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b. 1973, Beirut, Lebanon.

Lives and works in New York, NY.












American photographer Rishad Mistri was born in Beirut to Indian Zoroastrian parents and spent his early childhood in Europe and East Asia before coming to the United States in 1985. Mistri attended the Harvard Extension School, Boston University, and the New School for Social Research. His photographs have been published in the New York Sunday Times Magazine, Vogue (Italy), Interview, Arena Homme Plus, Casa Vogue, Architectural Digest (Italy), L’officiel, Jalouse, Flaunt, Faces (Austria), Spin, Vibe, GQ (India), and American Photo. The artist currently works and resides in New York City.-


2010 - present

2010 - present

The Rasa 1-0, is a photography series that was produced first by implementing an iPhone camera to capture found objects and common occurrences. Collaborating with Bridge Photographic Studio, Mistri worked with Chris Allan and master printer David Frawley to manipulate the iPhone images in postproduction and create gelatin silver, archival pigment, and Mouillé prints. Mistri utilizes PDM™, which enables minute manipulation of individual pixels. Furthermore, through the Mouillé Process, color and tone relationships are exhaustively translated through a unique color form model, taking ten-fold more time and material to craft than modern pigment prints. Both of these proprietary processes, developed by Allan, were pivotal to achieving the final works.


Decisively focusing his photography on subject matter encountered in daily life, Mistri attempts to evoke rasa, a concept in Indian aesthetic theory that suggests there is an essential element in any visual, literary, or performing art work that can only be suggested, not described. Mistri explains, “Rasa is the non-material essence. It is the dialogue created between an effective presentation of art in any form and the participating spectator.”


His gelatin silver print Smoke 1NYC (2013) forms a double helix, the mathematical symbol for infinity. It implies our ability to comprehend the transition from line to plane, to cylinder, to circle, to sphere, as well as the transformation from the physical to the ethereal. Sophia, Skype (2013), an iPhone-captured Skype call, invites the viewer to consider an emotion suspended in cyberspace and the effect the Internet has on redefining our collective conception of closeness. We need not inhabit the same place or time of day to be together in the present moment.


Talbott, Susan L. Camera Solo. Hartford: Wadsworth Atheneum Museum of Art, 2012.


Smith, Patti. Just Kids. New York: Ecco, 2010.


Friedman, Donald. The Writer’s Brush: Paintings, Drawings, and Sculpture by Writers. New York: Random House, 2007.


Passport (exhibition catalogue). Brussels: Bozar Books, pp. 80-88, 2004.


Cross Section Patti Smith. Tokyo: Hysteric Glamour, 2003.


Greenberg, David, and John W. Smith. Strange Messenger: The Work of Patti Smith (exhibition catalogue). Pittsburgh: The Andy Warhol Museum (also published in Ferrara for Italian edition), 2002.


Fuku, Noriko, and John P. Jacob. Patti Smith and Friends (exhibition brochure). Kyoto: Museum Eki, 1998.


Aisemberg, Paula. Robert Mapplethorpe Portraits. Patti Smith Dessins (exhibition catalogue). Paris: Galerie Baudoin Lebon, 1998.


Artist Drawn (exhibition catalogue). New York: Artist Space, New York & Committee for the Visual Arts, Inc., p.7, 1979.


Recent Drawings by Younger Artists (exhibition catalogue). New York: Whitney Museum of American Art, 1978.


Patti Smith (exhibition catalogue). Cologne: Galerie Veith Turske, 1977.

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