YANCEY RICHARDSON GALLERY
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Sharon Core Early American, Apples in Porcelain Basket, 2007 15 x 18 inch, chromogenic print, Edition of 7
SHARON CORE EARLY AMERICAN OCTOBER 23 � DECEMBER 6, 2008 PROJECT GALLERY: AMY ELKINS WALLFLOWER GALLERY HOURS: TUESDAY � SATURDAY, 10 � 6
SHARON CORE EARLY AMERICAN
Yancey Richardson Gallery is pleased to present Early American, an exhibition of photographs by Sharon Core that builds on her earlier exploration of the relationship between painting and photography and between originals and appropriation. Based on early 19th century still life painting, in particular the work of Raphaelle Peale, Early American engages aspects of representation, mimesis, cultural memory and history. As Core states �The meaning of the photographs lies in the gaps that are created: the point between painting and photography, paint and light, past and present, authenticity and falsity.�
Originally trained as a painter, Core has maintained a fascination with the dichotomy between painterly illusionism and photographic reality. Inverting the common practice of making a painting based on a photograph, in Early American Core reconstructs the reality of still life paintings in a time before photography!s influence. Furthermore, her photographs are based not on Peale!s original paintings but on their reproductions in catalogs and books; thus, Core has re-created a reproduction of a painter�s representation of reality.
Following on her Thiebaud series, based on the highly recognizable imagery of Bay Area Pop painter, Wayne Thiebaud, Core sought a subject that was iconic, illusionistic, and un-influenced by photographic imagery. Her interest in Peale, considered America!s first professional still life painter, arose after her move to the historic Hudson Valley region coincided with the discovery of a catalog devoted to the first museum exhibition of his still life paintings.
Over the course of the past year, Core immersed herself in a meticulous analysis of Peale!s work and a careful consideration of his early19th century point of view, studying not only his stylistic tendencies but also, as she says, � his worldview, one that rejects the heroic in favor of the physical world at arm�s length and engages the psychology inherent in intimate space.� Unlike the Thiebauds, Core has not copied specific paintings but has attempted to assume the pictorial style of the artist. She has dissected Peale!s paintings in terms of their subject matter, composition, coloration, lighting, and scale in order to understand exactly how they are made and then proceeded to create new works in an act of historic imitation.
In addition to creating a garden and resurrecting a dilapidated greenhouse on her property in order to cultivate fruits and vegetables specifically for the project, Core researched, identified, and acquired authentic period glassware, porcelain, and cutlery. The recreation of the light found in Peale�s paintings was especially critical to the success of these photographs. Through photographic means, Core created light that would mimic the stroke of white paint that the painter used to represent light bouncing off a reflective surface or which traced the outline of a glass vessel.
Born in New Orleans and raised in Georgia, Core holds a BFA in painting from the University of Georgia and an MFA in Photography from Yale University. She has received the Rema Hort Mann Art Grant (2000) and a White Room exhibition at White Columns (2000). Her work has been exhibited in museums internationally including the Guggenheim Museum, the Museum of Contemporary Art, Shanghai and the Pushkin Museum, Moscow.
Amy Elkins Wallflower
Yancey Richardson Gallery is pleased to announce Wallflower, an exhibition of photographs by New York-based artist Amy Elkins. In her gallery debut, Elkins presents a series of male portraits against floral backdrops that explore a more complicated understanding of what constitutes masculinity.
In this ongoing series, Elkins� subjects are either friends or recent acquaintances photographed in her home in three-hour sessions. For each sitting, the artist constructs a small space whose interior is covered with floral wallpaper or fabric. In a reversal of the traditional male gaze, Elkins asks her subjects to pose shirtless and without props. Stripped of their personal accoutrements and placed in a clearly feminine environment, the subjects reveal a vulnerability and sensitivity that suggests a more nuanced reading of gender identity.
Working one-on-one in a confined space, Elkins forces a certain level of intimacy with her subjects. In these encounters, it is, in the artist�s own words, the tension that makes the photograph. Allowing the awkwardness of the exchange between photographer and subject to linger, Elkins captures moments of self-consciousness, pain and introspection in their mannerisms and expressions.
A California native, Elkins lives and works in Brooklyn. She is a recent graduate of the School of Visual Arts and her work has been included in several group shows in New York and Philadelphia. She has recently opened a solo exhibition Fractured Fiction at the Pingyao International Photo Festival in China. She is the co-founder and co-curator of the recently launched Women in Photography, a curated on-line venue for women working within the medium of photography.
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