Art Nerd New York | Los Angeles

Andy Freeberg as curated by DK Johnston

Opening Thursday, October 5th at The Quin Hotel, 101 West 57th Street

Andy Freeberg as curated by DK Johnston, includes work from three of Freeberg’s published series: Sentry, Guardians, and Art Fare. Each series offers a unique perspective on the art world itself, with Freeberg taking a step back to turn his lens not only on works of art – but on the environment in which the work is displayed and the people who interact with it. In the process, Freeberg’s own work has become lauded for its compelling power and is now exhibited in public and private collections including the Museum of Fine Arts Boston, the George Eastman Museum, the San Francisco Museum of Modern Art, the Museum of Fine Art, Houston, and the Portland Museum of Art, among many others.

Long fascinated with the gallery and museum worlds, Andy Freeberg often turns his camera on dealers, artists, and even museum guards, exploring their interplay with the works of art themselves. Freeberg was born in New York City and after studying at the University of Michigan began his photography career in New York taking portraits for publications including Rolling Stone, Time, and Fortune, photographing the likes of Michael Jackson, Bill Gates, and Neil Young. Freeberg began concentrating on his own photography projects and in 2007 his series Sentry, about the large gallery desks in New York’s Chelsea art galleries, had its debut at the Danziger Gallery in Chelsea. His project, Guardians, about the women that guard the art in Russian museums, won Photolucida’s Critical Mass book award and was published in 2010. His series Art Fare was published as a monograph in 2014.

His work has been featured around the world in publications such as Le Monde, The Guardian, and The New Yorker, and in solo shows ranging from the Cantor Museum in Palo Alto, CA, to the Russian State Museum for the City of St. Petersburg, and most recently, the Patricia Conde Galeria in Mexico City.

With a keen eye for the trappings of setting and display, perhaps only Freeberg, on a visit to Russia’s Hermitage, would come to find the museum guards to be as much a part of the experience as the art itself. As an unplanned visit became a well-crafted book project, Freeberg was also struck by the universal human attraction to art and its powerful interplay with the viewer. He has recounted the story of one elderly guard at Moscow’s State Tretakov Gallery Museum, who comes to the museum even on her day off, to “sit in front of a painting that reminds her of her childhood home.”

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