As a photographer, Boaz defies a traditional approach to perspective and instead situates himself quite literally in the sky above. The resulting work is breathtaking and arresting. Each image captured by Boaz offers his audiences a rare composition of both nature and civilization in all their complexity. Originally a recording studio owner and music producer in New York City, Boaz became an avid aerial photographer almost entirely by accident after he won a “doors off” helicopter ride over Manhattan that opened his eyes to a new realm of experience. The oddity of what he saw sparked a deep fascination that led Boaz to return again and again to the cramped cockpits of such helicopters until he found in them a studio at 1000 feet above.
Rice has brought together the works of 58 gallery artists and nearly a hundred photographs for this salon-style exhibition. From floor to ceiling, the walls of the gallery are a mosaic of various size photographs in sepia, color and black & white, expertly hung to fit together like pieces of a puzzle. “This is my favorite exhibition even though it takes months to curate and a week to install,” says Rice. “I love the moment when a viewer is first drawn to an image. Sometimes in’s indefinable; a moment when the viewer not only shares but reconnects to an experience remembered.”
Each year, the Summertime Salon matures and Rice’s annual masterpiece is revealed to showcase an exhibition stronger than the year before. Rice has a close relationship with the works of her photographers, and strategically curates the show to best exemplify the artists’ strengths, remaining cohesively linked by Rice’s aesthetic.
The 13 large format photographs featured in this new exhibition are tender oceanscapes that move beyond typical depictions of the sea. Photographed moments before dusk or dawn, out in the surf, the evanescent horizon line in each image creates an illusory sense of space. In "First Beach, Newport. July 2017", the bluish-black of the ocean and the sky are indistinguishable as their colors blend into one muted noise. "The waves blur the horizon and produce a dark movement", McLaughlin explains. The long exposures of the photographs find a vanishing point between form and void-like fleeting memories.
After 30 years on West 11th Street, The Robin Rice Gallery celebrates its first ever exhibition for Robin Rice. For decades, Robin has exhibited a wide variety of photographers at the gallery but never her own work. As the show’s title denotes, “It’s About Time.”
In this exhibition, Picayo seeks to revive the concept of unadulterated beauty captured as a single moment in time. An unapologetic user of film, Picayo prides himself on his avoidance of digital processing for personal work.
The Robin Rice Gallery proudly announces SUMMERTIME Salon 2018, an annual photography exhibit featuring gallery artists as well as a few newcomers.
Rice has brought together the works of 55 gallery artists and nearly a hundred photographs for this salon-style exhibition. From floor to ceiling, the walls of the gallery are a mosaic of various size photographs in sepia, color and black and white, expertly hung to fit together like pieces of a puzzle.
The delicate sensuality and voyeuristic feeling in Leonardo Pucci’s work allows his photographs to act as indefinite episodes, stolen moments in the lives of individuals or couples caught unaware. But the narrative Pucci is most interested in, is the stories his photographs elicit from the piece’s observers rather than the story of his subjects themselves.
Shot mostly at dusk or at night, Pucci’s imagery creates a vague tension in his observer: “the idea that you are looking at something you shouldn’t be seeing provokes a feeling of curiosity and emotion, paired with a subtle discomfort or shame”. “However, this turmoil is temporary as the observer’s personal memories take over in the desire to have his/her own story told.
In this exhibition, Mindaugas Gabrenas invites us to reflect on the poetics of place through his lyrical and surrealist imagery. His hand-printed silver gelatin prints reveal abandoned regions, wild coasts and strange territories from Lithuania to Scotland to America. As a scientific innovator, he uses unique techniques and unconventional materials in order to create his whimsical, dream photos.
The idyllic and playful world of The Peconic Bay in Southampton, NY dances to life in Luciana Pampalone's first solo exhibition. Each location was scouted by Pampalone and transformed into a vintage 1930s setting by the use of her models and props. A Graphlex camera, aviator goggles, parasols, retro bathing suit and games of croquet, (just to name a few) subtly tamper with the past, breathing life back into the 1930s. Moment by moment, Pampalone encapsulates the ephemeral quality of life, bending and blending human subjects within the natural landscape.
The Robin Rice Gallery is pleased to present the annual Summertime Salon, a photographic exhibition.
For many, Summertime is a fondness brought on whilst relishing in the lingering mist of the crispy ocean breeze. Each summer, Rice curates her favorite show, The Summertime Salon, and transports us to a world where we can delve into this very summer sentiment. With its smells, sounds, and architecture New York City might redefine what we know as a summer’s day, but Rice, with her intricate curation, brings our classic understanding of summer to the city.
