YANCEY RICHARDSON: THE GOOD LIFE - 10 July 2008 to 22 Aug 2008

Current Exhibition


10 July 2008 to 22 Aug 2008
Hours : Monday-Friday 10-6
YANCEY RICHARDSON GALLERY
535 West 22nd Street 3rd floor
NY 10011
New York, NY
New York
North America
p: 1 646-230-9610
m:
f: 1 646-230-6131
w: www.yanceyrichardson.com











Slim Aarons
Sea Drive, 1967, Kevin McClory and his wife Bobo Segrist in the "Amphicar" at Nassau,
20 x 24 inch chromogenic print, Stamp by the estate on verso, Edition of 150
Web Links


YANCEY RICHARDSON GALLERY

Artist Links


Lisa Kereszi
Jodie Vicenta Jacobson



Artists in this exhibition: Slim Aarons, Diane Arbus, Tina Barney, Mitch Epstein, Elliot Erwitt, Peter Granser, Gail Albert Halaban, David Hilliard, Karine Laval, Bill Owens, Tod Papageorge, Martin Parr, Alex Prager, Daniela Rossell, Carlos Perez Siquier, Julius Shulman, Larry Sultan, Eve Sussman, Lars Tunbj�rk, Massimo Vitali


THE GOOD LIFE
JULY 10 � AUGUST 22, 2008
OPENING RECEPTION: THURSDAY, JULY 10, 6 TO 8 PM
Summer hours: Monday � Friday, 10AM TO 6 PM


The Yancey Richardson Gallery is pleased to present The Good Life, a group exhibition of photographs by Slim Aarons, Diane Arbus, Tina Barney, Mitch Epstein, Elliot Erwitt, Peter Granser, Gail Albert Halaban, David Hilliard, Karine Laval, Bill Owens, Tod Papageorge, Martin Parr, Alex Prager, Daniela Rossell, Carlos P�rez Siquier, Julius Shulman, Larry Sultan, Lars Tunbj�rk, and Massimo Vitali and a video piece by Eve Sussman.

The exhibition explores the concept of the good life from a myriad of perspectives, including work that looks at pleasure-seekers from up and down the socio-economic ladder, ranging from Tina Barney's scion of an aristocratic European family surrounded by old-world symbols of wealth and entitlement to Bill Owens photographs of self-satisfied suburbanites to David Hilliard's tableau of his blue collar kin enjoying an afternoon of donuts, coffee and televised soft porn. Sun and water feature frequently as ingredients in the good life for Aarons, Siquier, Tunbj�rk, and Vitali, while Martin Parr, well known for his affectionate satires of the English, focuses on the role of libations high and low.

For Julius Shulman, Alex Prager, and Eve Sussman, the good life is embodied by images of 1960s California cool. While Shulman proposes modernist architecture as a vehicle for the ideal life, Sussman!s video The Aquarium presents the glass box as the stultifying container for a cast of characters caged by the trappings of style. Children at play, like those in images by Diane Arbus and Karine Laval, often seem to epitomize the good life with their freedom from responsibilities and time constraints. Childhood, however, is generally followed by decades spent working and sacrificing to prepare for that last elevated plateau of life � retirement. As represented by Peter Granser, Mitch Epstein and Larry Sultan, this might be spent floating bellyup in the pool, perfecting a golf swing or relaxing side-by-side in the familiar domesticity of the perfectly appointed bedroom.

Taking delight in life!s small pleasures and follies, comfort in suburban domesticity, or satisfaction in having arrived at a certain echelon of society, the pursuit of the good life takes on a variety of meanings as seen through the lens of style, era and age. The Good Life is as simple as the perfect burger, as polished as life in a glass box, as decadent as Santa in summer. It seduces with red nails and Budweiser, it leaps from the dock into the golden last light of summer, rests in the familiar glow of a bedside reading lamp, floats in sun city, dozes on a lawn chair, and sets sail in an amphibious car.





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