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Seton Smith

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Sans titre #1, 2021
Sans titre #1, 2021
Image: 91,4 x 221 cm
Enquiries about work INV Nbr. SS2021007

Seton Smith a réalisé cette série de photographies dans l’Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd’hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d’une image seule, ces photographies, où les lignes et l’horizon servant de repères, permettent à Seton Smith d’évoquer subtilement la mémoire et sa confrontation en tant qu’artiste à la fragilité des civilisations et à l’évanescence de notre passage sur terre.

Sans titre #2, 2021
Sans titre #2, 2021
Image: 48 x 32 cm each
Paper: 34,4 x 50,6 cm (each)
Enquiries about work INV Nbr. SS2021008

Seton Smith a réalisé cette série de photographies dans l'Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd'hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d'une image seule, ces photographies, où les lignes et l'horizon servant de repères, permettent à Seton Smith d'évoquer subtilement la mémoire et sa confrontation en tant qu'artiste à la fragilité des civilisations et à l'évanescence de notre passage sur terre.

Sans titre #4, 2021
Sans titre #4, 2021
Image: Right image 19 x 51,7 cm / Left image 21,6 x 51,7 cm
Paper: 54,6 x 34,5 each
Enquiries about work INV Nbr. SS2021013

Seton Smith a réalisé cette série de photographies dans l’Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd’hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d’une image seule, ces photographies, où les lignes et l’horizon servant de repères, permettent à Seton Smith d’évoquer subtilement la mémoire et sa confrontation en tant qu’artiste à la fragilité des civilisations et à l’évanescence de notre passage sur terre.

Sans titre #3, 2021
Sans titre #3, 2021
Image: 32 x 48 cm
Paper: 34,4 x 50,6 cm
Enquiries about work INV Nbr. SS2021011

Seton Smith a réalisé cette série de photographies dans l'Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd'hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d'une image seule, ces photographies, où les lignes et l'horizon servant de repères, permettent à Seton Smith d'évoquer subtilement la mémoire et sa confrontation en tant qu'artiste à la fragilité des civilisations et à l'évanescence de notre passage sur terre.

Tray with Handle & Basket, 1996
Tray with Handle & Basket, 1996
Visite à Vienne
Cibachrome, Plexiglas, and Brace
Image: 180 x 120 cm (each)
Enquiries about work INV Nbr. SM1996003
Basket with Flat Tray, 1996
Basket with Flat Tray, 1996
Visite à Vienne
Cibachrome, Plexiglas, and Brace
Image: 180 x 120 cm (each)
Enquiries about work INV Nbr. SM1996004
Square Tray with Handle, 1996
Square Tray with Handle, 1996
Visite à Vienne
Cibachrome, Plexiglas, and Brace
Image: 180 x 120 cm (each)
Enquiries about work INV Nbr. SM1996002
New Orleans #30, 2016
New Orleans #30, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016001

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #34, 2016
New Orleans #34, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016002

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #38, 2016
New Orleans #38, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016003

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #43, 2016
New Orleans #43, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016004

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #51, 2016
New Orleans #51, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016005

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #52, 2016
New Orleans #52, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016006

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #60, 2016
New Orleans #60, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016007

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #69, 2016
New Orleans #69, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016008

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

New Orleans #71, 2016
New Orleans #71, 2016
New Orleans
archival pigment print
Image: 16 x 24"
Enquiries about work INV Nbr. SS2016009

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life's marks and memories of human existence.
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Slave House #17, 2015
Slave House #17, 2015
Charleston series
Inkjet Print
Image: 36 x 53,9 inches
Paper: 36 x 53,9 inches
Enquiries about work INV Nbr. SS2015001

Exhibitions:
- Kiki & Seton Smith, A Sense of Place, A Hometown Tribute Exhibition, Seton Hall University, 30th Oct- 9th Dec 2016
-  Second Mark, Gallery SissoParis, from September 18th septembre to October 27th 2015

