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Contact

Webber London

Webber London
18 Newman Street,
London W1T 1PE

+44 (0)20 7439 0678
london@webberrepresents.com

Webber Gallery
18 Newman Street,
London W1T 1PE
info@webber.gallery

Webber New York

Webber New York
Roulston House, Suite 292
124 9th Street
Brooklyn
NY11215

+1 212 343 7491
newyork@webberrepresents.com

Careers

New York | Production Assistant

Salary: Upon Application

Start Date: Immediate

This position is a significant part of our New York team as it requires someone who is collaborative, communicative, focused, organized, and knowledgeable of stills and motion production. We invite you to apply to this position if you align with these attributes since WEBBER is expanding its endeavours in the contemporary art and photo world, and we need individuals who can bring strong values to our team. You would be working closely with our Producers and Senior Agents as a key support in fashion and advertising production along with job management.

For details please contact: newyork@webberrepresents.com



London | Producer

Salary: Upon Application

Start Date: Immediate

It’s paramount to us that the sets we usher are safe environments for all so we invite people who are community-oriented to apply for this position. At WEBBER, we’re expanding our endeavours in the contemporary art and photo world, which is why it is also important that the ideal candidate believes in genuine collaboration in the creative industry. This role requires someone who can lead a production with grace and provide strong production skills and in-depth industry knowledge in both fashion and advertising. If you have previous experience within an artist management agency, various productions, can multitask efficiently and remain positive throughout, please inquire about this opportunity.

For details please contact: london@webberrepresents.com




New York | Agent

Salary: Upon Application

Start Date: Immediate

At WEBBER we want to invite people who will grow with us as we expand our endeavours in the contemporary art and photo world, which is why this role relies on an individual that exercises genuine collaboration in the creative industry. Since artist relations, development and production are paramount, our agents are required to have strong existing industry relationships and awareness of the systemic changes necessary to creating pioneering work. You would be working with our Senior Agents/Producers and Company Directors to not only establish exceptional artist management and set production, but further develop our belief in empowering artists who challenge their respective mediums.

For details please contact: newyork@webberrepresents.com



London | Junior Agent

Salary: Upon Application

Start Date: Immediate

This role requires an individual who aligns with our mission of supporting artists who create pioneering work that illuminate the structural changes necessary in the contemporary art and photo world. We invite you to apply if you’d like to be a part of a space that is expanding its creative endeavours while being able to work in a personable and collaborative manner. It would be highly contributive if you can multitask effectively, work with digital assets through the Adobe Creative Suite and have knowledge of the photography, fashion, film and art world.

For details please contact: london@webberrepresents.com




Webber

Daniel Shea, American Framing
22.05–21.11.21

Daniel Shea | American Framing at the Biennale Architettura 2021

22 May - 21 November 2021


Daniel Shea’s newest body of work explores alternative ways of seeing for the New York-based photographer, whose practice is grounded in studies of architecture, form, and social constructs. Developed, in various forms, over the past three years and still ongoing, Shea’s new photographic language hones in on textures.

The series, comprised mostly of black-and-white photographs, began with Shea taking on new subject matter. Having focused on urban environments and architectural history for his series 43-35 10th Street, Shea turns to the natural world as an alternative photographic environment. In the density of woodland areas – some around New York City, others in places further afield like Alaska – Shea attempts to see the trees for the forest, discerning textures and details amongst the larger mass of greenery (and reimagining the traditional saying). This metaphor runs through the body of work and applies especially to Shea’s method of photographing nature. Shea seeks out his subjects within these landscapes, and in the process confronts how we relate to nature – appreciating and looking at the natural world despite the knowledge of our impact on it, which isn’t always in view – in a time of environmental crisis. There’s a dichotomy, then, between what’s seen in the photographs and what we know of the natural world. Rather than taking in the landscape as a whole, Shea’s granular photographs hone in on the details, the elemental; texture is the defining formal quality.

In this way, Shea also sees cities anew. Taking this newly developed photographic language, Shea applies it to the urban environments he knows so well, seeing them this time through a new lens entirely. Construction sites and architecture become subjects once again – places like steel yards, some busy with people and others empty. These urban scenes highlight the details – a hammer and wood shavings, construction materials – as well as busier moments of labourers at work. It’s not so much where the photographs were taken, as how Shea approached his subject matter as he moves from the natural world to built-up, constructed environments.

This new body of work is seen for the first time at the Venice Biennale’s 17th International Architecture Exhibition, as part of the United States Pavilion, American Framing. The US’ exhibition, curated by Paul Anderson and Paul Preissner, examines softwood construction and framing in American architecture, its history and continued significance as a fundamentally egalitarian material and building practice. Reflecting on Shea’s previous series 43-35 10th Street, and its interrogation of architecture and capitalism, this exploration of architecture’s social implications aligns with Shea’s own practice. In this context, Shea’s new photographs – staged alongside a full-scale wood framing structure, built as a new facade for the pavilion and courtyard – showcase the raw material central to wood framing.