Jill Greenberg’s work as an artist and photographer is internationally recognized for her personally executed postproduction and mastery of studio lighting. An early adopter of digital effects, Greenberg has developed a world that is more intense, more razorsharp than the one in which we actually reside. Her work has been featured in numerous publications including Wired, Cool Hunting, Blink Magazine, the Huffington Post, and the LA Times, and can be found in many permanent public collections of art throughout the United States.
Whereas art history once grappled with the questions of what painting could offer photography beyond the promise of imitation, Greenberg’s images insist on a kind of reversal: what does photography offer painting? Even more, in what way does each medium extend the other’s limits? Jill Greenberg’s “Paintings” are not paintings, nor are they photographs: they are moments of painting—studies of visual material under highly controlled of conditions; they are vehicles for photography—surfaces for experiments of light. In many ways, this collapsing of media is not a return to painting so much as it is a departure from art historical terminology altogether.
Jill Greenberg's work appears courtesy the artist and ClampArt, New York City.