Bibliographie:
- Kiki & Seton Smith, A Sense of Place, A Hometown Tribute Exhibition, New- Jersey, Etats-Unis, p. 24

#0016, 2014
#0016, 2014
North Dakota series
Inkjet Print
Image: 36 x 54 inches
Paper: 36 x 53,9 inches
Enquiries about work INV Nbr. SS2014001

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

#5, 2014
#5, 2014
North Dakota Series
Inkjet print
Image: 36,2 x 53,1 inches
Enquiries about work INV Nbr. SS2014002

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life's marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

#2, 2013
#2, 2013
Leed Series
Inkjet print
Image: 36,2 x 53,1 inches
Enquiries about work INV Nbr. SS2012002

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Tim's House, 2013
Tim's House, 2013
Maine Series
Inkjet print
Image: 36,2 x 53,1 inches
Enquiries about work INV Nbr. SS2013003

Bibliography:
- Kiki & Seton Smith, A Sense of Place, A Hometown Tribute Exhibition, New- Jersey, Etats-Unis, p. 28

Insel #1, 2013
Insel #1, 2013
Inkjet Print
Image: 38,2 x 47,2 inches
Paper: 38,2 x 47,2 inches
Enquiries about work INV Nbr. SS2013001

This photograph of a room in the Insel Hombroich Museum, located near Dusseldorf is in line with the architectural minimalism that characterizes Seton Smith’s work. 
Perspective drives the eye towards the outside, contrasting with the luminous and seemingly empty inside of the room. 
Phantasmagorical testimony of an absence, this photograph invites the viewer to project themselves into the universe of memory of the works and to penetrate the image in order to sense their presence in counterpoint.

Insel #2, 2013
Insel #2, 2013
Inkjet Print
Image: 38,1 x 47,2 inches
Paper: 38,1 x 47,2 inches
Enquiries about work INV Nbr. SS2013002

This photograph of a room in the Insel Hombroich Museum, located near Dusseldorf is in line with the architectural minimalism that characterizes Seton Smith’s work. 
Perspective drives the eye towards the outside, contrasting with the luminous and seemingly empty inside of the room. 
Phantasmagorical testimony of an absence, this photograph invites the viewer to project themselves into the universe of memory of the works and to penetrate the image in order to sense their presence in counterpoint.

Two Trees Before House, 2012
Two Trees Before House, 2012
Leeds series
Digital print on archival paper
Image: 36 x 53,9 inches
Paper: 36 x 53,9 inches
Enquiries about work INV Nbr. SS2012001

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life's marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Row House #11, 2011
Row House #11, 2011
Row Houses
Chromogenic print
Image: 94,5 x 70,9 inches
Enquiries about work INV Nbr. SS2011001

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, Paris, France 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

Row House #12, 2011
Row House #12, 2011
Row Houses
Chromogenic print on plexiglass
Image: 94,5 x 70,9 inches
Enquiries about work INV Nbr. SS2011002

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

Row House #13, 2011
Row House #13, 2011
Row Houses
Chromogenic print
Image: 94,5 x 70,9 inches
Enquiries about work INV Nbr. SS2011003

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Allemagne, 2012

Row House #18, 2011
Row House #18, 2011
Row Houses
Chromogenic print
Image: 94,5 x 70,9 in
Enquiries about work INV Nbr. SS2011004

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, Paris, France, 7 janvier- 25 février 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

Second Mark, 2007
Second Mark, 2007
In Vienna series
Chromogenic prints, Diptych
Image: 71,9 x 71,9 inches each
Paper: 71,9 x 71,9 inches each
Enquiries about work INV Nbr. SS2007001

Exhibitions:
- "Second Mark" Galerie Sisso, Paris, France, 2015
- Kiki Smith, Seton Smith, Tony Smith
, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Allemagne, 2012

Bibliography:
-
MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.54
- Seton Smith, essays by Welchman John, McGrath Patrick, Rowlands Penelope, Steinberg Claudia, p. 14-15

