Joanne Freeman: New York Conversation
2025-11-02 14:13 (America/Halifax) | Kathryn Markel Fine Arts, 529 West 20th, Suite 6W, New York, NY, 10011, United States
Kathryn Markel Fine Arts is thrilled to announce New York Conversation, an upcoming exhibition of new work by Joanne Freeman. New York Conversation is Freeman’s third solo exhibition with the gallery. The show will be accompanied by a group show curated by Freeman titled Betty and Veronica. They will run concurrently from January 5th – February 11th, 2023.

“New York Conversation references my studio process, and metaphorically describes the random thoughts, snippets of conversation, lyrics and memories that ebb and flow over the course of a painting. Visual signs, nostalgia and the emotional residue of color, guide my aesthetic choices,” Freeman says. While intuitive, Freeman’s stencil-like forms and irregular hard-edge curves harken Modernism and minimalist sensibilities. This is heightened by a palette of saturated primary colors, or monochromatic works. “My paintings reference forms found in architecture and design,” she says. “I create compositions based on loose geometry and layered saturated colors. The hard edge process of cutting shapes and layering color onto treated raw linen, recalls qualities of mid-century low-tech graphics, color field painting and collage,” she continues.

The forms are hard-edged while still breathy and organic. The subtle transparencies at the edges of the forms and the contrast of the brushstrokes across the tooth of linen reveal the artist’s hand. “When applying oil paint to linen I try to accentuate the inherent qualities of both mediums,” she says. “ I consider both the transparency and opacity of the colors, how they abut and overlap, and how they respond to the textured tooth of the linen.” She is mindful of each medium’s materiality when painting. Her saturated colors in either gouache or oil paint are absorbed by the handmade paper or linen, enhancing the modernist flatness of her forms and use of space. “My reductive abstract paintings are about the beauty of singular color, the impact of pure abstract forms and the quiet order that cuts through the noise,” Freeman says.

Joanne Freeman has had solo exhibitions in galleries around the United States, and shown at The Queens Museum, Zillman Art Museum University of Maine, The Painting Center, and the Cape Cod Museum of Art. She’s a 2021 recipient of the Pollock-Krasner Foundation Grant, and the Vice President of the American Abstract Artists organization. She has her M.A in Studio Art from New York University, and lives and works in New York City.
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2023 Winter Juried Exhibitions
2025-11-02 14:13 (America/Halifax) | Blue Mountain Gallery, 547 W 27th St, Suite 200, New York, NY, 10001, United States
BLUE MOUNTAIN GALLERY is pleased to present the work of 47 artists, 51 pieces of artwork, selected by Eric Holzman for this year’s winter juried exhibition. The artists, drawn from over two hundred applicants from across the country, work in a wide range of media, including oil, acrylic, pastel, gouache, photography and mixed media.
​Heidi Alamanda , Marilyn Allen, Hilary Houston Bachelder, James Baker, Nina Kardon Baran, Bob Barnett, Raymond Berry, Leslie Blackmon, Pam Bowers, Nancy Breakstone, Karina Cavat, Audrey Cohn-Ganz, Elizabeth Courtney, Anne Delaney, Stephanie DeManuelle, Kiran K Dhaliwal, Janine Dunn Wade, Melanie Essex, Tom Fitzharris, Meghan Fleming, Nancy Granda, Theresa Heidig Rooney, Teresa Jade Jarzynski, Moishe Kampin, Sam Kelly, Michele King, Laura Levine, Pattie Lipman, Aaron Lubrick, Manuel Alejandro Macarrulla, James McKenna, Elizabeth Meyersohn, Mark. Milroy, Blake Morgan, Arnaldo J Rivera Rivera, Gail Rodney, Rebecca Gray Rolke, Roxy Rubell, Alyssa Schmidt, Abbey Stace, Leslie Ross Stephens, Yuri Tayshete, Preston Trombly, Laura Vahlberg, Ekaterina Vanovskaya, Aidan White and Lenore Wolf.
​Juror ERIC HOLZMAN has been painting and searching for connection in nature and other representational genres all his life. He is a romantic and a classicist who looks into the inner nature of things and tries to walk “The Beauty Way.” He was educated at Tyler School of Art, Yale, Skowhegan and the New York Studio School. Eric has taught at Pratt, the New York Studio School, and Bard College among others. He is a National Academician and has exhibited twice at the American Academy, winning awards from both institutions. Eric has also shown work at Lori Bookstein, Tibor de Nagy, Sideshow and Artist Equity, all in NYC, and at Gremillion Fine Art and Ellio Fine Art in Houston, Texas. He has received many honors, including grants and fellowships from the Guggenheim Foundation, the NEA, the Pollock Krasner Foundation, the Gottlieb Foundation and the Louis Comfort Tiffany Foundation. Website: www.ericholzman.com

