds, shadows, and grids into a surface where scale and time fall out of alignment. These tintypes extend Letinsky’s ongoing interest in how photographs shape perception—how technologies old and new commingle, and how an image can hold both the moment and its undoing. The reflective plate becomes part mirror, part memory, part question. #ThatWhatCantBe #Tintype #ContemporaryPhotography #PhotographicHistory

Honored to see my work and @molosco_porcelain dinnerware appear in @voguekorea feature on the evolving rituals of fine dining and the emotional textures of food. Across tables, whether grand or intimate, I’ve long explored how objects, images, and appetites entangle. This piece beautifully captures the way memory, taste, and gesture live on in what remains. Thank you to Vogue Korea for including my practice in this thoughtful reflection on food, art, and the quiet power of domestic space. #LauraLetinsky #Molosco #FineDining #StillLife #VogueKorea