ARTIST SERIES

Marc Yankus, Flatiron Building
Flatiron Building
Marc Yankus, The Ansonia
The Ansonia
Marc Yankus, The Emmet Building
The Emmet Building
Marc Yankus, The Empire
The Empire
Marc Yankus, Nineteenth Street_
Nineteenth Street
Marc Yankus, Alwyn Court
Alwyn Court
Marc Yankus, New City
New City
Marc Yankus, Chelsea Blues
Chelsea Blues
Marc Yankus, Dorilton Apartments
Dorilton Apartments
Marc Yankus, West Seventy Second
West Seventy-Second
Marc Yankus, The Van Dyke Building
The Van Dyke Building
Marc Yankus, Bank on Eighth
Bank on Eighth
Marc Yankus, Island Building
Island Building
Marc Yankus, H. H. Vail House
H. H. Vail House
Marc Yankus, Pale Yellow and Blue
Pale Yellow and Blue
Marc Yankus, Riverside Drive
Riverside Drive
Marc Yankus, Haughwout Building
Haughwout Building
Marc Yankus, Barber Shop
Barber Shop
Seventh and Bedford-Marc Yankus
Seventh and Bedford
Marc Yankus, Three Buildings
Three Buildings on West Tenth Street
Marc Yankus, Three Buildings on Greenwich Street
Three Buildings on Greenwich Street
Marc Yankus, Tinsmith
Tinsmith
Marc Yankus, Charles Street West of Hudson, 2015 Marc Yankus --980px
Charles Street West of Hudson
Marc Yankus, Eleventh Street East of Seventh
Eleventh Street East of Seventh
Marc Yankus, Red House on Eleventh Street
Red House on Eleventh Street
Marc Yankus, 190 Riverside Drive
190 Riverside Drive
Marc Yankus, Tinsmith
Bushwick Cafe
Mark Yankus, South Village Fence
South Village Fence
Marc Yankus, Near My Old Studio
Near My Old Studio
Marc Yankus, Playground
Playground

Marc Yankus’s dreamlike portraits of New York City buildings straddle a fine line between documentary and fiction. In The Secret Lives of Buildings he captures the city’s architecture in an uncanny moment of stillness, free from the frenzy of people and cars. The sense of quietude lends elegance to the structures, both majestic and humble. Yankus inspires viewers to see historical buildings with a fresh perspective, offering an idealized and even utopian version of the past, while other buildings are viewed through a lens of potential. Yet in other scenes, the decay of crumbling concrete, chipped-away paint, and remnants of deconstruction paradoxically inspire a sense of agreeable nostalgia.

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