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August-September @ Art Works!
2025-11-02 14:13 (America/New_York) | Art Works, 320 Hull Street, Richmond, VA, 23224, United States
Throughout August Art Works is open to the public, offering a variety of engaging exhibits. Adam and Anita Bradley present life-size figurative sculptures and paintings capturing a chaotic world. Mike Bily’s exhibit investigates ecosystems; Sharon Denmark captures light flowing through glass. Rachel Rowden exhibit is a portal of mysteries and Rebecca Visger provides a view from behind the wheel. Blake Bottoms exhibit is featured in the Community Bridge Project.

Join us for a fun-filled scavenger hunt with prizes, perfect for both the young and the young at heart. The activity culminates with prizes for all who participate. We also offer figure drawing sessions on the 1st and 3rd Sundays and Queer Life Drawing at Gold Lion Community Café on August 20th.

Bradley + Bradley: The Weight of Vanishing Shadows
Adam and Anita Bradley explore the human condition through their unique mediums. Adam presents life-sized figurative sculptures in wood, steel, ceramics, and smaller bronze pieces, reflecting themes of anxiety, loss, and grief. Anita complements this with layered paintings and mixed media collages, capturing the struggle for order in a chaotic world. Their intertwined approaches invite contemplation of deep human experiences.

The exhibition will be in the Jane Sandelin Gallery at Art Works and will continue through September 20, 2025.

Artifacts by Anne Chamblin
Anne Chamblin’s work is about merging sight and feeling. For her, painting is a way to process what she experiences. She brings spaces, places, and faces to life on canvas, turning bodies into landscapes and using layers to hint at the passage of time. Anne constantly reworks her paintings, always keeping a bit of the past to shape the present. Her journey is grounded in everyday experiences, resulting in unique, relatable art.

The exhibit will be in the Centre Gallery at Art Works through September 20, 2025.

Between Worlds by Hannah Anderson

American abstract artist Hannah Anderson (b. 1953), raised in the simplicity of a Quaker household, rediscovered her love for painting in 1990 with a Crayon watercolor set. Self-taught and inspired by contemporary artists, her work reflects the light and dark periods of her life, blending elements of nature and archetypal symbols from healing traditions. Her debut exhibit, Between Worlds, explores the liminal space between worlds and relationships. Hannah resides in Richmond, Virginia, and finds inspiration in Taos, New Mexico.

The exhibit will be in the Corner Gallery at Art Works through September 20, 2025.

Mental Health Matters: Celebrating Resilience Through Art All Media Show
This exhibit is a focal point of all Art Works’ openings. It is a juried show with cash prizes for 1st, 2nd and 3rd place. The show is open to all artists and all mediums.

In August the theme is Mental Health Matters: Celebrating Resilience Through Art. The community has donated terrific items that we will be auctioning to benefit NAMI, and Art Works will donate the sales from the All Media Show to NAMI.
WonJung Choi an international artist and educator, will be the juror for the exhibit. Wonjung Choi is a Korean-born, Virginia-based artist whose multidisciplinary work delves into the complexities of identity formation in a globalized world. See more on WonJung’s website: Click here.

