RICHARD FINKELSTEIN'S PHOTOGRAPHS FEATURED IN THE NEW YORK TIMES

TOM HANKS: YOU SHOULD LEARN THE TRUTH ABOUT THE TULSA RACE MASSACRE

By The New York Times

I consider myself a lay historian who talks way too much at dinner parties, leading with questions like, “Do you know that the Erie Canal is the reason Manhattan became the economic center of America?” Some of the work I do is making historically based entertainment. Did you know our second president once defended in court British soldiers who fired on and killed colonial Bostonians — and got most of them off?

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Opening events for Mary Mattingly's Public Water installation in Prospect Park

PUBLIC WATER A LARGE SCALE PUBLIC INSTALLATION BY ARTIST MARY MATTINGLY OPENING JUNE 3RD IN PROSPECT PARK

Join us on Thursday, June 3rd as we unveil the sculpture, a 10ft tall geodesic dome designed as a structural ecosystem covered in native plants that filter water in a gravity-fed system that mimics the geologic features of the watershed. Public Water is an active sculpture that follows A Year of Public Water, a timeline recounting the building of New York City’s drinking watershed. The sculpture draws from the minerals and geologic features of the watershed to filter water. Public Water brings attention to New York City’s drinking water system in order to build more reciprocal exchanges between people who live in New York City’s drinking watershed and its drinking-water users in the city, to promote care and commons.

Read more about the installation and opening here.

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.