Robert Mann Gallery & The ADAA

ROBERT MANN GALLERY JOINS THE ART DEALERS ASSOCIATION OF AMERICA

Robert Mann Gallery is delighted to announce its selection as a member of the prestigious Art Dealers Association of America (ADAA) who announced the addition of 16 new members from across the country, one of the largest new member classes in the Association’s history: Andrea Crane Fine Art (New York), DOCUMENT (Chicago), Andrew Edlin Gallery (New York), Jenkins Johnson Gallery (San Francisco, Brooklyn), Karma (New York), kurimanzutto (New York), Lisson Gallery (New York), Robert Mann Gallery (New York), Jonathan Novak Contemporary Art (Los Angeles), PATRON (Chicago), Nara Roesler (New York), Sprüth Magers (Los Angeles), Cristin Tierney Gallery (New York), TOTAH (New York), Various Small Fires (Los Angeles), and Shoshana Wayne Gallery (Los Angeles). They join over 170 members, from more than 30 cities across the U.S., in the nation’s leading nonprofit organization of fine art dealers, which is dedicated to supporting galleries’ cultural and economic contributions, and serves as a resource on the most important trends and issues in the field. Membership in the Association signifies an established standing within the gallery community and expresses a commitment to upholding the highest standards of connoisseurship and scholarship.

For additional information regarding the ADAA, please visit artdealers.org.

The Financial Times on Cig Harvey

Bloom: Art, Flowers and Emotion

By The Financial Times

“There is precedence for being drawn to colour and nature when dying or surrounded by death,” writes photographer and writer Cig Harvey in her new monograph. Josef Albers dedicated his last years to the study of colour, she continues, while Derek Jarman wrote Chroma, a garden journal, while dying of an Aids-related illness. To this history, Harvey has added her own contribution: a photographic meditation on flowers and colour that was born when a sick friend asked her to send her new pictures every day as she gradually lost her senses. The result is a glorious, sensual, poignant collection of botanical photographs, drawings and writings, which is part-art book, part-historical guide and part-poetry collection.

Read more here.

The Women at Mann

The Women At Mann : Celebrating Women’s History Month : Julie Blackmon

By The Eye of Photography

Julie Blackmon‘s work is defined by its signature style of compelling visual allure and subtly off-kilter incidents fused together with sly wit into strange, wry, and whimsical stories of everyday moments. She captures the mythical within the everyday, creating visual narratives concealing deeper truths. Drawing influence from her own family life, the Dutch master Jan Steen and French modernist painter, Balthus, Blackmon creates photographs that have an air of a past era — perhaps the 1950’s or ’60s — yet her use of 21st-century iconography tells us that they are quite contemporary.

Read more here.

Artnet Editors’ Picks: Love in the Time of Covid

Editors’ Picks: 11 Events for Your Art Calendar This Week, From a Hunter College MFA Show to Greg Goldberg at the National Arts Club

By Artnet

Valentine’s Day may have come and gone, but this virtual amore-focused photography exhibition is still a fun dive into colorfully depicted scenes that explore themes of kinship, romance, and love. The works presented range from Cig Harvey’s vivid, hyper-saturated image of flowers, to Jeff Brouws’ monochromatic pink California house-scape and Margaret Watkins’s still life of a chocolate-toned lover’s gift.

Read the full event calendar here.

Pipelines and Permafrost in Artnet

‘We’re Burdened by So Many Things’: Watch Artist Mary Mattingly Literally Drag Everything She Owns Around New York

By Artnet

The holiday season is typically a time for loved ones to get together. But thanks to capitalism, even more than that, it’s a time to consume. Spend money, give gifts, recieve gifts, repeat.

This holiday season, though, while things are at least a little bit different for nearly everyone, it’s worth turning to photographer Mary Mattingly, who makes a pretty good case against the consumer frenzy.

In an exclusive interview with Art21 as part of the New York Close Up series from 2013, Mattingly takes viewers on an uphill climb (literally) as she carries out the Sisyphean task of dragging her belongings throughout New York.

Read the full article here.

