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Coordinates: 40°43′1.7″N 74°0′10.2″W / 40.717139°N 74.002833°W / 40.717139; -74.002833
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now at 54 franklin according to their website
 
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{{multiple issues|
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'''Postmasters''' is a [[contemporary art gallery]] located in [[Manhattan]]'s [[Tribeca]] neighborhood, owned and directed by Magda Sawon and Tamas Banovich. The gallery opened in the [[East Village, Manhattan|East Village]] in December 1984, moved to [[SoHo]] in 1989, and relocated to [[Chelsea, Manhattan|Chelsea]] in September 1998 and in June 2013 Postmasters moved to 54 Franklin Street in Tribeca, taking over a 4,500 square-foot ground-floor space complete with large functional basement. Postmasters is the primary gallery for all the artists they represent.<ref>[http://postmastersart.com Postmasters gallery website]</ref>
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{{Use mdy dates|date=March 2015}}
'''Postmasters''' is a [[contemporary art gallery]] located in [[Manhattan]]'s [[Tribeca]] neighborhood, owned and directed by [[Magda Sawon]] and Tamas Banovich.


⚫
The Postmasters gallery opened in [[East Village, Manhattan|East Village]] in December 1984, moved to [[SoHo, Manhattan|SoHo]] in 1989, and was relocated to [[Chelsea, Manhattan|Chelsea]] in September 1998. In June 2013, Postmasters was moved to 54 Franklin Street in Tribeca, taking over a {{convert|6500|sqft|m2|adj=on}} ground-floor space complete with a large functional basement.<ref>{{Cite web |title=Postmasters 38 Years |url=https://www.postmastersart.com/gallery_window.html |access-date=2023-09-05 |website=www.postmastersart.com}}</ref>
⚫
The gallery has a history of exhibiting work in media that is challenging for a commercial art gallery, including the work of several [[Net.art]]ists and political activists. For example, Maciej Wisniewski's media-rich e-mail software [http://netomat.net Netomat] was exhibited as an artwork at the gallery in 1999 before being exhibited at the [[Whitney Museum of Art]] in 2000. The gallery's decision to exhibit software as an art form engages the [[Marshall McLuhan]]-coined concept "[[The medium is the message]]" by updating it with Wisnieski's belief that 'the artist's role is to challenge the existing notion of software development and distribution.'<ref>Mirapaul, Matthew. [http://www.nytimes.com/2003/07/31/technology/a-drawing-board-for-multimedia-e-mail.html?scp=1&sq=postmasters+gallery&st=nyt "A Drawing Board for Multimedia E-mail"]. ''The New York Times''. July 31, 2003.</ref> And in May 2010, [[Chatroulette]] became both medium and subject for artists Eva and Franco Mattes AKA [[0100101110101101.ORG]].<ref>Fisher, Cora. [http://www.brooklynrail.org/2010/06/artseen/eva-and-franco-mattes-aka-0100101110101101org-reality-is-overrated "EVA AND FRANCO MATTES AKA 0100101110101101.ORG Reality is Overrated"]. ''Brooklyn Rail''. June 2010.</ref>


⚫
The gallery has a history of exhibiting work in media that is challenging for a [[art museum|commercial art gallery]], including the work of several [[Net.art]]ists and political activists. For example, Maciej Wisniewski's media-rich e-mail software Netomat was exhibited as an artwork at the gallery in 1999 before being exhibited at the [[Whitney Museum of Art]] in 2000. The gallery's decision to exhibit software as an art form engages the [[Marshall McLuhan]]-coined concept "[[The medium is the message]]" by updating it with Wisnieski's belief that the artist's role is to challenge the existing notion of software development and distribution.'<ref>Mirapaul, Matthew. [https://www.nytimes.com/2003/07/31/technology/a-drawing-board-for-multimedia-e-mail.html?scp=1&sq=postmasters+gallery&st=nyt "A Drawing Board for Multimedia E-mail"]. ''The New York Times''. July 31, 2003.</ref> And in May 2010, [[Chatroulette]] became both medium and subject for artists [[Eva & Franco Mattes]] AKA [[0100101110101101.ORG]].<ref>Fisher, Cora. [http://www.brooklynrail.org/2010/06/artseen/eva-and-franco-mattes-aka-0100101110101101org-reality-is-overrated "EVA AND FRANCO MATTES AKA 0100101110101101.ORG Reality is Overrated"]. ''Brooklyn Rail''. June 2010.</ref>
⚫
On September 6, 2001, German-born artist [[Wolfgang Staehle]], installed three live-feed video projections in the gallery, one of which was a panoramic view of [[Lower Manhattan]], which would remain on view for the rest of the month. In a strange coincidence, the feed captured the [[terrorist attacks of September 11th]], transforming a fixed image of the city into what the art critic [[Roberta Smith]] of the ''[[New York Times]]'' called "a live [[history painting]]."<ref>Smith, Roberta. [http://www.nytimes.com/2001/09/19/arts/in-new-york-s-galleries-a-new-context-seems-to-remake-the-art.html?scp=3&sq=%22magda+sawon%22&st=nyt "In New York's Galleries, a New Context Seems to Remake the Art"]. ''The New York Times''. September 19, 2001.</ref> In 2007, Hong Kong-based artist and [[Internet activist]] Kenneth Tin-Kin Hung exhibited a video critical of the [[George W. Bush administration|George W. Bush Administration]] entitled "Because Washington Is Hollywood for Ugly People".<ref>Smith, Roberta. [http://query.nytimes.com/gst/fullpage.html?res=9902EFDD1631F933A05751C1A9619C8B63&scp=8&sq=postmasters+gallery&st=nyt "Battle Rages on the Cultural Front"]. The New York Times. December 30, 2007.</ref>


