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Artist's Opening Reception: Mary Mattingly at Robert Mann Gallery

Posted By Administration, Wednesday, August 21, 2013
Updated: Monday, October 14, 2013

House and Universe

Exhibition Dates: September 6 - October 19, 2013

Artist's Reception:

Friday, September 6

6:00 - 8:00 pm

Multi-media artist Mary Mattingly is known to explore themes of home, travel, cartography, and humans' relationships with each other, with the environment, with machines, and with corporate and political entities. Her work is cutting but honest, imagined but realistic. Mattingly imagines a world of imminent change, in which humanity must become reliant on a collective ingenuity in order to survive. In House and Universe, Mattingly's third exhibition with the gallery, she weaves together lush digital photography with experimental design to tackle real-world environmental issues in ways that are both radical and pragmatic.

Suggested obstacles are met not only with plausible solutions but the research to back it up. Studied ideas are refined to solve foreseen challenges such as floods, war, and decay of our urban habitat in a sustainable and functional way. Images are curious- strange, but believable. A rough futuristic repurposing makes what could be heavy, even haunting subjects playful. Suggested formed solutions are both elegant and elegiac. The works become both warnings of material excess and celebrations of its adaptability.


Mattingly recently participated in MoMA PS1's "Expo 1" in collaboration with Triple Canopy Magazine, received a

Knight Foundation Grant for her WetLand project that opens next summer on the Delaware River in Philadelphia, and represented smARTpower in the Philippines, in conjunction with the Bronx Museum and the US State Department. Her first Art 21: New York Close Up documentary video was released in July 2013. Mattingly's work has been exhibited at the International Center of Photography, Seoul Art Center, The New York Public Library, the Palais de Tokyo, Tucson Museum of Art, and the deCordova Museum.


For more information on the exhibition, please visit Robert Mann Gallery

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Yancey Richardson Gallery Moving to New Location

Posted By Administration, Friday, August 16, 2013
Updated: Monday, October 14, 2013

525 West 22nd Street

New York, NY 10011


Yancey Richardson Gallery is pleased to announce the relocation of the gallery to street level premises at 525 West 22nd Street. After thirteen successful years on the third floor of 535 West 22nd Street, the growth of the gallery and the growing international visibility of our artists have compelled owner Yancey Richardson to take a more prominent position at street level.

"After searching for over two years for a storefront space that will afford the gallery exhibitions and the artists' work greater visibility by a wider audience, I am thrilled to have secured a space that allows us to remain on 22nd Street, one of the most beautiful and prestigious blocks in the art world," says Richardson.

Dean Maltz Architects was once again selected to design the new space, having designed the gallery's current location, as well as Richardson's first gallery in Soho. As the U.S. partner of architect Shigeru Ban, Dean Maltz is simultaneously engaged with the design of the new Aspen Art Museum.

Yancey Richardson Gallery opened to the public in 1995 in the renowned 560 Broadway building in historic Soho. In 2000, the gallery moved to its current premises in the heart of New York's Chelsea art district. The gallery is committed to working closely with both emerging and established artists to develop their practice and promote their work on an international basis. The gallery roster includes critically recognized, emerging artists such as Alex Prager, Zanele Muholi, and Victoria Sambunaris, as well as established mid-career artists such as Sharon Core, Mitch Epstein, Jitka Hanzlova, Laura Letinsky, Andrew Moore, Sebastiao Salgado, and Hellen van Meene.

The gallery will open their inaugural exhibition at 525 W 22nd Street on Thursday, September 19th with a selection of large-scale photographs by renowned Italian artist Olivo Barbieri from his new series Alps, Geographies and People.

For further information, contact Yancey Richardson:


Phone: (646) 230-9610


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New York Times Review: Nikolay Bakharvey at Julie Saul Gallery

Posted By Administration, Friday, August 16, 2013
Updated: Thursday, October 31, 2013

Amateurs and Lovers

Through August 16

Siberian photographer Nikolay Bakharvey continues to gain attention and with good cause. His work has made notable appearances in the New Museum's "Ostalgia" exhibition in 2011; Houston's Fotofest's tribute to Russian photography in 2012; and the Venice Biennale this is summer. Amateurs and Lovers marks the artist's first solo show in the United States.