Call for entries is July 15 – August 10, 2025, and may be submitted through the online form. The exhibit will be in the Port Gallery at Art Works through September 18, 2025. Check our website for details on submitting artwork: Call for Entries
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4th Friday Art Shows and Opening Reception @ Art Works!
2025-11-02 14:13 (America/New_York) | Art Works, 320 Hull Street, Richmond, VA, 23224, United States
4th Friday September 26th at Art Works

Join us on September 26, 2025 from 6 p.m. to 8 p.m. for an exciting opening reception of our new exhibits at Art Works. Meet the talented artists, and enjoy live music, refreshments, and libations sponsored by RVA Thriving Artists. The featured artists are Adam Reinhart, Jen Cook-Asaro, Sarah Miller, Tatiana Grace, Kenneth Lee, and experiment with interactive art by RVA Game Jams.

This event is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18, 2025.
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Heather Stivison, “Ebb & Flow”, a Solo Exhibition
2025-11-02 14:13 (America/New_York) | Pleiades Gallery, 547 W 27th St. Suite 304, New York, NY, 10001, United States
In this her third New York City solo exhibition, Heather Stivison explores the intersection of environmental science and visual art with a series of immersive paintings of the ocean.
Stivison paintings capture the essence of water—something clear and colorless, with its shape formed entirely by the external forces of objects, land, wind, gravity. Searching for water’s most primary qualities, she uses light, color, form, shape, line, to engender a sense of water. Fluidity, reflections, rhythms are evident in her ocean surface paintings. Stivison is fascinated by the reflections and patterns created by the coastal ocean surface. She paints variations on patterns, exploring how much she can change them and still maintain the sense that the subject is surface water.
Curator and director of Manhattan Arts International Renee Phillips writes:
“Stivison ventures beyond nature’s physical boundaries into abstraction with the profusion of free-flowing biomorphic patterns and tonal ranges. In her paintings the innate attributes of water evolve into metaphors, symbolism and visual poetry.”
The exhibition includes a massive 110-inch quadriptych that explores the sense of weightlessness and mystery that she finds in the imagining unknown ocean depths. Other paintings explore surface water patterns as abstract design.
Independent curator Kathy Imlay writes:
“Stivison’s paintings have a luminous glow—accomplished by the artist building up layer upon layer of viscous paint, which she pours, smears, scrapes and otherwise manipulates to create fields of color that conjure the watery depths of the ocean or intergalactic space, depending on the palette.”
Some of the paintings on view are the result of her multi-year, grant funded collaboration with Noah Germolus, a scientist at Woods Hole Oceanographic Institute who was researching ocean chemistry. Stivison created two paintings about him and his work, and four five-foot paintings that interpret his research data in paint.
The collaboration led to a unique special feature of this exhibition. After Stivison interpreted his data in paint, he in turn, interpreted four of her paintings in music. The exhibition includes an on-demand sound installation of original jazz music composed and performed by Germolus.
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September - October Exhibits @ Art Works!
2025-11-02 14:13 (America/New_York) | Art Works, 320 Hull Street, Richmond, VA, 23224, United States
Now showing six new exhibits. The featured artists are Adam Reinhart, Jen Cook-Asaro, Sarah Miller, Tatiana Grace, Kenneth Lee, and experiment with interactive art by RVA Game Jams. Also see 80+ working artist studios.
Visit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through October 18, 2025.
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October - November Exhibits @ Art Works!
2025-11-02 14:13 - 2025-11-22 17:00 (America/New_York) | Art Works, 320 Hull Street, Richmond, VA, 23224, United States
Now showing six new exhibits. The featured artists are Blake Seals, Felicia L. Reed, Adam Reinhard, Sorvino, and Tobi Holtslag. Also see 80+ working artist studios.
Visit us Tuesdays through Sundays 11am- 5pm. Admission is free and open to the public. Convenient and free parking is available. The exhibits will continue through November 22nd 2025.
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LEO VILLAREAL: COSMOS
2012-10-22 - 2021-12-31 | Herbert F. Johnson Museum of Art, Cornell University, 114 Central Avenue, Cornell University, Ithaca, NY, 14853, United States
An homage to the late Cornell astronomy professor Carl Sagan, Cosmos is a site-specific installation by New York–based artist Leo Villareal (born 1967), a pioneer in the use of light-emitting diodes (LEDs) and computer-driven imagery. His signature pieces explore complex movement and dazzling patterns created by points of light using his own computer software.

