The Steven Kasher Gallery booth from Photo London Fair has been featured on L'Oeil de la Photographie, including images by Miles Aldridge, Vivian Maier, Jill Freedman, Marilyn Minter and Martha Cooper.
Hugo Fortin names Lucien Samaha as one of his picks from AIPAD, stating that "these grainy pictures of rather dubious quality are not devoid of charm and have an undeniable appeal."
Roberta Smith reviews The Photography Show presented by AIPAD and explores our booth, "21 Artists, One Straight White Male."
Artnet News names Jill Freedman one of 10 remarkable photographers to discover at this year’s AIPAD fair!
Jessica Stewart interviewed Meryl Meisler about life during the disco era, what Studio 54 was really like, and how Bushwick has changed since she taught there in the 1980’s.
"At the beginning of the year, the The Ringling Brothers and Barnum & Bailey Circus announced that they will be putting on their last performances in May of 2017. Since announcing their upcoming closure, the company has received a spate of 'in-memoriam' type coverage from the press – most of it nostalgic and adoring, some, not so much (you can only abuse elephants for so long…). But perhaps the best way to remember the famous circus, as with any entertainment entity, is through images. And few images are more haunting, more frightening, more fascinating, more bizarre, more transgressive, than the backstage photographs of the Ringling Circus by Meryl Meisler."
Photographs by Meryl Meisler were featured in The New Yorker. "The Ringling Brothers and Barnum & Bailey Circus traded its tents for arena shows and downsized its productions. And yet, even diminished, the circus remained a staple of American childhood. In 1977, Meryl Meisler, a photographer with an eye for the zany and the performative, went backstage at Ringling’s annual run at Madison Square Garden. At the time, Meisler was mostly shooting in the clubs and discos of New York. She was interested, she told me, in the seemingly simple phenomenon of “people being out of their homes with other people,” gathering together and performing for one another and, in doing so, “creating a new society, a new community.”
Vikki Tobak spoke to Stephen Shames about the iconic image "Panthers on Parade".
Gallery artist Meryl Meisler wrote an article for the Gothamist about New Yorks march on the Immigration Office.
Meryl Meisler captured moments of solidarity, hope, and humour at the Women's March on Washington.
Henry Chalfant and Martha Cooper were praised by Martha Schwendener in The New York Times.
"Thanks to Mr. Chalfant and others, like Martha Cooper, the ephemeral work was preserved in photographs. Sure, it was illegal. But graffiti art has become one of the most globally recognizable and copied forms of contemporary culture. And in the realm of creative civil disobedience, it is one of the most extraordinary instances of a bunch of young, working-class artists affecting the world."
"Power to the People: The World of the Black Panthers" by Stephen Shames and Bobby Seale has been included on Lens Culture's list, "32 Personal Favorite Photobooks of 2016." Congratulations Stephen Shames!
On this segment, Meryl Meisler, a photographer and former NYC public school art teacher pays the studio another visit alongside former Brooklyn Borough Historian, Ron Schweiger. They give life to our theme week, Brooklyn in the 70s, by recounting their experiences in the city almost half a century ago. They tell tales of their careers as educators, Brooklyn nightlife, the destroyed building remains, and more.
Our Louis Draper exhibition was featured in Artforum's Best of 2016 Issue! The exhibition was ranked number 6 on Vince Aletti's list of top ten exhibitions.
"Draper is here in part as a representative of New York's Kamoinge Workshop, the collective of African American photographers he helped found in 1963; Roy DeCarava was the group's first director. A book and an East Village group show focused timely new attention on Kamoinge this year, but Draper's expansive, engaging retrospective was the most effective argument for the workshop's continuing importance. Working in black-and-white, usually on the streets of Harlem, the photographer sized up his fellow citizens with an incisiveness that allowed for sympathy but was not clouded by it. He was even better with streetscapes and interiors, their missing inhabitants hauntingly present. Gathering years of work, the show made Draper one of the year's most surprising and substantial rediscoveries."
Nine of Meryl Meisler's disco photographs were aired on PBS SOUNDBREAKING, Episode 5: Four On The Floor.
TIME’s First Take series features Brooklyn-based documentary photographer Ruddy Roye. Known for his raw and gritty editorial and environmental portraits, Roye sees himself as more than just a photographer – he’s also an activist whose images present society’s injustices.
Roye’s motivation is simple: “I look for dignity,” he says. “I look for what is familiar. I find it easier to look for it in somebody else and to photograph it as a way of talking about it.”
Jack Neubart praises Jill Freedman's documentary photography.
"Jill Freedman is not one of those names that readily rolls off the tongue when we discuss documentary photography. But it should be. Her documentary photographs are as real, as telling, as poignant as it gets. They are moments captured in a style all her own, albeit with the same measure of truth as a Dorothea Lange portrait of life during the Great Depression."