Pete Kellyâ€™s latest show admirably showcases the lush greenness, diverse landscape, and ever-fleeting light of the British terrain. We are invited to join his excursions throughout the country as he brings light to the captivating, idiosyncratic characteristics of the land. He captures the oddities of the landscape; solitary figures bathing in sunlight, silhouetteÂ of a frolicking Great Dane in the mist, and subtle remnants of a bygone era. Kellyâ€™s incredibly unique, picturesque editing style further mythologizes his subjects, he meddles with an air of mystery that defines the viewers experience.
The primary subject of Brian Pearson's second solo exhibition is the vast metropolis of Tokyo, Japan. Pearson's images slip alluringly beneath the city's luminous neon skin, seeking out restraint over chaos, contemplation over frenzy. Pearson, in his image titles, credits the architects who have designed his subjects as to honor their contribution to Tokyo's contradictory nature. In his photographs, we see an impulse to step out of our collectively caustic present, transporting the audience beyond the banal platitudes of everyday life. Pearson captures moments of supreme quietude that simultaneously maintain a relationship with the ever-pulsating world.
Exotic machinery, as Phelps calls it, is the central imagery in his latest exhibition. Captured at the Montlhéry Autodrome, a motor racing circuit in Linas, France, these dynamic and powerful photographs render imagery of 20s-era culture. As an avid collector and enthusiast of motorcycles, Phelps features exclusively pre-war automobiles, which begins to evoke this period even further. Both rare and irreplaceable, the subject matter becomes something of ephemerality. The marvel is just this; it's a moment of temporary transportation to someplace distant yet strangely familiar, the relationship between feeling both power and comfort simultaneously. Phelps' photographs have a staggering depth and beauty that can be most appreciated in their utter mystique.
The images featured in Miller's Fashion, Animal, Sound are all x-rays. The photographs, mounted on aluminum in shadow box frames, display the inner mechanisms of things we don't ordinarily see. They reveal the inner constructs of objects or animals, creating a truly three-dimensional viewing experience.
The images of Fashion, Animal, Sound are perplexing in their simplicity. In the invitational image, Fish Circle, the bodies of several fish, photographed as an x-ray, swarm around a central axis in a circular formation. It is almost as if the viewer is looking at a Rorschach inkblot test.
Photographed entirely in the ethereal lakeside environs of the Adirondacks, Lynda Churilla's latest exhibition synthesizes the aesthetics of strength and softness. Central to this aesthetic theme is the portrayal of Churilla's husband and muse John, who she describes as a source of inspiration. Standing nude and silhouetted in the foreground, the powerful form of John's body is rendered stoic and subdued by multiple mist‐wreathed aquatic expanses and looming woodland scenes.
In the hazy, warm New York summer, little is more refreshing than reclining on the beach in the mist of the icy ocean waves or enjoying a family trip to the country house. Each summer, Rice curates her favorite show, the Summertime Salon, which reminds us of this exact seasonal sentiment. The two, long walls of the gallery become mosaicked, top to bottom, side to side, in photographs that evoke all the preeminent feelings and memories of summer. Each year, the Summertime Salon matures and Rice's annual masterpiece comes into fruition. This year is no exception. The show is a haven of what the Robin Rice Gallery stands for, a community of art and experience.
In his new exhibition, featuring a selection of breathtaking aerial photographs of Icelandic landscapes shot from an ultralight aircraft, Seckler captures a beautifully abstracted natural perspective that is as staggeringly momentous as it is delicate. Picturing various natural and animal forms, from birds to seals, we get a true sense of his astonishing journey. With strong figures and forms, we also begin to feel the sheer power of Iceland's frigid tundra, though, because of Seckler's careful composition, we also understand the subtlety and magic of his experience.
In his latest show, Benjamin Heller invites us to enter a poetic space of echo and convergence. As a photographer, sculptor, and performer, movement is key in this body of work, that is punctuated by self portraits selected from the series "The Long Walk: Analog Narratives". This series features pieces collected over an extended period of time spent traveling. It is a window to the interior landscapes he seeks to find reflected in the world, to contain a sense of this intimate vastness. All of the images can be viewed as variations on a self-portrait.
The beauty of Tina West's latest show lies in the maturity and wonder of her still lives. For every photo, West stages her scene with unique treasures from her vast collection. Allowing them to speak to her, rather than the opposite, each object is chosen not because of an image West is trying to recreate from her mind, but because of each object's sheer attraction.
In his new body of work, José Picayo explores the mystery of human perception and interaction. This exhibit is comprised of haunting paired portraits, one photograph of the back of a model’s head and another of the front. It’s human nature to see an incomplete image and mentally complete it, jumping to calculated assumptions based on previous experience. Picayo relates these photographs to his own experience walking in the streets of the city, imagining the front of the strangers he walks behind.
