Karl Baden: "Father of the Selfie"

We congratulate Karl Baden on being named "Father of the Selfie!"  

NBC News writes: 
Robert Mann, the owner of the gallery, said he was very impressed by Baden's work when he submitted 10 "selfies" from a ten-month interval for the gallery's 10x10x10 exhibit. The art of capturing the aging process struck him the most, he said. 

"It is a brave thing to do to expose the world of this close-up view of how he's maturing and growing throughout the years," said Mann. "No other artist has done anything remotely close to that. I don't know of any artist that has actually stuck with something for this long like this before." 

Baden tries to remain faithful to the first picture he took in 1987, the day after Andy Warhol died and nearly two decades before Facebook was launched. 

"As much as I try to make every picture the same, I fail every day," he said. "There's always something that's a little different, aside from the aging process."

Read more on Karl Baden, here. 

Jennifer Williams at Moss Arts Center | Virginia Tech

We are pleased to share that gallery artist, Jennifer Williams, is included in the group exhibition Artists and Architecture: Projection/Convergence/Intersection. This exhibition is currently on view at the Moss Arts Center located at Virginia Tech in Blacksburg, Virginia, and will be on view until April 1st. 
 

"This projection, convergence, and intersection of architectural images into alternate pictorial realities also characterizes Jennifer William’s site-speci c photographic installation, Blacksburg Unfurled (2016-2017). Created specically for this exhibition and based on the history, architecture, and community of Blacksburg, this 120-foot long mural installation is composed with hundreds of photographs that the artist took of architectural sites and historic locations in town. She then digitally altered, reconstructed, and composed the architectural images into a dynamic photomontage printed on Photo-tex in a wildly imaginative recon guration of the built environment that speaks to history, memory, and place. " 

"Greatest 150 Photobooks"

Source Photographic Review
Source 88: The Photobook Issue

We are very please to share the news that gallery artist, Mike Mandel's book Evidence, which is a collaboration with Larry Sultan, has been included among the list of the Greatest 150 Photobooks. The book, Evidence, has been awarded as the 2nd Greatest Photobook behind Robert Franks The Americans.

To see the full list click here.

DREAM IDEA MACHINE features Michael Kenna

PHOTO: Michael Kenna
By Efi Michalarou

Michael Kenna is one of the most influential landscape photographers of his generation, best known for his black & white landscapes. Often working at dawn or during the night, he has concentrated primarily on the interaction between the ephemeral atmospheric condition of the natural landscape, and human-made structures and sculptural mass.

To continue reading please click here.

Herman Leonard at the National Portrait Gallery

'In the Groove: Jazz Portraits' at National Portrait Gallery
Isabella Mason | December 09, 2016

National Portrait Gallery has on showcase “In the Groove: Jazz Portraits” by Herman Leonard. It will be on display till February 20, 2017.

Leonard, with his love for Jazz music, began his visits of Jazz clubs and captured the artists at their live performances. Leonard’s amazing photographs are considered to be renowned globally as the immaculate portraits of many of 20th century’s greatest jazz artists. He has captured the pictures with the very essence that would have been transpiring during the live performances. The exhibition features the portraits of artists such as Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, Billie Holiday, Thelonious Monk and Sarah Vaughan..

The exhibition is on view at 8th St NW & F St NW, Washington, DC 20001, USA.

For details, visit: http://npg.si.edu/

Blackmon included in Télérama's Favorites at Paris Photo 2016

Paris Photo 2016 : les images coup de cœur de “Télérama”
Luc Desbenoit | November 10, 2016

"Une autre jeune femme, également inconnue, l’américaine Julie Blackmon ( stand Robert Mann de New York D12) surprend également par son image qui ne tient que par la grâce d’un fil, ou plutôt d’une corde coupant de loin comme une faille blanche, une scène de gamines en train de jouer. L’une est suspendue au filin à une hauteur vertigineuse, une autre pèse en bas de tout son poids. Le spectacle d’abord se remarque pas son élégance. Prise de nuit dans l’éclair d’une lumière aveuglante, la scène dégage une atmosphère intrigante, presque de film d’horreur. En fait, l’artiste évoque l’histoire d’un conte de fée. De ceux qu’on raconte aux enfants pour les endormir ou les avertir de la complexité du monde qu’ils commencent à explorer."

