The final exhibition under Sasha Wolf Gallery, Sasha Rudensky’s Tinsel and Blue, received terrific press notices. The show was chosen as an Artforum Critics’ Pick and selected by Aperture as one of the 5 exhibitions to see this summer! The exhibition has also been featured on Collector Daily and PDN.
Christine Osinki has been written up by the New York Times Lens Blog in advance of her upcoming book, Summer Days Staten Island (pub. Damiani).
“Powell performs this balancing act between text and image masterfully, using sparse sentences to invoke and enhance the symbolic power of his imagery.”
– Aaron Schumann for TIME Lightbox
The second edition of Bryan Schutmaat’s monograph Grays the Mountain Sends received a new review from Photo-Eye. Follow this link to read the article.
Paul McDonough’s Sight Seeing series was recently featured on The New Yorker’s photography blog in an entry written by Hilton Als. Follow this link to read the article.
“The titles of each image give you an idea of the action that is taking place, but the complete story is left to the imagination. It’s an interesting twist on scientific experimentation, where normally the idea is to make sure every variable is precisely accounted for. Charland’s photos take the data out of the equation, and leave you only with impressions of the physical interaction taking place.”
“When you stand on the shoulders of giants, what do you see — especially if you’re looking through an old Leica M6 rangefinder with a single, well-traveled, 35-millimeter lens, which, over a quarter of a century, has seen a lot?
What the photographer Peter Kayafas sees are roadside curiosities, families in their Sunday-go-to-meetin’ clothes, abandoned buildings, rusty vehicles and other details of America’s urban, rural and psychic landscapes. His latest exhibition, The Way West, is now on view at Sasha Wolf Gallery on Manhattan’s Lower East Side (through June 15).”
Adam Katseff’s photograph’s from “In the Course of Time” in Seph Rodney’s article for Artillery Magazine.
Time LightBox celebrates Elinor Carucci’s third monograph, Mother.
THE NEW YORKER, July 2013
“Marilyn Monroe raises a glass at a Reno night club and Tom Waits holds a hefty mug at Max’s Kansas City, but the rest of the drinkers in this lively photography show are ordinary people. Brian Finke captures frat boys dousing one another with beer; in an image by Miles Aldridge, a model lies across a bed as if flattened by the red wine spilled nearby. Things are more convivial in photographs by Teenie Harris, Greg Miller, Christine Osinski, and, especially, Peter Kayafas, whose picture captures a Belgian man toasting the patient dog seated across from him at an outdoor café.”
We are thrilled to announce Katherine Wolkoff’s feature in ARTFORUM’s “Critics’ Picks“.
In the seventies and early eighties, the New York street photographer spent his summers on the road taking pictures of young Americans at leisure. His black-and-white pictures tend to sneak upon teen-agers who seem suspended between boredom and excitement: making out, hanging out, anticipating their next diversion. McDonough’s group portraits-particularly one of a randy foursome gathered by a parked car in Florida-are terrific, at once spontaneous and composed. But one of the show’s best pictures catches a girl by herself, taking in the sun at the curb of a shopping center near a bunch of empty shopping carts. Through May 5.
A single generic description would serve for all the pictures in this exhibition: The leafless trunks of burnt-over timber are shown against a backdrop of snow-covered hills. But within the parameters of this simple formula David Nadel works distinct changes, much like a composer writing variations on a theme.
For instance, “Burn #344” is dense with trees, as naked and straight as the masts of sailing ships; they could be the fine strokes of a Japanese artist’s brush. The density, however, isn’t uniform, so the texture of the image varies from area to area. The overall uniformity is also broken up by the irregular ridges of the hills that make up the landscape. Nadel uses a 4-by-5-inch view camera to record each of the trees with great clarity, and Telephoto lenses that have the effect of compressing the distant planes so that the image appears two dimensional: It is about design, not narrative.
Because the trees in “Burn #210” are quite sparse, incidental outcroppings of rock have an important part in the composition. The camera isn’t as elevated in “Burn #121,” and is closer to the nearest trees, so there are greater differences in the widths of the trunks. On closer inspection, it turns out the picture isn’t black and white as it first appears; there is a tan patch on one of the trunks where the bark has fallen off and exposed the wood. By shooting in color, Mr. Nadel gets richer tonalities and occasional surprises-in “Burn #352” a single fir tree is a presence in green.
Review by William Meyers
Swept by wildfires years ago, the northwestern Montana forests Nadel photographs are little more than blackened trunks, straight as telephone poles and stark naked against the snow. Nadel works with a large-format view camera, not unlike the equipment the pioneering Western landscape photographers used, so his pictures are astonishingly detailed but often flattened out. The snow turns the landscapes virtually black and white, like drypoint etchings; what little color remains-bits of green new growth, red branches against a charred trunk-comes as a pleasant shock. From a distance, the topography looks hairy and anatomical, full of fleshy folds and scars, a body still in shock. Through March 10.
Review by Vince Aletti
Fotografin Hus’ current exhibition of Elinor Carruci’s Kin and Self received great reviews, one of which states (translated from swedish):
“There is nothing flattering in Elinor Caruccis photographs. That is why they are so affecting. They stick in the memory, not necessarily because we want to remember them, but rather because we can’t forget them. With her camera Carucci follows the family life that goes on around her…”
“…Without being shocking, Caruccis family suite appears as daring in its ruthless honesty in the portrayal of their own experiences. It is as lovingly as it is nude. She never hesitates before exposing herself and her nearest in everyday intimate moments. The camera examines details as if it was a magnifying glass. Children are breastfed, milk is dripping from a swollen breast, a blood trail winds in the basin. Spouses sulk and reconciliate. Very private and at the same time easy to empathize in. It’s about time passing in ordinary life without embellishment and without moralizing.”
-Joanna Persman, January 26, 2012
Sasha Wolf Gallery is proud to be a part of DLK Collection‘s Top Photography Venues in New York in 2011. We were placed along side many prominent venues, in a comprehensive list of Museums, Contemporary Art Galleries, and Specialist Photography Galleries, reviewed by DLK in 2011.
“I think we would all expect to see names like Janet Borden, Yossi Milo, Bruce Silverstein, and Yancey Richardson among the leaders, given their recent historical strength, but I’d also like to single out newer galleries like Higher Pictures and Sasha Wolf Gallery, who have emerged from the pack with thoughtful and consistently intelligent programming.” -DLK Collection
Photo District News Magazine surveyed curators, dealers, gallerists, writers, editors, and educators for their 2011 “Like” List of the Year. When readers were asked “Which museum, gallery or other art institution has shown the most interesting photographic work in the past 12 months?,” Sasha Wolf Gallery was voted as one of 12. The gallery was selected among other NYC institutions, namely MoMA, The Metropolitan Museum of Art, Whitney Museum of American Art, and ICP.