Villareal – Cosmos – Johnson Museum – Cornell final from Walter Patrick Smith, AIA LEED A on Vimeo.
Planning for Cosmos began in November 2010, when Villareal—along with the project architect, Walter Smith, and donors Lisa and Richard Baker—worked with Johnson Museum staff to determine the optimal location for the installation. The ceiling of the Sherry and Joel Mallin Sculpture Court was chosen for its high visibility not only on campus but also from the city of Ithaca. After studying the Museum’s architectural plans and considering structural and aesthetic aspects of the installation, the artist’s team returned to Cornell in April 2012 to install a nine-foot-square mock-up. Installation of the final piece took several weeks, with twelve thousand energy-efficient LEDs on a gridded framework attached to the ceiling of the sculpture court. A zero gravity bench was designed by the artist for viewers to fully immerse themselves in the viewing experience and to foster a more communal involvement with his installation. Villareal gave a public lecture to mark the opening of the installation.
Villareal’s works reinterpret fundamental components of such twentieth-century art movements as pop, minimalism, conceptual, and post-painterly abstraction while responding to the ingenuity and imagination that defines technology in the twenty-first century. Among his most notable site-specific works are the illumination of the exterior of the Brooklyn Academy of Music (2006), Multiverse in the Concourse walkway between the East and West Buildings at the National Gallery of Art (2008), and Sky at the Tampa Museum of Art (2009). His largest installation to date is The Bay Lights, illuminating the West Span of the San Francisco Bay Bridge for its 75th anniversary in 2013.
Andrea Inselmann
Curator of Modern and Contemporary Art

Image:
Leo Villareal
Cosmos, 2012
White LED Lights, custom software, and electrical hardware; site-specific installation.
Acquired through the generosity of Richard Baker, Class of 1988, and Lisa Baker.
2012.056
Photo: James Ewing

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Heritage of the West: Charles M. Russell
2019-09-19 - 2021-09-19 | Wichita Art Museum, 1400 West Museum Boulevard, Wichita, KS, 67203, United States
Charles Russell was one of the great painters of the American West. With little formal training but much firsthand experience of his subject, he captured the western landscape in all of its wild and nostalgic moments.
In 1880, when he was only 16, Russell went to Montana for the first time to work on a family friend’s ranch. Ranch life was not for Russell, but he would stay in Montana for two years working for a hunter and trapper.
He began to draw and paint animals at this time and learned a great deal about their anatomy. In 1882, he went to work as a night herder for a group of cowboys called the Judith Basin Roundup, and on and off for the next 11 years he would work watching cattle by night and painting during the day.

In 1888, Russell returned to St. Louis for a short time and submitted some of his art to Harpers Weekly, where it was published. His work had become very popular in the Montana territory, and he began to sell pieces and take commissions for works when he returned.
With the advent of the railroad to Montana, the territory became more civilized, and Russell mostly gave up cowboy life in order to become a full time painter of the life he had known in the West that was now slowly fading.

Image: Charles M. Russell, Smoking Cattle out of the Breaks, 1912. Oil on canvas, 30 1/4 x 33 inches. Wichita Art Museum, M.C. Naftzger Collection
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Pre-Columbian Art and Artifacts from the Museum’s Collection
2019-09-19 - 2021-09-19 | Wichita Art Museum, 1400 West Museum Boulevard, Wichita, KS, 67203, United States
Wichita Art Museum’s unique collection of Pre-Columbian art and artifacts was collected by Haig Kurdian between 1954-1959 during expeditions into Mexico and Costa Rica. The collection is mostly pottery, a few pieces of metal, carved shells, and precious stones.
In Mesoamerican culture, pottery was appreciated as an artistic medium–a way people could express emotions and ideas–not solely as a utilitarian material. To make ceramic art, these ancient peoples gathered clay from local sources and formed shapes using only their hands by pinching or coiling the clay. After shaping the objects, they were placed in very hot, open fires and baked until hard.
“I particularly love that tripod bowl, from Teotihuacan, with the square legs. It’s a superb, beautiful piece. To think that someone made that, not on a potter’s wheel, but by piling up coils of clay, then working it and firing it. And it’s survived at least 2,500 years. The other tripod bowl I love represents a squash and has parrot legs. That one is from Colima,” