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New Yorker Review: Allen Frame at Gitterman Gallery

Posted By Administration, Monday, January 6, 2014
Updated: Wednesday, January 8, 2014
Image

Allen Frame
Dialogue with Bolaño


Through January 11


This exhibition has gotten good press coverage, including mentions by the New Yorker Photo Booth, DART, and L'Oeil de la Photographie, among others, and this attention is deserving. Images selected for exhibition were chosen to celebrate Allen Frame's work, but also highlight how it intersected with the work of the Chilean writer Roberto Bolaño. Included works of the exhibition were covers to Bolaño's fiction and poetry or are in the same vein as the allied work. The two artist shared a way of seeing the world. The match between the photographer and the writer were made after the fact, and while this was Frame's only foray into commercial work he admitted in an interview with American Suburb X in November that "Having been able to find a kind of voice that I identify with in my generation is so satisfying."

New Yorker Photo Booth

L'Oeil de la Photographie

DART


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Art in America Reveiw: Mary Mattingly at Robert Mann Gallery

Posted By Administration, Saturday, January 4, 2014
Updated: Wednesday, January 8, 2014

House and Universe

We're probably doomed as humans if we don't start thinking in a posthuman way. -Mary Mattingly


"House and Universe," Mattingly's third solo show with Robert Mann, reflected the artist's environmental concerns in two sculptures and 15 photographs, many of which document her public projects. The photo Flock (2012), for example, features one of her floating structures. Atop a platform, two geodesic domes covered with white tarps and surrounded by containers of plants are engulfed by an expanse of sky and sea. Continent (2012) shows a barge and rafts subsumed in a murky fog; a sharp edge between the rippling waters and the solid background, among other Photoshopped aspects of the image, reveals the barren surroundings as an aesthetic frame. The unmoored vessel thus emerges as both a symbol of vulnerability and a privileged vantage point in these and several other of the show's photographs, which evince a romantic tendency eclipsed by sheer purpose and will in the artist's mobile environments. Yet, if Mattingly's intentions are resolutely political, her photographs nonetheless evoke the spiritual. Take the serene vision of escape in For a Week Without Speaking (2012), a photograph depicting the artist rowing in quietly rippling waters, her bundled possessions atop wooden shafts, in the autumnal glow of a forested bank.

Full review by Kareem Estefan in Art in America

Mattingly melds the worlds of reality and invention in her work. Research, study, and careful excecution of functional objects that could sustain life in a post-apocalyptic world are now fused into created environments; photographs result, and the work hovers in a space between believable and surreal. Still, a sense of foreshadowing can't help but enter our minds, for as Mattingly admitted herself in a recent Art:21 interview, We're probably doomed as humans if we don't start thinking in a posthuman way. The work extends in a web-like way outside the confines of the gallery or performance spaces she has used. Mattingly created a catalogue of her possessions on a website that charts their source elements; this reveals the extent of footprints that can be made by a single global habitant, and a conscientious one at that.

For more information on the artist's work and exhibition history, please visit Robert Mann Galelry

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Artist's Opening Reception: Andrew Moore at Yancey Richardson Gallery

Posted By Administration, Saturday, January 4, 2014
Updated: Wednesday, January 8, 2014

ImageDirt Meridian

Exhibition Dates: January 9 - February 15, 2014

Opening Reception with the Artist:
Thursday, January 9
6:00 - 8:00 pm


Andrew Moore, The Yellow Porch, 2013, courtesy of Yancey Richardson Gallery
Andrew Moore is known for his ability to capture the layered truth of place. Time and history echo in his frames. While his work on Cuba and Russia are most well remembered, more current bodies of work have focused closer to home; his last series was on Detroit, and this new body of work focuses on the longitudinal line that divides the East and West. The 100th meridian west runs through North and South Dakota, Nebraska, Kansas, Oklahoma and Texas, and is historically regarded as the geographic beginning of the American West. This land has a sorted past, and an equally challenging future. As always, there is something mythic to Moore's frames, and though the territory's remains are skeletal there is still an inherent heroism to them. The barren lands and abandoned homesteads become central figures to the series, which was begun in 2005 and continued. By 2011 Moore took to the air in a crop duster and eventually mounted a camera to its strut. The resulting series combines large format ground images with ariel digital ones. These vestiges and landscapes open narratives onto the region's struggle with climate change, energy exploration, resource management, and food production.

For more information on this exhibition or to preview the works from the series, please visit Yancey Richardson Gallery


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