The New York Times explores Mark Seliger's forthcoming book “Christopher Street: Transgender Stories.”
The New York Times mentions the opening of Ruddy Roye's first solo exhibition in a write up about Photoville.
"Last year, Photoville presented work by Ruddy Roye, a Brooklyn-based photographer with a wide following on Instagram. Last week, Mr. Roye opened his first solo exhibition, at the Steven Kasher Gallery in Chelsea."
Ruddy Roye's work was featured in The New York Times' interview with curator Sarah Lewis on editing Aperture's special Vision+ Justice issue, which celebrates photography of the black experience.
The New York Times features a photograph by Fred McDarrah in a article about Donald Trump.
The New York Times features one of Fred McDarrah's photographs in a article about the seating chart at New York Fashion Week.
“American Thoroughbred,” a fine art photography collection shot by Neil Latham that showcases Zenyatta’s portrait, has been earning accolades in top sports, horse racing, photography and news media. Not only is Zenyatta’s portrait often featured, but her iconic prowess and presence are brought up again and again.
The Work Mag claims Marianna Rothen to be a favorite at Photo London.
"Chief among our favourites was new photographer Marianna Rothen, a New-York based artist represented by Steven Kasher Gallery who creates atmospheric, enticingly unsettling images. Rothen works in polaroid, producing photographs that act like a window into an unnamed film-set, an overwhelmingly female world of dystopian road trips and seductive yet haunting domesticity."
The Brooklyn Rail sat down with the long-time colleagues and friends to talk through the ways in which their practices intertwine and bolster each other’s art.
British Journal of Photography explores the work of Brian Griffin.
Much of his work, often depicting workers and tradesmen, seems meticulously staged, yet honest and full of emotions. Griffin’s work transforms workplaces into stages and his subjects into actors. As one of Britain’s most influential portrait photographers, he achieved early recognition for his work in the 1970s and 1980s, developing a style which has since been referred to as Capitalist Realism.
Guest host Phoebe Judge talks with Burk Uzzle about his upbringing in the rural South and the stories behind his photographs.Uzzle's work is showcased in three new exhibits: Burk Uzzle: American Chronicle at the North Carolina Museum of Art in Raleigh, on view until September 25; Burk Uzzle: Southern Landscapes at the Nasher Museum of Art in Durham is open until September 18; and All About America: Photographs by BurkUzzle at the Ackland Art Museum in Chapel Hill on view from June 24 to September 11.
Burk Uzzle shares the memories of his most unforgettable images with T Magazine. This summer, Uzzle is being celebrated in his home state of North Carolina, with ongoing shows at the N.C. Museum of Art, the Nasher Museum at Duke University and, opening on June 24, the Ackland Art Museum at the University of North Carolina at Chapel Hill.
When Timothy McDarrah was a child, his father would park him for the evening with a silver-haired man named Andy at a downtown place called the Factory while he went out to photograph the Bohemians flocking to Greenwich Village. Tim’s father, Fred, was the photographer and photo editor for the Village Voice for half a century, and from the 1950s to the ’70s, when the Village was the center of intellectual and artistic ferment, the Voice was its chronicle. Now McDarrah, with his brother Patrick and their mother, Gloria, is battling to preserve some of the neighborhood’s old magic with his Save the Village walking tours of key places in its social history, even as many of those landmarks fall to gentrification and New York University’s expansion.
Garden & Gun gives us an inside look on the work of Burk Uzzle and names him one the nations most celebrated photographers.This summer, his sixty years of photographing American life will be celebrated in a collaborative retrospective mounted by three of North Carolina’s premier museums—the Ackland Art Museum at the University of North Carolina in Chapel Hill, the Nasher Museum of Art at Duke University, and Raleigh’sNorth Carolina Museum of Art.
"The 1984 multiple-exposure portrait of Siouxsie Sioux in the shadows, unmasked by a streak of light across her eyes, one of six pictures by Brian Griffin which reminded us that a commercial photographer can also be a serious artist."
Paddle8 goes "behind the lens" with legendary street photographer, Jill Freedman.
Butterfly Boy by Jerome Liebling is on the cover of New York Magazine's annual "Yesteryear" issue, which takes a look at decades of dressing in New York.
Metropolis Magazine names 'Maske' by Phyllis Galembo one of 50 books to read this spring!