G. Stairs D, 2007
G. Stairs D, 2007
G. Stairs
Chromogenic print and Plexiglas
Image: 70,9 x 70,9 inches each
Enquiries about work INV Nbr. SS2007002

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Allemagne, 2012

Bibliography:
- Seton Smith, essays by Welchman John, McGrath Patrick, Rowlands Penelope, Steinberg Claudia, p. 66- 67

Falling Trees #3, 2006
Falling Trees #3, 2006
Avalanche Creek
Chromogenic prints and Plexiglas, diptych
Image: 72 x 72 inches each each
Enquiries about work INV Nbr. SS2006001

The Falling Trees Series was shot at Avalanche Creek in Glacier National Park, Montana, in 2006. There must have been huge storms that took down so many trees, that then decompose and nourish the forest floor for the cycle of new trees to start again, only to weather new storms.

Expositions:
- Guest House, Galerie Anne-Sarah Bénichou, Paris, France 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

Bibliography:
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, september 2012, p.45.
- Seton Smith, essays by Welchman John, McGrath Patrick, Rowlands Penelope, Steinberg Claudia, p. 68-69

Snow Trees, 2006
Snow Trees, 2006
Série "Snow Trees"
Chromogenic prints (diptych)
Image: 72 x 48 inches
Enquiries about work INV Nbr. SS2006002
Guest House View, 2003
Guest House View, 2003
Guest House
Chromogenic print
Image: 48 x 48 inches
Enquiries about work INV Nbr. SS2003003

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage. 

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliographie:

- FRANGNE Pierre Henry et LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.52

Sliding Rocks in House, 2003
Sliding Rocks in House, 2003
Guest House
Chromogenic print
Image: 48 x 48 inches
Enquiries about work INV Nbr. SS2003001

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage. 

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliographie:

- FRANGNE Pierre Henry et LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.49



Guest House Right Room, 2003
Guest House Right Room, 2003
Guest House
Chromogenic print
Image: 48 x 48 inches
Enquiries about work INV Nbr. SS2003004

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage.

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliography:

- FRANGNE Pierre Henry and LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.51.

Guest House Left Room, 2003
Guest House Left Room, 2003
Guest House
Chromogenic print
Image: 48 x 48 inches
Enquiries about work INV Nbr. SS2003002

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage. 

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliography:

- FRANGNE Pierre Henry and LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, september 2012, p.50

Blue Ground With Stone, 2002
Blue Ground With Stone, 2002
Chromogenic Print
Image: 23,6 x 23,6 inches
Paper: 23,6 x 23,6 inches
Enquiries about work INV Nbr. SS2002001

Seton Smith has taken many photographs of museum interiors. In Blue Ground With Stone, it is archaeological elements located in Italy that interest the artist. This piece of art is typical of her work and takes the opposite stance of museum photographs traditionally focused on the promotion of artworks. Manipulating blurring focus and close perspective, the artist produces an image close to a monochrome which dismantles customary structures. We cannot embrace what is pictured and the artwork’s main stake is not the object in itself but the sentiment extracted from its shot. She confronts the viewer to its own representation and questions the notion of space and artwork integrated in the museum.

Orange Ground With Plate, 2002
Orange Ground With Plate, 2002
Chromogenic Print
Image: 23,6 x 23,6 inches
Paper: 23,6 x 23,6 inches
Enquiries about work INV Nbr. SS2002002

Seton Smith has taken many photographs of museum interiors. In Orange Ground With Plate, it is archaeological elements located in Italy that interest the artist. This piece of art is typical of her work and takes the opposite stance of museum photographs traditionally focused on the promotion of artworks. Manipulating blurring focus and close perspective, the artist produces an image close to a monochrome which dismantles customary structures. We cannot embrace what is pictured and the artwork’s main stake is not the object in itself but the sentiment extracted from its shot. She confronts the viewer to its own representation and questions the notion of space and artwork integrated in the museum.