⚫
On September 6, 2001, German-born artist [[Wolfgang Staehle]], installed three live-feed video projections in the gallery, one of which was a panoramic view of [[Lower Manhattan]], which would remain on view for the rest of the month. The feed captured the [[terrorist attacks of September 11th]], transforming a fixed image of the city into what the art critic [[Roberta Smith]] of ''[[The New York Times]]'' called "a live [[history painting]]."<ref>Smith, Roberta. [https://www.nytimes.com/2001/09/19/arts/in-new-york-s-galleries-a-new-context-seems-to-remake-the-art.html?scp=3&sq=%22magda+sawon%22&st=nyt "In New York's Galleries, a New Context Seems to Remake the Art"]. ''The New York Times''. September 19, 2001.</ref> In 2007, Hong Kong-based artist and [[Internet activist]] [[Kenneth Tin-Kin Hung]] exhibited a video critical of the [[George W. Bush administration]] entitled "Because Washington Is Hollywood for Ugly People".<ref>Smith, Roberta. [https://query.nytimes.com/gst/fullpage.html?res=9902EFDD1631F933A05751C1A9619C8B63&scp=8&sq=postmasters+gallery&st=nyt "Battle Rages on the Cultural Front"]. ''The New York Times''. December 30, 2007.</ref>
⚫
On occasion, Sawon has allowed artists to direct the public's attention to her own role as an [[art dealer]]. In 1992 the gallery hosted an exhibition of work by Silvia Kolbowski that featured posters of the gallery itself.<ref>Smith, Roberta. [http://www.nytimes.com/1992/10/04/arts/art-view-the-gallery-is-the-message.html?scp=1&sq=postmasters%20gallery&st=cse "The Gallery Is the Message"]. ''The New York Times''. October 4th, 1992.</ref> In an event called "Ask the Dealer," during the month-long [[hashtagclass]] series at [[Winkleman Gallery]] in 2010, Sawon promised to truthfully answer any question asked of her regarding her experience as a gallerist.


⚫
On occasion, Sawon has allowed artists to direct the public's attention to her own role as an [[art dealer]]. In 1992 the gallery hosted an exhibition of work by Silvia Kolbowski that featured posters of the gallery itself.<ref>Smith, Roberta. [https://www.nytimes.com/1992/10/04/arts/art-view-the-gallery-is-the-message.html?scp=1&sq=postmasters%20gallery&st=cse "The Gallery Is the Message"]. ''The New York Times''. October 4, 1992.</ref> In an event called "Ask the Dealer," during the month-long [[Hashtag Class]] series at [[Winkleman Gallery]] in 2010, Sawon promised to truthfully answer any question asked of her regarding her experience as a gallerist.{{citation needed|date=March 2015}}
==Represented artists==
* [[Guy Ben-Ner]] 
* Monica Cook
* [[Diana Cooper]] 
* [[Adam Cvijanovic]]
* Oskar Dawicki
* [[David Diao]] 
* [[Anthony Goicolea]]
* [[David Herbert (artist)|David Herbert]]
* [[Kenneth Tin-Kin Hung]]
* [[Natalie Jeremijenko]]
* [[Mary Kelly (artist)|Mary Kelly ]] 
* [[John Klima (artist)|John Klima ]]
* [[Katarzyna Kozyra]]
* Austin Lee
* Kristin Lucas
* [[Eva and Franco Mattes]] (aka 0100101110101101.org)
* Jennifer and Kevin McCoy
* [[Steve Mumford]] 
* David Nyzio
* [[William Powhida]]
* [[Rafaël Rozendaal]]
* Sally Smart
* [[Federico Solmi]]
* [[Wolfgang Staehle]]
* Eddo Stern 
* [[Chris Verene]] 
* Holly Zausner