To read the full article please click here.

Photograph Magazine reviews Treasure Rooms

Mauro Fiorese: Treasure Rooms at Robert Mann Gallery
By Jordan G. Teicher | Photograph Magazine

It’s perhaps inevitable that the museum, that carefully curated and guarded space for seeing and exploring, would become a favorite subject of examination in its own right.

But in several recent works, photographers who have turned their attention to museums have highlighted not what’s immediately viewable, but what’s just out of sight. In his series Skeletons in the Closet, 2014, Klaus Pichler photographed the uncanny scenes found in off-limits corridors and workshops at Vienna’s Museum of Natural History. As part of his series Animal Logic, 2010, Richard Barnes often photographed natural history exhibits as they were being assembled. Alec Soth, meanwhile, focused on guards, those largely unseen but vital guardians of culture, in front of their favorite pieces at the Minneapolis Institute of Art for the museum’s anthology, The Art of Wonder, 2014.

To read the full review, please click here.

Financial Times features Fiorese

Snapshot: ‘Treasure Rooms’ (2014) by Mauro Fiorese
The photographs give the viewer a glimpse into the secret vaults of Italy’s greatest museums
September 2, 2016 | Laura Garmeson

Veronese photographer Mauro Fiorese’s Treasure Rooms series give the viewer a glimpse into the secret vaults of Italy’s greatest museums.

His photographs — printed on cotton paper beneath glass on wooden frames — depict lush masterpieces stored in sterile, regulated worlds that form a kind of ordered beauty. In his image above, “Treasure Rooms of the Galleria Nazionale d’Arte Moderna, Rome”, the white tiles and gilt frames of the archives resemble a waiting room with Renaissance perspectives.

Fiorese, set for his first US show in New York, sees Treasure Rooms as a “series of non-traditional landscapes that form an imaginary art gallery”.
To view the article, click here.

Art in America features Mattingly 'Swale'

Movable Feast: Mary Mattingly's Floating Garden
Michael McCanne | Aug 12, 2016

When Hurricane Sandy hit New York City in 2013, it flooded downtown Manhattan, parts of Queens, and Staten Island. An electrical substation exploded, cutting power to Lower Manhattan, and shipments of gas from New Jersey ground to a halt. Gas stations without electricity couldn’t pump; those that could soon ran out, causing huge lines and fuel shortages. In the span of a day, a hurricane revealed the precariousness of urban infrastructure in one of the richest cities in the country.
To continue reading, click here.

PDN Features Back at the Water's Edge

A Sly Look at the Pleasures of Summer
PDN Photo of the Day | August 12, 2016

The end of summer is beginning to come into view, but there’s still time for a few more days at beach, and there is one more week for “Back at the Waterʼs Edge,” a group summer show at Robert Mann Gallery in New York City on view until August 19, which collects images of water, sand and beach culture from a range of photographers including Julie Blackmon, Jeff Brouws, Harry Callahan, Joe Deal, Elijah Gowin, Cig Harvey, Michael Kenna and Henry Wessel, among others. Callahan’s view of Cape Cod frames an empty beach and lonely volleyball net, and Kenna pictures dark arrangements of beach chairs under cloudy skies, but others are sunnier and less literal. In some, like Blackmon’s sunbathers on concrete, the kiddie pool in the background is an afterthought. In others, like Deal’s studies of the California coast, the beach is compressed into a slim strip by the ocean on one side and ocean-front real estate on the other. And while Cig Harvey makes a splash in one of her self-portraits, in the other, the sea is only a tiny sliver of horizon framing a vast blue sky.