Exhibition:
- Second Mark, Galerie Sisso, Paris, 18th september- 27 October 2015

Chicago Library W, 2000
Chicago Library W, 2000
Chicago Series
Cibachrome Print onto plexiglass, Diptych
Image: 72 x 48 inches each
Enquiries about work INV Nbr. SM2000005

For the last two decades, Seton Smith initiated to photograph architecture of ancient and historical buildings, without intending to glorify their structure but to embrace an emotional connotation, a piece of history or a life fragment.
Off-screens, blurring and unbalances are used to disturb image interpretation; a loss of immediateness in the comprehension provokes an emphasis on architectural elements, such as this large window represented as even more imposing thanks to the contrast.

Exhibition :
- Cent 8, Paris, France, 2001

Mother and Child Costume, 1993
Mother and Child Costume, 1993
Five Interiors Equal Home
Cibachrome Print in Wood Frame with glass
Image: 72 x 48 inches
Enquiries about work INV Nbr. SM1993007

The memory of Seton Smith's family house, an old building constructed during the 19th century, remain omnipresent in the artist's photographic work. Childhood memories and feelings reappear mysteriously in her work, coming alive though photographs of objects and architecture showing unrevealed human presence. In Five Interiors Equal Homeseries, the chimney, the stairs or the period costumes compose many patterns appealing to both personal and family memory of the artist, shaped, transmitted or forgotten in a single place.

Exhibitions:
- Jocaste en Arcadie, Château de Grignan, France, 1997
- Le Capitou, Contemporary Art center, Fréjus, France, 1995
- Galerie Urbi et Orbi, Paris, France, 1993

Cradle in Fireplace, 1993
Cradle in Fireplace, 1993
Five Interiors Equal Home
Cibachrome Print in Wood Frame with glass
Image: 72 x 48 inches
Enquiries about work INV Nbr. SM1993008

The memory of Seton Smith's family house, an old building constructed during the 19th century, remain omnipresent in the artist's photographic work. Childhood memories and feelings reappear mysteriously in her work, coming alive though photographs of objects and architecture showing unrevealed human presence. In Five Interiors Equal Homeseries, the chimney, the stairs or the period costumes compose many patterns appealing to both personal and family memory of the artist, shaped, transmitted or forgotten in a single place.

Exhibitions:
- Jocaste en Arcadie, Château de Grignan, France, 1997
- Le Capitou, Contemporary Art center, Fréjus, France, 1995
- Galerie Urbi et Orbi, Paris, France, 1993

Father and Child costume, 1993
Father and Child costume, 1993
Five Interiors Equal Home
Cibachrome Print in Wood Frame with glass
Image: 72 x 48 inches
Enquiries about work INV Nbr. SM1993009

The memory of Seton Smith's family house, an old building constructed during the 19th century, remain omnipresent in the artist's photographic work. Childhood memories and feelings reappear mysteriously in her work, coming alive though photographs of objects and architecture showing unrevealed human presence. In Five Interiors Equal Homeseries, the chimney, the stairs or the period costumes compose many patterns appealing to both personal and family memory of the artist, shaped, transmitted or forgotten in a single place.

Exhibitions:
- Jocaste en Arcadie, Château de Grignan, France, 1997
- Le Capitou, Contemporary Art center, Fréjus, France, 1995
- Galerie Urbi et Orbi, Paris, France, 1993

Tulips in Fireplace, 1993
Tulips in Fireplace, 1993
Five Interiors Equal Home
Cibachrome Print in Wood Frame with glass
Image: 72 x 48 inches
Enquiries about work INV Nbr. SM1993006

The memory of Seton Smith's family house, an old building constructed during the 19th century, remain omnipresent in the artist's photographic work. Childhood memories and feelings reappear mysteriously in her work, coming alive though photographs of objects and architecture showing unrevealed human presence. In Five Interiors Equal Homeseries, the chimney, the stairs or the period costumes compose many patterns appealing to both personal and family memory of the artist, shaped, transmitted or forgotten in a single place.