Bakaharvey's work has been generally deviled into two categories- public and private; this show mingles the two bodies of work. While at first the choice would seem contradictory the decision allows for us to consider the idea of portraiture as it relates to public or private realms. Traditionally clearly separated, the line between public and the private continues in our time to blur, an these works could be said to foreshadow the social-media trend that co-mingles these worlds, and in that line to foreshadow anxieties and even exhibitionism surrounding a global culture that is sharing more of its private persona online. Questions of image control, and even ownership arise.

All of Bakaharvey's works are charged- this often occurs through the position of a figure or figures. Touch and gesture are important to the works both interior and exterior and help heighten their often pulsing sexual tension. Exterior images are of bathers and were the closest thing to a nude that Bakharev could manage in the Soviet era when photographing nudes was forbidden; these images skirted that line of acceptability and indeed lead to some of the interior work when Bakharev could charm his way to an invitation into the sitter's home for more intimate works.

The work seems to reach back into the roots of art history as well foreshadow our time. The gritty seduction of his work is most likely what has caused it to be compared to that of Diane Arbus and Larry Clarke, but they are also in-line with the work of his countryman Boris Mikhailov. The interiors and nudes share connections to Courbet's sleeping peasant women and Christian Schad's Neue Sachlichkeit (New Objectivity) working girls, but also seem to remind us of Andre Kertes lounging beauties or even Matisse's blue nudes.

Bakharev is included in the collections of the Museum of Fine Arts, Houston and the Art Institute of Chicago. Dashwood Books has recently published a monograph on Bakharev titled Amateurs and Lovers and reproduced the eponymous essay by Ektaterina Degot which appeared in the monograph People of Town N published in Russia in 2009.

For more on the work of Nikolay Bakharev, please visit Julie Saul Gallery. A virtual visit of the exhibition is available to view online.

New York Times Review

Wall Street Journal Review

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Wall Street Journal Review: Women Photographers in 1920-1930s Paris at L. Parker Stephenson

Posted By Administration, Wednesday, July 31, 2013
Updated: Thursday, October 31, 2013

Through August 2


Paris between the wars was a melting pot for artistic creation, and photography was often at the center of artistic explorations. This exhibition celebrates the work done by female artists at the time. The Wall Street Journal review is sharp to note that the makers involved in this exhibition used photography not only to make work, but to form their own identity. 

Henriette Theodora Marković arrived from Croatia and became Dora Maar; the Hungarian Rosza Klein used the name Rogi André; Lucy Renee Mathilde Schwob moved from the Atlantic port city of Nantes, France, to become Claude Cahun; Dora Philippine Kallmus checked in from Vienna as Madame D'Ora; and Bernice Abbott came from Ohio by way of Greenwich Village to adopt the French spelling of her first name, Berenice. Germaine Krull and Ilse Bing came from Germany, but kept their given names, as did Florence Henri from New York. All participated in the avant-garde hubbub that defined Paris at that time, and which is now memorialized in their work. -William Meyers

For more information on this exhibition, please visit L. Parker Stephenson

Full Wall Street Journal Review

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New York Post Review: Flip Schulke at Keith de Ellis Gallery

Posted By Administration, Tuesday, July 30, 2013
Updated: Thursday, October 31, 2013

Float Like A Butterfly

Photographs of Muhammad Ali 1961 - 1964

Through August 15, 2013

Born in 1930 in Minnesota Flip Shulke waisted little time before striking out on his own. At 15 he ran away from home and soon after learned he could support himself by working as a photographer. His career spanned over 60 years and in that time he documented some of histories most iconic figures- political leaders, explorers, revolutionaries, and rockstars. The work of Muhammad Ali Schulke made in the 1960's is especially memorable, as it both celebrates a legend and tributes a greater style that would become trademark of Shulke's practice- underwater images.

In these works Schulke captured the strength, power, determination, and spirit of the young fighter Ali, then known still as Cassius Clay. Though he did not actually train underwater Ali had a hunch that it could be an interesting way to promote his image. With Shulke, a pioneer of underwater photography, behind the lens these works did indeed become legendary. One in particular, Ali Underwater shows the fighter is perfect fighting position, hands raised at the bottom of a pool. This has become Shulke's most sought-after image.

The truth behind the image is itself an interesting story- Ali didn't train under water, he never had, and he couldn't even swim. That day Ali, as Shulke said, fooled a Life Photographer, but together the pair made images we still remember and crave.

For more information on the exhibition, please visit Keith de Ellis Gallery

New York Post Hot Picks Review.

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