Press

I have known artist Patricia “Pato” Iglesias and followed her work for over a decade, and have come to view spending time with her as something of a master class in beauty. She greets her guests with tea and sweets served on patterned china. Her spaces are layered with furniture and objects she has collected over the years that trace the path from her upbringing in Buenos Aires, to Savannah, where she attended school, to Brooklyn, where she has lived for over two decades. Each piece is placed with a nonchalance that keeps the overall vibe relaxed and inviting, and her warmth and genuine enthusiasm encourage long, laid-back visits.

"Shaefer, a Fairfield resident, draws with charcoal — using a language of mark-making that is defined, gestural and rhythmic — to create life-sized images on vellum paper.

"The richness of detail, reminiscent of Rembrandt’s etchings or Durer’s woodcuts, imbues the work with a resonant stillness and dignity, Silvermine said."

The title, taken from a poem by former US Poet Laureate Robert Pinsky about the area of New Jersey where both he and Haughey grew up, speaks to the vernacular interest and deep connection to place that the subject matter holds. The son of a union sign painter, Haughey’s interest in roadside architecture and signage began at an early age, and as a native of the Jersey Shore, he is greatly influenced by the seasonal economy and off-season vacancy of a tourist destination.

Photographer Tyler Haughey grew up less than a mile from the beach just outside of Asbury Park, in New Jersey. On weekends, he used to spend time at his grandparents’ beach house in Barnegat Light where started a true fascination for coastal towns and regions.

Earlier this year, New York-based photographer released his new photobook entitled Everything is Regional, a print project described as a monograph that examines the built environment of northeastern coastal towns and explores how we use, interact with, and remember places designed and known for summer recreation.

"As we declared last year, just as our open calls aren’t “photo contests,” this is not a “Best Photobooks" list. It’s not a competition, and with just a few editors running the Humble show, feels disingenuous and unrealistic to declare it as such. Instead, this is simply a collection of photobooks that made an impact on us in 2018.

"As editors and curators with a broad spectrum of tastes, we responded to critical socio-political discussions, adventurous technical or conceptual potential, new takes on photo historical icons, or just damn beautiful image collections. As you move through this list, we encourage you to dig deeper into these photographers’ work and show your support for their careers and practice by buying a few, preferably directly from the publishers or photographers themselves."

"Last winter on a trip to Brooklyn I visited Suzy Spence who is a painter, curator, and writer who grew up in Maine. We enjoyed connecting around our shared Maine experiences while she gave me a tour of her live/work studio. Suzy has been active in the New York art world since the 1990s when she worked at the New Museum and exhibited her own work with downtown gallery American Fine Arts. In addition to painting and a variety of curatorial projects she is the Executive Publisher of Artcritical Magazine. When I entered Suzy's stunning, modern home I was taken by the large equestrian portraits on the walls of her studio, and the way her work space was so much a part of her living space. It's the first room you walk into, just off the kitchen and facing the street, with gorgeous floor to ceiling windows (light envy!) and is draped with drop cloths."

"The photos in Tyler Haughey’s series Ebb Tide capture the classic motels of the New Jersey shore in their 1950s candy-colored glory. His crisp formalism melds perfectly with the “modern” style of the structures and captures their spare winter dormancy. The series also includes close ups of old postcards depicting tourists enjoying the pleasures of the shore. The contrast between these two sets of images conjures thoughts of the slow demise of such quaint seaside retreats. A monograph of this work, Everything Is Regional, was published by Aint-Bad this Summer."

I met Jane Rosen not long after I’d begun publishing an art magazine. She was living in a rented house on a horse ranch near San Gregorio Beach forty miles south of San Francisco, and was unmistakably, a New Yorker. In fact, she was having a hard time making a decision. Would she make her career in New York, where she already had a great start, or trust her chances in northern California in the Bay Area? She’d gone back and forth, literally, over a period of some years from East Coast to West Coast and back. She’d taught at the School of Visual Arts in NYC and at Stanford in Palo Alto. And at one point, she was offered a tenured position at Bard, where she’d be teaching with a close friend, Judy Pfaff.  

To read the whole article click here.

"Hailing from New Jersey, Tyler Haughey has already received much critical acclaim for his explorative works, including being published in Slate, PDN, Lonely Planet and Wired, and represented by Sears-Peyton Gallery in New York and Los Angeles."

"Artist Kathryn Lynch does not take it as an insult if you call her work “primitive.” Far from it. Though she prefers to call herself a “simplist” – more specifically a “representational simplist,” she is quick to point out that it is “very hard to be simple.”

"Her paintings, she says, look so easy they inspire others to pick up a brush. Then they discover: “‘Damn, that’s hard.’ They don’t understand why it doesn’t work.”"