Maya’s work fills the rooms with figurative paintings characterized by bold brush strokes and vibrant color palettes. In “Her Inner Solstice” is a throwback to a style that was reminiscent to her childhood.

The opening reception for Janet Maya’s exhibition is June 22, 2024 at 234 Warren Street Hudson, NY 12534.

A Very Huntsman Holiday Installation at The Atelier on 632 Hudson, Street, New York, NY 10014. 

The Huntress NYC has entered into a collaboration with fellow Huntress Robin Rice. They have worked together curating art for homes of clients for Jenny Wolf Interiors for over a decade. 

The Robin Rice Gallery is pleased to present Surfing Color, a photographic exhibition by Haik Kocharian. The opening reception will be held on June 14, 2023 from 6pm to 8pm.

The Robin Rice Gallery is pleased to present carefully curated works by Rice’s gallery artists, including photography, painting, lighting, and sculpture, that work together seamlessly in her signature Salon style installations. This exhibition, much like her own life, is about more than just looking at art, as she has a knack for organically bringing people together, adding a real social element to their experience.

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.

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.

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.

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.

"…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.

Kocharian’s work focuses on the interaction of the individual and the surrounding nature: a forest, body of water or urban street. Just as nature transforms our environment, so does the object in the picture evolve, symbolizing an internal shift. The style is reminiscent of photojournalism forefathers such as Robert Frank and Cartier-Bresson yet with a Fellini-esque twist.

This exhibition, at once mysterious and revealing, reflects one man’s journey in search of love, vacillating from memories to hope. The collection is a fusion of neo-realism and symbolism. It’s the central figure’s relationship to the environment that elevates the images beyond realism, representing the transformational power in nature and within ourselves.

Ian Gittler’s Motor Art series-photographs of century-old engine parts, gears, sparkplugs, and brand tags-offers respite from the digital fetishism, overexposure and one-hundred-forty-character bursts of communication that seem to define our era. Gittler is no luddite, he loves his iPhone. But these images, often obscuring the objects beyond identification, take unsentimental pleasure in elements of weight, ground, volume and permanence that are more closely associated with a bygone heyday of industrialization.

While all photography arrests motion, it is only the X-ray that allows us to climb inside a particular moment and subject and parse the structure of its beauty from within. Steve Miller’s X-ray photographs, 13 black and white carbon on cotton prints and 1 glass plate mounted on steel, do the trick. Miller’s work lifts the lid off a hidden domain, revealing the stilled and remarkable innards of things we pass by every day.

Danielle Epstein’s latest collection of photographs will seduce you. Using repetition and scale, Epstein’s clear, crisp photos of ordinary objects form intriguing patterns that naturally activate your curatorial and artistic sensibilities.

Her matte photographs measuring 16in x 2ft and 16in x 6ft, picture stones, wood and other natural and domestic detail. Their geometric layout suggests a pictorial language. It’s easy to regard each photo as a single gesture, yet when joined with others, they become part of a visual phrase.

Naturae (the name is inspired by systema naturae, a classification of plants based on their sexual parts that was published by Swedish naturalist Carl Linnaeus in 1735) is Patricia Heal’s examination of the flower in all its strange and alluring beauty. The exhibition includes images such as Aglaophotis I and Aglaophotis II. Portrait-like in their focus on structure and bold detail, these photos evoke the work of Robert Mapplethorpe. Others such as Papaver Gemma, and Lilium calia appear to be inspired by images of flowers found in old, much-handled botanical reference books and manuals, vintage and nostalgic in appearance yet utterly modern in the way they are captured by Heal’s camera.

PATRICIA HEAL - 2003

TODD BURRIS - 2003