When one thinks of the summertime, a million different smells, sights, sounds, and memories manifest. Each year, Rice curates a summertime salon show that captures this multiplicity, displaying a diversity of styles, themes, nuances, and artist techniques. For 2015, Rice has brought together the works of 51 artists mosaicking the walls of the gallery walls from floor to ceiling with nearly a hundred photographs, their various sizes, color schemes and subject matter expertly laid out to fit together like the pieces of an eclectic puzzle.
Pelican Finn, a reference to the subject’s name, broadly illustrates the relationship between individual and environment while specifically capturing a Cuban American woman’s relationship to the Florida Everglades, a world heritage site and the largest wetland on earth. Shooting through the intense and wild conditions inherent to the setting, Schilling creates a magical, dreamlike world that captures the untamed spirit of both the Everglades and Finn, who was introduced to the Everglades in flight from Cuba to the United States for the first time.
Brian Pearson's search of quiet moments within the ever-increasing calamity of the modern world drives this new series of images. The medley of black and white images is split between the figurative and the architectural. The raw, candid quality in his imagery inspires a different sense of place and time in each photograph, creating a collection that demands the individual attention of the viewer with each melodic piece.
Victoria Goldman's twenty-year-long fascination with Tarot has created a series of photographs based on the imagery and the mythology behind the ancient Tarot cards. Each image in the collection is inspired by and named after one of the 22 major archetypes of the Tarot. While photographing and teaching yoga and meditation in India, Hawaii, and throughout Europe, Goldman always made sure to carry a Tarot deck in her backpack. She views Tarot as a tool for personal elevation, helping her direct her focus and better understand her psyche.
In her ninth solo show at the Robin Rice Gallery, veteran artist Patricia Heal documents her visual narrative of their enchanted home in upstate New York. Hidden within untouched forests lies Peabrook, a babbling brook running through the property. The classic architecture of the house is offset by uniquely quirky interiors designed by the English-born Patricia and her husband, Anthony Cotsifas, which generate an otherworldly existence within the estate. "Peabrook is my Neverland," Heal states, in reference to J.M. Barrie's Peter Pan. "It is a fictional place often described as a metaphor for eternal childhood." Heal hopes that, with just a visit to the gallery and little imagination, you, too, can see Peabrook.
Every year, the gallery owner curates the show to best exemplify the 56 exhibited artists' strengths and aesthetics, remaining cohesively linked by Robin's extensive knowledge of her artists and of photography. "This is my favorite exhibit, even though it takes months to curate and a week to install," says Robin. "It is my curatorial showcase." From floor to ceiling, the walls of the gallery rooms are a mosaic of nearly a hundred photographs, their various sizes, color schemes and subject matter expertly laid out to fit together like the pieces of an eclectic puzzle.
In Gordon's third exhibition, his remarkable capacity for discovery and self-described "pathological curiosity" makes for an entirely unpredictable series of photographs, while the small size of the gelatin silver prints emphasizes their detailed nature and enhances the mysterious quality generated by his choice in cameras (namely, the increasingly popular Holga film camera). Stettinius' wry sense of humor, references to popular culture, and use of kitschy subject matter permeate the entire black and white exhibition.
In this exhibition, Clayton's aquatic, figurative photographs contain an attention to detail that leaves the viewer constantly discovering new information within them. His oblique compositions are a profusion of the quirky, the surreal, and the ambiguous, all of which are permeated by a haunting presence. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
In Botswana, Zack Seckler captured the boundless, raw beauty of Africa as seen from less than 500 feet above ground. From this vantage point, the animals, vegetation and salt ponds appeared magical. "As an artist, the experience was visceral and life changing."
Through his unique perspective, vistas once invisible to those on the ground or in a jetliner above are captured in exquisite detail. As he soars over the wildlife and its surrounding beauty, the earth deconstructs into parts and shapes and we see the subtle, aesthetic moments within the iconic landscapes. This rare view enabled Seckler to create images that are simultaneously familiar and unfamiliar.
Your Nearest Exit May Be Behind You, a reference to the traditional pre-flight instructions of airline hostesses, is fine art photographer Micheal McLaughlin's collection of the sights found universally in the act of travelling between countries and continents. From dark Hong Kong skylines shot through hotel room windows to the familiar, scratched silver buttons of a New York subway elevator, the resulting images are what McLaughlin describes as being "as much of a peripheral view as they are a direct view of the world."
"…A man reaches inside his body to show his heart to others. It reminds me of the life of an artist; we bare our hearts and ideas to the world."
Hayman isn't describing one of his own photographs, rather, he's referring to a drawing by one of his favorite artist's—Odilon Redon—that bares the same title, The Heart Has Its Reasons. However you define Hayman's work, the still life photographs are deafeningly quiet. You can just about hear yourself breathe as you address a hat, a shirt, a boat, or a torso. He brings the viewer to the rarest of experiences - a truly still moment. It's a hard experience to find today.