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Barnaby HallGill, Side Nude, 1997, Printed Later1997
1997
$2,750
£2,095.08
€2,415.71
CA$3,848.57
A$4,300.14
CHF 2,249.45
MX$52,733.44
NOK 28,743.67
SEK 27,256.61
DKK 18,029.75
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ABOUT
After 30 years of only exhibiting fine art photography, the Robin Rice Gallery is pleased to present a group exhibition featuring a selection of her gallery photographers and three visual artists new to the space: Erica Hauser, and Matt Kinney. The selected works of these well-established Beacon, NY artists blend with the gallery’s fine art photography. Upon entering the gallery, viewers will encounter figurative sculptures, abstract paintings, and ink wash drawings alongside fine art photography. Since Robin Rice’s move to Beacon, NY, this concept developed organically; the group exhibition is a fusion of artistic mediums inspired by chance encounters between Rice and friends at art events in Beacon. After spending time with creatives who've spent lockdown in studios, Rice carefully chose works most apropos with her edited inventory of framed photography. Through these chance encounters Rice found inspiration to create this exhibition unlike anything seen before at the gallery and curated an immersive experience.
Maintaining her expert aesthetic, Rice has brought together a mosaic of mediums that seamlessly fit together like pieces of a puzzle. Kinney's collection of ink wash paintings in Japanese Sumi ink and watercolor paintings on hand-torn paper render fleeting glimpses of figures and animals as well as primal symbols. Tasmania Spiral is a hypnotic work that resembles a gyre. Also in focus is Hauser’s collection of abstract paintings featuring an alluring vintage color palette of acrylic paints. Butternut Stack (2020) uses cutout collage and Meditation: Goldenrod (2020) plays with resonant shape impressions reminiscent of Ellsworth Kelly and Josef Albers.
Due to the city’s Covid-19 regulations, the exhibition will be the focus of bimonthly Saturday Salons. The first 10 people who RSVP through our email blasts will be able to attend each Saturday afternoon event. These events encourage connection — which we all need in times like these — and offer light snacks and drinks.
Each year, Robin Rice celebrates a Summertime Salon to showcase all her gallery artists. However, this past year the pandemic halted the tradition as businesses across New York City were forced to go on hiatus.
Listing is for UNFRAMED print. Inquire within for framing.
If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production.
Shipping time depends on method of shipping.
Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph.
black and white, nude, woman, women, abstract, silhouette, figurative
- Creator:
- Creation Year:1997
- Dimensions:Height: 30 in (76.2 cm)Width: 40 in (101.6 cm)
- More Editions & Sizes:11x14Price: $1,00020x24Price: $1,75030x40Price: $3,000
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:1stDibs: LU114572761

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After 30 years of only exhibiting fine art photography, the Robin Rice Gallery is pleased to present a group exhibition featuring a selection of her gallery photographers and t...
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Gill (Side Nude), 1997
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"Meeting Place", 2001
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"Esquire Magazine", New York, NY, 2001
By Jose Picayo
Located in Hudson, NY
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The price is for an unframed photograph.
11" X 14" Edition of 25.
The Robin Rice Gallery is pleased to announce, 25 Years of Polaroids, a new exhibit by Jose Picayo. The opening reception will be held Wednesday, November 7th, from 6:00pm to 8:00pm. The exhibit will run through January 6, 2019.
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. When asked why it remains his preferred medium, Picayo answers, “Digital is so overpoweringly real; photography is more magical to me.” For Picayo, Polaroid film is a medium where he can capture something as is – a moment in time. Just to hold the photograph in his hands is enough.
25 Years of Polaroids showcases Picayo’s most iconic work. This exhibit includes personal photographs of Cuba from 1994, Polaroid image transfers showcasing his impressive use of visual texture and his eye for fashion. Also included are his Atget-esque tree portraits from a New Jersey public arboretum in 2012. Additionally, a selection of 8” x 10” Polaroids from Mugshots 2008, will be included, exploring how a person’s soul can be captured in what appear to be basic photographs. The main questions at the heart of Picayo’s photography stem from the mystery of human perception and the precious things that are lost to time.
The invitational image, Rotating Doll, 1997, features a multi-paneled display of polaroids which cover an entire length of a wall. These 20” x 24” Polaroids appear larger than life and were given much praise in Picayo’s recent exhibit Polaroids 2016 at The Erie Museum in Erie, PA. This series stems from a collection of children’s dolls Picayo has found over the years, each one with its own strange and authentic story to tell. By cultivating a deteriorated look reminiscent of antique fresco painting, Picayo examines time using the inanimate faces of broken dolls, reflecting on the objects we hold dear and how they fall apart as we try to hold onto them.
Picayo speaks of his own influences, crediting photographers Eugène Atget, Walker Evans, and Edward Curtis, Michael Disfarmer, and Torkil Gudnason with impact on both his fine and commercial art. He is well known for his work in fashion, but for Picayo his personal and commercial work are interrelated, each extensions of one another. Born in Cuba, Picayo immigrated to Puerto Rico during his childhood and settled in New York City by the early 80s. After receiving his BFA from Parsons School of Design, Picayo began his professional career as a commercial photographer, shooting for magazines such as Vanity Fair, Sassy, Taxi, and Connoisseur. Picayo’s work has since appeared in Harper’s Bazaar, L.A. Style, New York Times Magazine, Esquire, Rolling Stone, NY Magazine, HG, and Elle Décor. Picayo has held nine solo exhibits to date at the Robin Rice Gallery.
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