Musée Magazine Features Mary Mattingly

MARY MATTINGLY - PIPELINES AND PERMAFROST

By Musée Magazine

In her most recent exhibition at Robert Mann Gallery, entitled Pipelines and Permafrost, Mary Mattingly’s landscapes served as poignant reminders of the harsh effects of climate change. In staging the show, Mattingly took inspiration from core samples of earth for the grand dimensions and orientation of her images, each hung on the wall like a massive scroll, the tallest of them standing at over six feet.. With a closer look, it is evident that each column consists of various landscapes merged into a single picture’ elongated and exaggerated to resemble earth’s strata and provide a visual representation of how nature has changed at the hands of humans.

Read the full article here.

Hyperallergic Features Mary Mattingly

Mary Mattingly Confronts Climate Change With Utopic Resourcefulness

By Hyperallergic

In Mary Mattingly’s ruminative exhibition at Robert Mann Gallery, Pipelines and Permafrost, photographic landscapes hang from the walls like scrolls. Their elongated portrait orientations (ranging in size from 44 by 14 to 82 by 24 inches) were inspired by the narrow cylindrical lengths and sedimentary layers of core samples. Each image depicts a fictional composite of an actual site, in which three or more landscape photographs have been stacked atop one another and spliced together to form a stratified column of earth and sky. The columns are intended to evoke — imaginatively rather than literally — the site’s geological timeline. In most cases, one of the stacked photographs is upside down, underscoring the work’s artifice.

Read the full article here.

Mary Mattingly Featured in The Brooklyn Rail

Mary Mattingly: Pipelines and Permafrost

By The Brooklyn Rail

Mary Mattingly’s recent photographs in Pipelines and Permafrost stitch together a story of geologic deep time for the imagination. The New York-based artist has always woven ecological concerns into her public works and photography practice, committed to helping audiences question how the land and water resources as well as the products and presumptions of our lives came to be. As geologist Marcia Bjornerud writes in her 2018 book Timefulness: How Thinking Like a Geologist Can Help Save the World, “we accelerate into landscapes and ecosystems with no sense of their long-established traffic patterns, and then react with surprise and indignation when we face the penalties for ignoring natural laws.” Mattingly is deft, however—never preaching or moralizing. She leaves it for us to see what we can and do what we wish with these insights. In this exhibition at Robert Mann Gallery, her photographs help us glimpse the deep time of the Earth we inhabit.

Read more here.

Fotografiska New York with Robert Mann on Julie Blackmon

In Conversation - Gallerist Robert Mann on the Photography of Julie Blackmon

By Fotografiska New York

A live in the room conversation with Robert Mann and Grace Noh, Exhibitions Manager at Fotografiska New York.

Listen to the full conversation here.

Mike Mandel in the New Yorker

MIKE MANDEL’S SELFIES FROM THE SEVENTIES

By The New Yorker

In 1971, Mike Mandel released a book of photographs called “Myself: Timed Exposures.” Part of their loose, easy charm has to do with Mandel’s appearance: with his long dark hair and thick-framed glasses, he looks like a cartoon version of a peaceable hippie, rambling through black-and-white Southern California. Though the title prepares you for an onslaught of Mandel, only two of the images show him alone in the frame. The other thirty-seven photographs feature strangers of all types, as Mandel thrusts himself into the bustle and rush of street life, popping up among people like an imp, a groovy visitor from another planet. There he is, shirtless in corduroy cutoffs, smiling with a housewife at a supermarket meat counter, or lying flat on the floor of a library with his arms tight at his sides, students craning to observe this sudden interruption. In another photo, Mandel squeezes onto a crowded bench at an airport, his face blurry, the people on either side of him blurry too, caught mid-laugh. Some of the photos require you to search Mandel out, scan for his identifying uniform of big black glasses and lank hair, as if he were an R. Crumb version of Waldo. Then you spot him: a sliver of Mandel, peering over the heads of a gaggle of young girls at Disneyland or just barely visible in the reflection of a beauty-parlor mirror.

Click here to read the full article.