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Est. 1902

tim-maul

Seton Smith

Increasingly absent from image culture's pageant of tourism, lifestyle, obsolescence and urban sublime is evidence of the impulses that once allowed "fine art photography" to offer refuge to…

Hiroshi Sugimoto

In winter 2009, Gagosian Gallery elevated Hiroshi Sugimoto’s “Seascape” series (1987-96) to iconic status with a dramatic installation evoking a sacred space on the order of the Rothko Chapel. This fa…

John Giorno

LIFE IS A KILLER” isn’t a sign crafted by some backwoods visionary, nor is it graf­fiti scrawled by an urban malcontent on a subway platform. It’s both title and con­tent of a 12-by-12-inch 2009 pai…

Bill Beckley

Bill Beckley's early '70s projects at 112 Greene Street were reported in Avalanche magazine and brought him to the attention of a network of European galleries where frugal variations of Conceptual…

Moyra Davey

Moyra Davey’s first show with Murray Guy was an engrossing demonstration of the camera’s ability to isolate detail, organize content and serve agendas both simple and complex. Since the early ’90s, th…

Laurel Nakadate

“Fever Dreams at the Crystal Motel,” the title of Laurel Nakadate’s first show at this gallery, has a certain ring to it, like a Wilco CD or a Sam Shepard play. A cursory gallery scan may have led to…

John Waters

Director John Waters’s ascent from notorious creator of Pink Flamingos (1972) to toast of Broadway is as instructive a lesson in the meshing of high and low American culture as is his film Pecker

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