Fullerton-Batten, The Runway, 2013, Courtesy of the artist and Jenkins Johnson Gallery, San Francisco


Jun 26, 2014 — Aug 29, 2014

Jenkins Johnson Los Angeles Fair Exhibitor

464 Sutter Street

94108 san francisco

T +1 415 677 0770

Jenkins Johnson Gallery, San Francisco is pleased to present Celebrate Summer, a group exhibition of gallery artists Ben Aronson, Tim Etchells, Scott Fraser, Julia Fullerton-Batten, Kenyatta A.C. Hinkle, Rin Johnson, Annie Kevans, Julian Opie, Polixeni Papapetrou, Gordon Parks, Scott Prior, Skip Steinworth, and Timotheus Tomicek

Celebrate Summer features selected artists who stretch the boundaries of perception, creating a discourse on the power of attention and social awareness.

Gordon Parks’ American Champion portfolio of 12 photographs focuses on the transformation of Cassius Clay into the heavyweight champ Muhammad Ali. 2014 marks the 50th anniversary of Ali becoming Heavyweight Champion of the World.


Julia Fullerton BATTEN l Korea

Korea est la nouvelle série de Julia Fullerton-Batten. La photographe s’est intéressée aux tensions et contrastes qui dominent dans ce pays, en les exprimant à travers des portraits de femmes corérennes mises en scène en costume traditionnel au cœur de leur ville moderne et austère. Un contraste sublimé que la photographe illustre avec esthétisme et poésie pour raconter l’histoire de ce pays et la vie de ces délicates personnes dans un environnement strict.

Les travaux de Julia Fullerton-Batten ont été publiés, entre autres, dans le New Yorker, Le Monde et le Financial Times. Elle a été exposée à Paris, Shanghai, Madrid, Londres… En février, une exposition s’ouvre au Fotograsfika, le musée de la photographie de Stockhom, en Suède. Née en Allemagne, la photographe vit et travaille à Londres.

Le travail de Fullerton-Batten est régulièrement acclamé par la critique. L'une de ses œuvres a été choisie comme image de couverture du livre A Guide to Collecting Contemporary Photography (Guide pour les collectionneurs de photographie contemporaine) publié en 2009 par Thames & Hudson. Elle a été exposée dans des institutions internationales de premier plan, telles le Centre Pompidou, le musée d'art contemporain de Shanghai, le musée Thyssen-Bornemisza à Madri et, dans le cadre d'un show solo, à la National Portrait Gallery de Londres.

A testament to love
Jusqu'au 15 février 2014
Jenkins Johnson Gallery
521 W 26th Street | 5th floor
New York, NY 10001

Publié le 11.02.14

Jenkins Johnson Gallery, Opening Thurs Jan 13th

Opening reception on Thursday, January 13 from 6 to 8 pm. 

January 13 – February 24, 2011

Jenkins Johnson Gallery

521 West 26th Street, 5th Floor

New York, NY 10001


Tuesday – Saturday, 10 am – 6 pm

Jenkins Johnson Gallery is pleased to announce a group exhibition of multimedia works featuring images of women and girls by artists including Ryan Bradley, Caleb Cole, Dru Donovan, Emile Dubuisson, Maggy Rozycki Hiltner, Beth Hoeckel, Conor King, Carey Kirkella, Danelle Manthey, Pamela Murphy, Vanessa Prager, and Clare Stigliani.

Art history and the art world have always been dedicated to depictions of women. The Venus of Willendorf, frequently considered to be the first piece of art, is a fertility figure of a woman created between 24,000 and 22,000 BC; goddesses were frequently sculpted by the Greeks, and Egyptians artistically honored their female pharaohs equally to the males. Renaissance artists were preoccupied with female subjects, and Impressionists painted women along with their waterlilies. Picasso and Matisse had their lovers for subjects – Abstract Expressionists even painted women. Contemporary artists are of course equally dedicated to depicting women in their works. The twelve artists included in Girls Girls Girls all have a predilection for featuring females in their works as well.

