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.
Sasha Wolf Gallery is very pleased to welcome McNair Evans. The San Francisco based artist recently joined the gallery, and will have his first solo New York show of his series Confessions for a Son from February 25 – April 5, 2015.
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.
During the run of Bryan Schutmaat’s show ‘Grays the Mountain Sends’, his work has been acquired by two notable institutions, San Francisco Museum of Modern Art and The Hood Museum of Art. We also want to congratulate Schutmaat for shooting the cover for TIME Magazine’s Person of the Year, 2014.
“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.
Christine Osinski’s work can be seen in “New York (Outer Borough) Stories” on display along the Water Street Corridor in Lower Manhattan. The installation is part of the NYC D.O.T. Urban Art Program in collaboration with United Photo Industries. The installation will be on display over the next six months.
Sasha Wolf Gallery is thrilled to announce our representation of Adam Katseff.
Adam Katseff was born in North Andover, Massachusetts and currently lives and works in Palo Alto, California. He received a BFA from Massachusetts College of Art, and an MFA from Stanford University where he now teaches. His work has been shown at the San Francisco Arts Commission Gallery, The Lab, Root Division, Berkeley Art Center, and the Michael and Noemi Neidorff Gallery at Trinity University. He is the recipient of the Murphy and Cadogan Contemporary Art Award, as well as the Anita Squires Fowler Award.
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.”
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
Sasha Wolf Gallery is thrilled to announce our representation of Tema Stauffer.
Tema Stauffer is a photographer based in Brooklyn whose work has been exhibited in galleries and institutions nationally and internationally. She is also a curator and writer for Culturehall, an online resource for contemporary art. Stauffer graduated from Oberlin College in 1995 and received a Master’s Degree in Photography from The University of Illinois at Chicago in 1998.