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Kathleen Ewing, Former Executive Director of AIPAD, Closes DC Gallery

Posted By Administration, Sunday, May 3, 2009
Updated: Monday, January 13, 2014

In 1976, when a 28-year-old Kathleen Ewing ditched her National Gallery of Art job and decided to sell photographs instead, photography was struggling to make its place in the art world.


Over the subsequent 33 years, the market for pictures mushroomed. All types of galleries now vie to hang photography, and dealers also sell work online. Where once photographers needed galleries to earn legitimacy, shops that specialize exclusively in photography are nearly obsolete these days.

And now Ewing, who is widely regarded by curators, collectors and artists as the doyenne of Washington's photography community, bids adieu to gallery life.

Read the complete article in The Washington Post.

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Review: Masato Seto at Yancey Richardson

Posted By Administration, Tuesday, April 28, 2009
Updated: Monday, January 13, 2014

The Tokyo-based photographer, making his U.S. début here, takes a detached, sociological approach to portraiture with a series of glossy color pictures of solitary salesgirls at the counters of tiny, glass-front roadside shops in Taiwan.


Because their product, a betel-nut-based stimulant called binran,is not immediately evident, the leggy, pretty young women appear to be the stores' only attraction. Seated in the glare of neon and fluorescent lights, they look doll-like and available, but they're bored, not flirtatious—working girls with blank stares waiting for their shift to end.

Read the complete review in The New Yorker.

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Review: Marcia Resnick at Deborah Bell

Posted By Administration, Tuesday, April 28, 2009
Updated: Monday, January 13, 2014

The captioned black-and-white photographs from Resnick's 1978 book, "Re-visions," subvert the innocent appeal of children's books with a sketchy narrative that hints at adolescent repression and rebellion.


Resnick's heroine, seen only in fragments, is a budding but bumbling Lolita ("Re-visions" was dedicated to Humbert Humbert), torn between "Howdy Doody" and spin the bottle, bratty mischief and stuffing her bra. She longs to grow up and run away, but the stars in her eyes are from a game of jacks and her acting out falls short of genuine liberation.

Read the complete review in The New Yorker.

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Review: Elaine Mayes at Steven Kasher Gallery

Posted By Administration, Friday, April 24, 2009
Updated: Monday, January 13, 2014

All but one of Mayes's portraits of young people in Haight-Ashbury were made in 1968, when San Francisco's hippies shared the streets with runaway teens and a growing population of drifters and drug addicts.


The flower children were no longer so blissed-out, but they sat for their portraits with a touching gravity and looked into Mayes's camera as if they knew they could trust it and her.

Read the complete review in The New Yorker.

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Review: Myoung Ho Lee at Yossi Milo Gallery

Posted By Administration, Thursday, April 9, 2009
Updated: Monday, January 13, 2014

This Korean photographer's U.S. solo début includes eight color images in sizes that range from ten inches square to seven feet wide; the over-all effect is modest and elegantly restrained.


Lee's subjects are trees native to his country, photographed as if they were fashion models, before white canvas backdrops that isolate them from their natural setting without entirely obscuring it. The stretched canvas emphasizes the trees' graphic quality—each branch, each leaf is thrown into high relief—so they appear both hyper-real and as large-scale drawings in the landscape. Lee coaxes nature into posing for a portrait, then returns it to quiet anonymity.

From The New Yorker.


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