Because women are consistently a staple subject in the art world, they are always a topic of discussion as well. In the 1970s, John Berger wrote the seminal book Ways of Seeing in which he broadly discusses art history, but devotes a section to how women were and are portrayed within both “high art” and “commercial art,” writing, “Men dream of women. Women dream of themselves being dreamt of. Men look at women. Women watch themselves being looked at…Women constantly meet glances which act like mirrors…” Berger also discusses the intent of the artist, giving female subjects and the artists who portrayed them a more active role in the viewing process; contemporary artists, like those featured in this exhibition, have largely removed the voyeuristic aspect of depicting women. The artworks featured in this exhibition are a revisionary look at these antiquated, marginalizing viewpoints. The artists included, while often showing how beautiful their subjects may be, remove them from their sexualized, voyeuristic capacity, focusing on telling their stories or commenting on other pertinent social and artistic topics, which may or may not be associated with femininity and womanhood.

For example, Beth Hoeckel’s collages strive to blend seemingly ordinary people with extraordinary settings and landscapes, often beyond the realm of imagination; in “Volcano at Night,” we observe three faceless women peering into an abyss from which red lava and purple smoke emit, a clearly fabricated though undeniably engrossing image. Hoeckel’s figures’ faces remain obscure, giving the viewer the opportunity to question the environments depicted and to assign their own feelings to the situation rather than to gaze lustily on the subjects, as often was the case in the past with faceless figures. Similarly, in Danelle Manthey’s Mannequin series, the photographer uses a young girl mannequin to stand in for anyone who has ever felt isolated; Manthey’s works do not necessarily revolve around the figure as female but rather as a neutral body on whom the viewer can reflect, as loneliness and isolation are experiences dealt with varyingly. The resulting images feature saturated, rich colors and yet are undeniably haunting and eerie. Caleb Cole’s photographs from the Odd One Out series also focus on this sense of loneliness, isolating one awkward, singular figure from the crowd; regardless of the figure’s sex, we can all empathize with that distinct disconnected feeling.  

In an different vein, Maggy Rozycki Hiltner’s mixed media fabric pieces, like Pink Cloud, take their female figures out of their traditional “good girl” roles and turn expectations upside-down; Pink Cloud’s figures at first seem to be idealized little girls, but with further investigation we see them biting their playmates, trying to steal kisses, and pouting in the corner, behavior that questions the accepted ideals of feminine childhood behavior. The work imbues a sense of lavish overindulgence, like the cloyingly sweet smell of icing at a birthday party, and Rozycki Hiltner frequently uses imagery of baked goods and flowers in her work to give a false sense of sweetness. Claire Stigliani’s fascinating drawings and paintings, sometimes embellished with hair or glitter, also feature women as an effort to delve into ideas of femininity and beauty. As she explains, her works “play on the passive predicament of the heroine, appropriating patriarchal narrative structures and remaking them as vehicles of female empowerment. Wealth, youth, sex, and beauty represent the traditional requirements for the realization of dreams, but they equally represent the source of feminine psychological confinement and isolation.”

The works included in Girls Girls Girls all highlight how the depiction of women in art has progressed from sexualized, Venus de Milo works to become a powerful commentary on the arts and society at large. Whether the female figures depicted serve to represent social milieu, as in Manthey’s or Hoeckel’s work, or are purely documentary, as in Kirkella’s and King’s photographs, or serve to critique the stereotype of femininity and womanhood, like Rozycki Hiltner’s or Stigliani’s work, it has certainly transcended being purely a source of visual gratification. 

Courtney Johnson

Cycle of Cities I: Collapse

March 1 - April 28, 2012

Jenkins Johnson Gallery

521 W 26th St, 5th Fl

New York, NY 10001


Courtney Johnson is an Assistant Professor & Gallery Director in the Department of Art & Art History at University of North Carolina Wilmington

Polexeni Papapetrou at Jenkins Johnson

In a photographic tradition that includes Bill Henson and Sally Mann, Poli Papatetrou has utilized her son and daughter as models for her photographs. She has never shied away from the controversy that could arise from this, and once, in 2003, she caught the attention of the then Prime Minister of Australia, who only rivaled Rudy Guiliani in the level of his inappropriate remarks about art and censorship. The image, Olympia as Lewis Carroll’s Beatrice Hatch Before White Cliffs, pictured her 6 year old daughter, Olympia, and the photo made the cover of Art Monthly, Australia.

