Holly Andres: The Fallen Fawn in The New Yorker

Holly Andres's Adolescent Fairy Tales
October 25, 2015
Photo Booth by The New Yorker

Holly Andres’s photo series seem to unfold in the darkened corners of a fairy-tale dream space—a place where the private lives of girls intersect with the mysteries, and occasional dangers, of the adult world. The stories she tells—in lush, cinematic scope, like movies made up of only still images—are often drawn from stories in her own childhood: the adventures of a group of adolescent girls hungry for new experience; the trauma of two young sisters who venture too close to a hornet’s nest. Her latest series, “The Fallen Fawn,” which will go on display at the Robert Mann Gallery on October 29th, tells the story of two sisters who discover a woman’s abandoned suitcase by a river behind their house. Treating it as a valuable treasure, they bring it home, hide it underneath the bed, and secretly dress up in the “mystery woman’s” belongings at night. In this story, as in her other work, the young protagonists project both the plucky curiosity of Nancy Drew and the fragile innocence of a sleeping Snow White.
To view the article, click here.

Respresentation of The Estate of Elisabeth Hase

The gallery is excited to announce the representation of the estate of Elisabeth Hase (1905 - 1991). This new discovery is a rich body of work by a female artist who was photographing during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. Hase's photographic compositions, some of which survived the air raids on Frankfurt in 1944, are comparable to a number of her avant-garde contemporaries such as Florence Henri, Ilse Bing, and Germain Krull.

O. WINSTON LINK FEATURED AT FOTO/INDUSTRIA

Foto/Industria 2015
Biennial of Industrial Photography
October 3 - November 1, 2015

The gallery is pleased to announce that the work of O Winston Link is currently being displayed at the Biennial of Industrial Photography. Link is known for his body of work that focuses on the the end of an era in modern transportation: the steam locomotive. His photographs from 1955-1959 capture the trains of the Norfolk and Western Railway, the last of the class I railroads to used steam engined trains. In Link’s effort to chronicle the last of these railway giants, he explored new techniques with night photography. To read more about Link at Foto/Industira 2015, click here.

Cig Harvey Portfolio Review in Photograph Magazine

Portfolio

September/October 2015
Cig Harvey: Gardening at Night
By Jean Dykstra

The small miracles and slow ripening narratives of the domestic sphere have absorbed photographers from Gertrude Käsebier to Sally Mann. It’s a perplexing fact of contemporary art criticism that artists -- female artists, in particular -- should have to defend that terrain as the subject of their creative practice, but a recent New York Times piece asked: “Why Can’t Great Artists be Mothers?” Cig Harvey rejects the premise. Harvey’s fanciful, dreamlike photographs are rooted in the natural world, in fantasy, and in her experience as a mother.

As Harvey noted in the Times article, “Art, in any form, demands that you turn yourself inside out. You must be obsessed for it to be any good.” But, she added, an artist can be obsessed with her art and with her children, and in her case, those twin obsessions have resulted in a series of quietly beautiful, oped-ended photographs, Gardening at Night. Click here to continue reading.

Ellen Auerbach: Classic Works and Collaborations in The New Yorker

Ellen Auerbach
The New Yorker
August 3, 2015

This valuable addendum to MOMA's current exhibition “From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola” centers on Stern’s partner in the avant-garde photography studio known as ringl + pit. Their Bauhaus-style collaborations, most produced as advertisements in the thirties, are the most arresting images here, juxtaposing models and mannequins, balancing sensuality and restraint. Following a split with Stern, Auerbach’s work became more varied, including portraits of Bertolt Brecht and Willem de Kooning, sensational shots of the dancer Renate Schottelius in midair, and a lovely group of muted color pictures from Mexico—reliquaries, paper roses, an outdoor market—made in collaboration with Eliot Porter. Through Aug. 14.

Mary Mattingly for Art in America on Collaboration in Cuba

Push/Pull: A Cultural Exchange in Cuba
By Mary Mattingly
June 26, 2015

For the past eight years, I've focused on co-creating sculptures that address public food, energy production and cyclical water use. These works have almost entirely been created for people in the United States. My most recent sculpture, Pull,  was created through a cultural exchange led by the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts as a collective effort alongside the 12th Bienal de La Habana, titled "Between the Idea and the Experience." The artwork consists of two mobile, inhabitable spheres that contain living ecosystems. One of the spheres of Pull currently functions as a temporary autonomous zone in Havana's Parque Central, while the other half is stationed inside the Museo Nacional de Bellas Artes as part of exhibition "Wild Noise" (through Aug. 16).   Continue reading the article here.

Jörn Vanhöfen at Kunst- und Kulturstiftung Opelvillen Rüsselsheim

The gallery is pleased to announce that gallery artist, Jörn Vanhöfen, will be featured in a solo show at Kunst- und Kulurstiftung Opelvillen Rüsselsheim in Germany from July 1 through October 25. Loop brings to light the beauty and fear found in the rural and urban landscapes of the world. The exhibition will also feature works from the artist’s other series Aftermath and Disturbia.

Ellen Auerbach: Classic Works and Collaborations in The Wall Street Journal

Ellen Auerbach: Classic Works and Collaborations
By William Meyers
June 13, 2015

There are 10 Ringl + Pit prints in Mann’s exhibition of work by Ellen Auerbach (1906-2004). (“Ringl” was Grete Stern’s nickname, “Pit” was Auerbach’s.) Several of the pictures at Mann are also in the current MoMA exhibition, including “Pétrole Hahn” (1931), an ad for a hair preparation; the image features the head of a saccharine, big-eyed mannequin, but the hand holding the bottle is a real human hand. The effect is whimsical, and even a little silly, as well as sophisticated and modern. “Hat and Gloves” (1931), also in both shows, has the gloves placed in front of the dummy head wearing the knit cap in the same relationship they would be on a person.

Read the full article online here. The article appears next to William Meyers' review of the exhibition From Bauhaus to Buenos Aires: Grete Stern and Horacio Coppola, on view through October 4th at The Museum of Modern Art.

Paulette Tavormina at Beetles and Huxley

Paulette Tavormina will be showing at Beetles + Huxley Gallery in London from June 30th to July 25th. This will be the first major UK exhibition of her work, and encompass images from both her Natura Morta and Bodegón series. The gallery will be printing a catalogue accompanying the show.

New Series by Maroesjka Lavigne

Robert Mann Gallery is excited to announce a new series by Maroesjka Lavigne, Not Seeing a Flower. Shot in Japan, the series was made in cooperation with the Flanders Center in Osaka and will be shown at Museum Dr. Guislain in Ghent, Belgium as part of the group exhibition Facing Japan.

The artist writes,

‘Whatever you think, think the opposite’ [is]an expression I heard a lot in and about Japan. This island seemed to be an isolated world far away. Japan has cultivated a certain image in the
western world. Japanese Ukiyo-e pictures influenced this western image. These ‘pictures of the floating world’ of among others Hiroshige and Hokusai caused us to have an unreal image of Japan. In this series I tried to look for the modern beauty Japan has to offer with underlying themes of the old pictures as an inspiration.