Exhibition Essay for The Full Catastrophe

Here is The Full Catastrophe in a pulverized, metaphorical nugget. The baseline condition of existence as a checked kind of mortification or embarrassment (we are not in control of our lives—political economy is—eventually we lose everything). What’s worse, lifelong pain or Robed Death putting its filthy mitts across your face?


Review of The Full Catastrophe from Akimbo

The Full Catastrophe playfully pulls back the curtain, but not on the truth of identity so much as the dichotomy of perception: the personal and the public, the abject and the attractive, the known and the unknown.

Adoration Annihilation — Article in BlackFlash Magazine

Eschewing conventional photographer/subject roles, Asher’s shoots are a kind of social stew where she guides the action through interaction, exploring and embellishing specific character or visual elements that draw her in. What results are photographs with a density of narrative and an intensely personal, seductive atmosphere; lovely, horrifying, ridiculous.

Preview from Galleries West

In this digital age, photography can seem so casual. But Karen Asher is well aware of the power she invokes. Her recent photographs mine the depths of body language and explore gestures that are unguarded, elemental and way beyond contrivance.

Review of Candid from Akimbo

Asher is more an active participant in the ensuing pandemonium than a catalyst or conductor, an approach that unsettles the performative hierarchy of the typical photo shoot.

Exhibition Essay for Candid

Karen Asher is equally concerned with capturing an authentic moment and is committed to creating images that reveal something about the human condition. As opposed to being an objective observer, Karen believes her role as a photographer is to “get right in there and make the moment more messy” with a desire to find “the subtlety in the spectacle.”

Must Sees This Week – Canadian Art

“Candid,” opening September 12 at 7 p.m. at Platform, brings work from brings together work from four Manitoba-raised artists who blur the line between documentary and staged photography in consideration of the portrait. It includes early black and white by Laura Letinsky, Maya de Forest’s portraits of her mother, silver gelatin hand-tinted prints by Elaine Stocki, and recent colour photography by Karen Asher. Learn more at a panel September 13 at 2 p.m.

Critics’ Pick from Akimbo

I love Karen Asher’s photography. Her solo show of colour photographs last year was another Platform production.

Review of No Cause For Concern from BlackFlash Magazine

Asher’s photographs veer further from the photographic centre and instead roam freely, zigzagging around the fringes of her imagination. They point toward a fresh, exciting, and idiosyncratic voice on the crowded Canadian photographic landscape.

Interview from The National Post

Awkward silences and other uncomfortable moments are things we often try to forget. But Winnipeg artist Karen Asher strives to preserve those instants, turning them into surprisingly appealing photographic portraits. With a hometown show now on at Winnipeg’s Platform Centre, Asher tells Leah Sandals about her mashups of gangling and gorgeous.

Profile from Canadian Art

Karen Asher’s portraits of strangers and acquaintances in the urban landscape of her hometown, Winnipeg, offer an unusual and unnerving intimacy between the viewer and her subjects.

Review of No Cause for Concern from Uptown Magazine

As unlikely as it may seem, Asher uses her camera, usually a symbol of power and domination, to create trusting relationships with strangers, family, friends and everyone else. The result is a body of work that shows the photographer to be as vulnerable as her subjects.

Exhibition Preview from Akimbo

Karen Asher is a recent art school graduate whose photographs at Platform Gallery have the intimacy of her teacher Larry Glawson’s pics, the raw truthfulness of David McMilllan, and the purist formality that I associate with both mentors.

Exhibition Preview from The North Elevation

A sneak peek at Karen Asher’s upcoming solo exhibition: No Cause For Concern. In this extraordinary collection of photographs, Asher accomplishes the uncommon feat of pushing realism into surrealism.

Exhibition Preview from Canadian Art Magazine

Preview from Canadian Art Magazine Asher’s striking, harshly lit portraits of people from her hometown manage to convey a remarkable intimacy in the midst of urban alienation. “No Cause for Concern” is the Winnipeg photographer’s first solo exhibition. Jan. 15 through Feb. 27. Platform, 121–100 Arthur St., Winnipeg, MB.