A New Reality at The Yard: LES

December 18, 2018/ by Olivia Ramirez

We’re thrilled to welcome our winter art exhibit to The Yard: Lower East Side, featuring works by Slim Aarons, Den Marino, and Massimo Vitali. The exhibit, titled “A New Reality” and curated by IFAC Arts, pulls together three unique perspectives of humanity and our relationship to the natural and manmade world. The collection spans more than fifty years. 

In March of 2019, we will be celebrating these incredible accomplishments in photography with a closing art reception. Check back soon for more details.

About the Artists

Den Marino

Den Marino is a resident of New York City and grew up in the industrial city of Yekaterinburg in the Russian Ural region. His parents were military builders constantly moving from one top-secret Soviet city to another to take part in monumental industrial projects. This informs the artist in his work at the intersection of photography and installation. He seeks to build worlds, consisting of elements surrounding the industrial reality and humanities placed within it.


Den Marino, Tibet Landscape

Slim Aarons

Slim Aarons was an American photographer noted for photographing socialites, jet-setters, and celebrities. Born George Allen Aarons, he spent his youth in New Hampshire and New York before joining the army during World War II, where his photography career began as a combat war photographer documenting for Yank Magazine in Europe, North Africa, and the Middle East.


Slim Aarons, American socialite Mrs. Winston F. C. Guest (aka C. Z. Guest, 1920 – 2003) with a poodle and a Great Dane at her ocean-front estate, Villa Artemis, in Palm Beach, Florida, circa 1955.


a_new_reality-the_yard_Lower_east_Side-coworking_nyc-Slim-Aarons-Poolside_Glamour, 1970

Slim Aarons, Poolside Glamour, 1970

Massimo Vitali

Massimo Vitali is an Italian photographer based in Lucca. Best known for his large-format color photographs of beach scenes, Massimo Vitali has worked as a photojournalist, cinematographer, and fine arts photographer. Early in his career, Vitali developed a mistrust for documentary photography’s ability to reproduce the complexities of reality, which drew him away from photojournalism and instead towards a more conceptual practice. In his “Beach Series” (1995 onwards), he photographed people on Italian beaches as a commentary on the sinister elements, like “cosmetic fakery […] commodified leisure […] and rigid conformism,” behind the supposed normality of these scenes.

a_new_reality-the_yard_lower_east_side-coworking_nyc-Massimo_Vitali_Bagni_Lido, 2006

In 1995 he took on fine art photography, often standing on a podium four or five meters high, and using large-format film cameras to capture high-resolution details over a broad expanse in locations such as beaches, clubs, and public spaces.

The works by all three artists tell unique, vivid stories about the times that they capture. At The Yard, we are excited to observe the collection and get a glimpse into these moments of our past as we as a community look into our future. Special thanks to IFAC Arts for sharing these artworks with us.


This exhibit is part of The Yard Art Program, which features seasonally rotating art exhibits and permanent collections across The Yard’s locations. You can read more about our current exhibits on our blog.