Exhibitions:
- Jocaste en Arcadie, Château de Grignan, France, 1997
- Le Capitou, Contemporary Art center, Fréjus, France, 1995
- Galerie Urbi et Orbi, Paris, France, 1993

Reliquary, 1993
Reliquary, 1993
Red Series
Cibachrome print in wooden frame with glass
Image: 71 x 47 inches
Enquiries about work INV Nbr. SM1993005

Places steeped in history such as museums, castles and ancient buildings constitute one of the favourite subjects of Seton Smith for her photographs. Red  series show ancient objects designed for devotion or ceremony, that are photographed with surprising perspective, provoking unbalances, off-screen effects, superpositions and blur areas. The saturated colours, balancing between red and black reinforce the emotional aspect of these objects.

Exhibitions:
- Le Temps de la Marquise, Musée des Beaux-Arts, Rennes, France, 1997
- Le Capitou, Contemporary Art center, Fréjus, France, 1995
- Urbi et Orbi Gallery, Paris, France, 1993

Pain D'Offrande, 1993
Pain D'Offrande, 1993
Red Series
Cibachrome print in wooden frame with glass
Image: 71 x 47 inches
Enquiries about work INV Nbr. SM1993011

Places steeped in history such as museums, castles and ancient buildings constitute one of the favourite subjects of Seton Smith for her photographs. Red  series show ancient objects designed for devotion or ceremony, that are photographed with surprising perspective, provoking unbalances, off-screen effects, superpositions and blur areas. The saturated colours, balancing between red and black reinforce the emotional aspect of these objects.

Exhibitions:
- Le Temps de la Marquise, Musée des Beaux-Arts, Rennes, France, 1997
- Le Capitou, Contemporary Art center, Fréjus, France, 1995
- Urbi et Orbi Gallery, Paris, France, 1993

Red Case, 1993
Red Case, 1993
Red Series
Cibachrome print in wooden frame with glass
Image: 71 x 47 inches
Enquiries about work INV Nbr. SM1993012

Places steeped in history such as museums, castles and ancient buildings constitute one of the favourite subjects of Seton Smith for her photographs. Red  series show ancient objects designed for devotion or ceremony, that are photographed with surprising perspective, provoking unbalances, off-screen effects, superpositions and blur areas. The saturated colours, balancing between red and black reinforce the emotional aspect of these objects.

Exhibitions:
- Le Temps de la Marquise, Musée des Beaux-Arts, Rennes, France, 1997
- Le Capitou, Contemporary Art center, Fréjus, France, 1995
- Urbi et Orbi Gallery, Paris, France, 1993

Kitchen, 1990
Kitchen, 1990
Cibachrome and Plexiglass
Image: 72 x 48 inches
Enquiries about work INV Nbr. SM1990001

This photograph embraces a domestic space while using off frame and off screen effects. The latter brings the viewer to detach from the traditional perspective, allowing the expression of a dreamy look on the interior, and acting as a extract of life fragments.

Born in 1955 in New Jersey, Seton Smith is an established artist, she comes from a world-renowned family of artists. Daughter of the sculptor Tony Smith and sister of Kiki Smith, she decided to focus her own work on photography. She uses everyday-life objects that she represents with distinctive colors, from the Cibachrome printing. Her work is most of the time difficult to decipher and is open to a wide range of interpretations, because it is inspired by the individual memory of every spectator.
Her works are exhibited in the biggest collections in the world, such as Centre Pompidou, Modern Art Museum of Paris, Whitney Museum of American Art in New York, Los Angeles County Museum, Israelian Museum in Jerusalem.

She lives and works between Paris and New York


Download Seton Smith's press kit (pdf)

45 rue Chapon 75003 Paris - T. +33 (0)1 44 93 91 48 - galerie@annesarahbenichou.com