Yancey Richardson on 30 years of working with artists

Thirty years in the past, Yancey Richardson opened the doorways to her first exhibition house at 560 Broadway in New York’s Soho neighbourhood. An inaugural present by Sebastiao Salgado marked the beginning of a decades-long profession spent fostering relationships with photographers, relationships which proceed to flourish with artists together with Mickalene Thomas, Zanele Muholi and Mitch Epstein.

Over the years, the gallery has moved twice, to Chelsea in 2000, then on to 525 West twenty second Street in 2013, the place it stays. To rejoice three many years of championing rising and established artists, Richardson has requested the artists she represents to curate a present of the final word topic — themselves.

‘I actually really feel the artists are on the core of the gallery so I requested every artist to pick out a piece by one other artist on our roster with whom they felt a inventive affinity,’ says Richardson. ‘They loved it! And it was so fascinating to see who selected what.’

The ensuing present, ‘Yancey Richardson: Celebrating 30 Years’, is a joyful curation, with work from Mickalene Thomas, chosen by David Alekhuogie; Matt Lipps, chosen by Guanyu Xu; David Hilliard chosen by Kahn & Selesnick; and Yamamoto Masao chosen by Mary Ellen Bartley.

Richardson has many profession highlights, however a couple of stand out — largely focussed on her relationship with the photographers she represents.

‘It is hard to single any out but highlights would include opening the gallery in 1995 with a show by the great Sebastiao Salgado who has made such powerful work about the human condition and the fragility of the natural world; my decade-long relationship with the brilliant multidisciplinary artist Mickalene Thomas; and global representation of the barrier-breaking artist Zanele Muholi since 2013.’

What has she loved most concerning the nurturing relationship between artist and gallerist? ‘Looking at new work, being privy to the artist’s inventive course of and offering suggestions, advocating for my artist’s work – it’s all an honour and immensely rewarding,’ Richardson says.