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693 Fifth Ave, 6th Floor
New York, NY 10022
212-750-7070
Since 1977, Edwynn Houk Gallery has specialized in photography. The gallery's focus on leading figures of the Modernist movement led to the exclusive representation of the Estates of Brassaï, Bill Brandt, Dorothea Lange, André Kertész, and Ilse Bing. Beginning with the representation of Sally Mann since 1989, Houk Gallery also serves as a primary representative for contemporary artists Abelardo Morell, Matthew Pillsbury, Valérie Belin, Lalla Essaydi, Massimo Vitali, Robert Polidori, and Erwin Olaf.
Artists Represented:
Estate of Lillian Bassman
Estate of Ilse Bing
Estate of Erwin Blumenfeld
Estate of Bill Brandt
Estate of Brassaï
Estate of Elliott Erwitt
Estate of André Kertész
Estate of Dorothea Lange

Valérie Belin
Sebastiaan Bremer
Christopher Bucklow
Elinor Carucci
Lynn Davis
Lalla Essaydi
Mona Kuhn
Sally Mann
Abelardo Morell
Ron Norsworthy
Erwin Olaf
Matthew Pillsbury
Robert Polidori
Lee Shulman & The Anonymous Project
Herb Ritts
Paolo Ventura
Massimo Vitali
Jessica Wynne
Works Available By:
Harry Callahan
Henri Cartier-Bresson
Gregory Crewdson
Michael Eastman
Walker Evans
Sissi Farassat
Robert Frank
Adam Fuss
Robert Heinecken
Robert Longo
Vera Lutter
Danny Lyon
David Maisel
Man Ray
Arno Minkkinen
Lászl Moholy-Nagy
Vik Muniz
Charles Sheeler
Stephen Shore
Alfred Stieglitz
Paul Strand
Edward Weston

 

 
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Current Exhibition

Sissi Farassat

Sissi Farassat: Revelation



September 2, 2025 - October 18, 2025
Edwynn Houk Gallery is pleased to announce Revelation, a new body of work by Vienna-based artist Sissi Farassat, on view from 2 September through 18 October 2025. In Revelation, Farassat reframes the past. Working from anonymous vintage photographs — often touched by the glamour of Hollywood’s Golden Era — she reveals only a carefully selected fragment of each image. The rest is concealed behind a precisely cut overmat, a process art historian Michel Poivert has described as anti-collage. He writes: “For those familiar with Sissi Farassat's work, Revelation is above all a surprise… The desired object reveals itself only through concealment… What we don't see takes center stage. What is primarily addressed here is the off-screen as a space that is both real and imaginary.” Where collage builds through accumulation, Farassat works by subtraction. What remains visible becomes charged with the tension of the unseen. The gesture resists the completeness of the found photograph, creating space for ambiguity, speculation, and invention. Many of the source images are vernacular portraits of women, shaped both by the conventions of their historical moment and by the sitter’s own self‑presentation. Farassat’s curated windows disrupt these conventions, setting aside the fiction of the whole portrait. In doing so, she transforms the hint of mystery present in each image into its defining feature. What remains suggests more than it reveals, each portrait becoming a meeting place between what we see and what we imagine.