== References ==
== References ==
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== External links ==
== External links ==
* [http://www.postmastersart.com/ Postmasters official website]
*{{Official website|www.postmastersart.com}}


{{coord|40|43|1.7|N|74|0|10.2|W|type:landmark_region:US-NY|display=title}}
{{coord|40|43|1.7|N|74|0|10.2|W|type:landmark_region:US-NY|display=title}}


[[Category:Art galleries in Manhattan]]
[[Category:Art museums and galleries in Manhattan]]
[[Category:Art galleries established in 1984]]
[[Category:Art museums and galleries established in 1984]]
[[Category:1984 establishments in New York]]
[[Category:1984 establishments in New York City]]
[[Category:Chelsea, Manhattan]]
[[Category:Chelsea, Manhattan]]
[[Category:Contemporary art]]
[[Category:Contemporary art galleries in the United States]]
[[Category:Contemporary artists]]
[[Category:Tribeca]]
[[Category:Tribeca]]
[[Category:Art Gallery]]

Latest revision as of 10:45, 28 January 2024

Postmasters is a contemporary art gallery located in Manhattan's Tribeca neighborhood, owned and directed by Magda Sawon and Tamas Banovich.

The Postmasters gallery opened in East Village in December 1984, moved to SoHo in 1989, and was relocated to Chelsea in September 1998. In June 2013, Postmasters was moved to 54 Franklin Street in Tribeca, taking over a 6,500-square-foot (600 m2) ground-floor space complete with a large functional basement.[1]

The gallery has a history of exhibiting work in media that is challenging for a commercial art gallery, including the work of several Net.artists and political activists. For example, Maciej Wisniewski's media-rich e-mail software Netomat was exhibited as an artwork at the gallery in 1999 before being exhibited at the Whitney Museum of Art in 2000. The gallery's decision to exhibit software as an art form engages the Marshall McLuhan-coined concept "The medium is the message" by updating it with Wisnieski's belief that the artist's role is to challenge the existing notion of software development and distribution.'[2] And in May 2010, Chatroulette became both medium and subject for artists Eva & Franco Mattes AKA 0100101110101101.ORG.[3]

On September 6, 2001, German-born artist Wolfgang Staehle, installed three live-feed video projections in the gallery, one of which was a panoramic view of Lower Manhattan, which would remain on view for the rest of the month. The feed captured the terrorist attacks of September 11th, transforming a fixed image of the city into what the art critic Roberta Smith of The New York Times called "a live history painting."[4] In 2007, Hong Kong-based artist and Internet activist Kenneth Tin-Kin Hung exhibited a video critical of the George W. Bush administration entitled "Because Washington Is Hollywood for Ugly People".[5]

On occasion, Sawon has allowed artists to direct the public's attention to her own role as an art dealer. In 1992 the gallery hosted an exhibition of work by Silvia Kolbowski that featured posters of the gallery itself.[6] In an event called "Ask the Dealer," during the month-long Hashtag Class series at Winkleman Gallery in 2010, Sawon promised to truthfully answer any question asked of her regarding her experience as a gallerist.[citation needed]

References

[edit]
  1. ^ "Postmasters 38 Years". www.postmastersart.com. Retrieved September 5, 2023.
  2. ^ Mirapaul, Matthew. "A Drawing Board for Multimedia E-mail". The New York Times. July 31, 2003.
  3. ^ Fisher, Cora. "EVA AND FRANCO MATTES AKA 0100101110101101.ORG Reality is Overrated". Brooklyn Rail. June 2010.
  4. ^ Smith, Roberta. "In New York's Galleries, a New Context Seems to Remake the Art". The New York Times. September 19, 2001.
  5. ^ Smith, Roberta. "Battle Rages on the Cultural Front". The New York Times. December 30, 2007.
  6. ^ Smith, Roberta. "The Gallery Is the Message". The New York Times. October 4, 1992.
[edit]

40°43′1.7″N 74°0′10.2″W / 40.717139°N 74.002833°W / 40.717139; -74.002833

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