Olympia’s pose is suspiciously close to another that was considered scandalous.

The silver lining in all this is that Poli began to layer her sitters with masks and costumes that broadened her communication about growing from childhood to adolescence. That leads to her current show at Jenkins Johnson, Stories from the Other Side, which includes 2 recent series, The Ghillies and Between Worlds.
The Ghillies came from her son who is the model for the pictures. It comes from camouflage on a video game. In the photos, the figure either blends in with the environment or sticks out like a sore thumb. What an apt metaphor for the struggle of adolescence, whether to stand out or blend in.

In Between Worlds, the figures don animal masks. References to fairy tales abound, as does the images from Where the Wild Things Are. There is something so poetic in the way the figures go about their business in a world that hovers between reality and fantasy.

Wouldn’t it be nice if in fact life was about living happily ever after.


Julia FULLERTON-BATTEN l A testament to love

Dernières semaines pour aller voir l’exposition A testament to love de Julia Fullerton-Batten à la Jenkins Johnson Gallery à New York.

Inspirée par les décors et la lumière du cinéma hollywoodien des années 60 et 70 ainsi que par l’univers iconique d’Edward Hopper, Julia Fullerton-Batten traite de la douleur et de la difficulté de vivre lorsque l’amour va mal. A testament to love met en scène des femmes en quête du “happy ending”. Une quête éternelle du bonheur ou d’une raison d’être, une quête qui conduit à la solitude, à la colère, à la resignation…, car à défaut de rencontrer l’amant, ces femmes se retrouvent face à leur détresse. La densité du vide est palpable.

La photographe poursuit son travail d’’’exploration de la psyché”, débuté avec des adolescentes dans ses premières séries, et de représentation esthétique de la tension émotionnelle à travers des mises en scène et décors scénarisés poétiques voire fantastiques.

Les travaux de Julia Fullerton-Batten ont été publiés dans le New Yorker, Le Monde et le Financial Times, parmi d’autres. Elle a été exposée à Paris, Shanghai, Madrid, Londres… En février, une exposition s’ouvre au Musée suédois de la Photographie. Née en Allemagne, la photographe vit et travaille à Londres.

Jenkins Johnson Gallery
Du 17 décembre 2013 au 15 février 2014
521 W 26th Street 5th floor
New York NY 10001 - USA

Publié le 23.01.14


Durante o verão as galerias de arte por aqui desaceleram o ritmo e organizam exposições de duração extendida, com muitas coletivas de artistas. Numa volta rápida por Chelsea descobri algumas bem bacanas, que valem a pernada mesmo abaixo de tanto calor.

A Jenkins Johnson Gallery exibe Photography Now, mostra dedicada exclusivamente à fotografia contemporânea. São nove fotógrafos, assinando quase cinquenta trabalhos, na maioria retratos. Destaque para a série de desenhos sobre pequenas impressões antigas de Francesca Sundsten; para os interiores encenados de Julia Fullerton-Batten e Timotheus Tomicek, e para os retratos de crianças em seus quartos abarrotados e quase-monocromáticos de Jeongmee Yoon. Photography Now fica em cartaz até 31 de agosto. 

LightYears: Gerald Förster

Check out Gerald Förster at Jenkins Johnson Gallery. An amazing project called “LightYears” which compresses 10 years of work in to a series that is both erudite (and distinctively rendered). In an astonishing meditative, yet confident style - Gerald, much like Christopher Griffith, are photographers that share with open hearts and have allowed me to feel a part of a community of creatives that pushes and explores the world with confidence and a sense of purpose of expression. Having friends who help encourage you as a person and as an artist is a good thing. It also does not hurt that all three of us also share a mutual obsession for shooting pretty much anything and anyone against an isolated backdrop - oh how I miss my African Studio…. Also check out Gerald’s video work which are some of my favorite video pieces ever done by an artist. They are incredibly well executed (as well as presented) and make me think I am seeing the next leap in photographers being able to express themselves as both still and motion film documentarians - check out the boxers and the geisha’s in particular (the photo I shot posted above is a man I saw in the gallery who videotaped almost every piece in the show - I was struck by his symmetrical haircut). The exhibit is available for viewing in New York through May 30th, 2009.