These intimately-scaled artworks offer an atmospheric richness and contemplative mood that washes over the viewer. Their deeply saturated blues exhibit a dispassionately cool surface, but their tonal resemblance to cyanotypes gives way to an eerie glow from within. With their focus on clusters of grapes purloined from Roger Fenton photographs, these works also emanate broader art historical allusions to trompe l’oeil art and the still life. Here, Bergman’s conceptual framing of nineteenth- and early twentieth-century photography invites alternative ways to think about content, making visible the contemporary stakes of older historical arguments about the relationship between painting and photography and their media materialities.More