We recently discovered a video of filmmaker Ken Burns speaking about his mentor Jerome Liebling. http://nyti.ms/1qwrPBL
Olivia Harding of Manhattan Sideways sat down with Steven Kasher and Cassandra Johnson, Gallery Director, to talk about SKG's mission is to expand the dialogue around what a photograph is and what it can do in our culture. http://bit.ly/1l383KQ
Last year, Steven Kasher Gallery exhibited the photography of Fred W. McDarrah, who documented the changing scene of Greenwich Village since the 1960s. The spirit of that show has taken the form of this walking tour, which includes stops at the places McDarrah captured on film including locales like Washington Square Park and the Stonewall Inn. For more information on the tour, please visit http://savethevillagetours.com. To view the New York Times, article click on this link: http://nyti.ms/1JxnENP
Miles Aldridge's Pop-Up Gallery Exhibition at 60 Soho was reviewd by Time Lightbox and W Magazine. Click the links below to view the full articles, or visit our press page.
Time Lightbox: http://time.com/3640178/miles-aldridge-plastic-surgery/
Our exhibitions Jerome Liebling: Brooklyn and Other Boroughs and Fred W. McDarrah: The Artist's World were reviewed in numerous publications including The New York Times, NY 1 News, Time Lightbox, and The New Yorker. To view the full articles, click the link below or visit our press page.
Our highly-anticipated exhibition Selma March 1965 was previewed in three New York Times articles, CNN online, the New York Review of Books, and Arise News. To read the articles, click the link below, or visit our press page.
The Wall Street Journal featured Melissa Cacciola's current exhibition at the World Trade Center, Skywalkers: The Legacy of the Mohawk Ironworker at the World Trade Center. Click on the link below to read a fascinating interview with Melissa about the series
Mr. Liebling, who became known as a member of the Photo League, a group of socially minded photographers that disbanded in 1951, dug deeply into his subjects, using still photography almost like film, to explore a condition rather than an instant. “He and his subjects are looking at each other,” said Rachel Liebling, who curated an exhibition of her father’s work, which is to run at the Steven Kasher Gallery from March 13 to April 19. “They’re looking at him and he’s looking at them. He felt the regular people were the superstars. Those portraits are about that.”
The 92nd Street Y has organized a panel discussion "Defining Vietnam" featuring war correspondent Peter Arnett, veteran combat reporter Kimberly Dozier, and author Pete Hamill. They will discuss the photographs from the critically acclaimed exhibition we mounted last October, Vietnam: The Real War: A Photographic History from the Associated Press.
The New York Times previewed our exhibition Fred W. McDarrah: Save the Village in Sunday's Metropolitan section. The article, titled "Capturing the New York of the 1960s and '70s", by John Leland, praises McDarrah's rigorous documenting of the cultural movements, icons, and events that shaped the second half of the twentieth century.
“O’er the green mead the sporting virgins play, their shining veils unbound along the skies, tossed and re-tossed, the ball incessant flies."
According to Tom O’Conner’s History of Handball, the earliest mention of the game can be found as far back as 2000 BC in Egypt. The priests of the Temple Osiris in Thebes were depicted on the tombs, striking the ball with the hand. The game meandered to Europe, before Alexander the Great spread it around the Greek Colonies and the Apennine Peninsula (Italy). Accounts of handball are found in Scotland in 1427, where King James was a known fanatic, amongst the aristocracy of 18th century London, and finally, in its most reliable depiction, was introduced to the United States by Irish immigrants in the waning years of the 19th century. The game eventually settled in Brooklyn where it made its way into the DNA of an adolescent Jerome Liebling.
Steven Kasher Gallery is proud to newly represent Melissa Cacciola. Featured today on the New York Times Lens Blog is her tintype series "Brass on Tin". It includes portraits of brass band musicians from New Orleans will be exhibited next year at the New Orleans African American Museum.
Full Circle: Before They Were Famous (2010) is directed and edited by Brian Bayerl and features appearances by Robert Indiana, Ultra Violet, Taylor Mead, Eric Shiner, and Marie and William John Kennedy. The documentary aired on September 5th on WLIW21, WNET New York Public Media and on September 12th at 10:30 PM on Channel 13, WNET New York Public Media.
Mark Seliger has photographed famous portraits of musicians, actors, politicians, and other icons for magazines such as Rolling Stone, Time, and Vanity Fair. This New York Times article focuses on his country music career. Seliger is the lead singer for the band Rusty Truck, based in Los Angeles. The group released their second album.
Sundance Selects announced today that the company is acquiring U.S. rights to John Maloof and Charlie Siskel’s feature documentary Finding Vivian Maier, which was produced by Maloof and Siskel, and executive produced by Jeff Garlin.
This intriguing documentary shuttles from New York to France to Chicago as it traces the life story of the late Vivian Maier, a career nanny whose previously unknown cache of 100,000 photographs has earned her a posthumous reputation as one of America’s most accomplished and insightful street photographers.
BBC's documentary covers the incredible story of Vivian Maier. Catch the program on BBC's website.
We are honored to find Phyllis Galembo's photography featured in Carol Vogel's article on the Venice Biennale. Read the article here.