This spring, she showed “Spill,” photographer Daniel Beltrá’s two-month-long
project on the 2010 Deepwater Horizon oil spill in the Gulf of Mexico. Edelman
discovered the project when Beltrá, a veteran conservation photographer, was
a finalist for the Critical Mass prize in 2011. While his show was on display, she
asked him to do an artist’s talk, something she does with many of her artists.
Edelman says her arrangement with Beltrá is the same as those she has with
other new artists. “We commit to one year, which I liken to a dating period,
and then evaluate. Within that year, I see if I have an audience for the work
and if the photographer and I communicate well together. A year seems to be
a reasonable amount of time to assess my interest and if I am the right gallery
for the artist.” Though developing a personal relationship with a photographer
isn’t essential, “respect is key.” Edelman says that since they began working
together, she and Beltrá have talked often “about what he’s doing, where the
work is being shown, what my thoughts are on where he should show the
Yance Y RichaRdson GalleRY
New York Cit Y
This October, Yancey Richardson Gallery will host its first solo show of Jitka
Hanzlová’s work, 13 years after Richardson first saw Hanzlová’s images. In 1999,
photographer Gregory Crewdson and curator and collector Jeanne Greenberg
Rohatyn included Hanzlová’s images of the small Czechoslovakian village where
she grew up in the exhibit “Another Girl, Another Planet,” alongside work by Katy
Grannan, Jenny Gage, Dayanita Singh and other young women photographers.
At the time, Hanzlová was represented by a contemporary art gallery in New York
City. Richardson liked Hanzlová’s work so much she bought a print from the gallery. But it would be years before they met and even longer before they agreed
to a representation deal. “I’m sometimes watching people from a distance for a
long time,” Richardson says.
She prefers to represent her artists throughout their careers. That means
that she has commitments to the artists she already represents, which keep her
from taking on many new artists. (In addition to signing Hanzlová, she also took
on Bryan Graf two years ago.) For the same reason, she also likes to see how a
prospective artist’s work is continuing to evolve. “With some young artists, you
An image from Jitka Hanzlová’s “Forest” series, which gallery owner Yancey Richardson
saw at London’s Barbican Gallery.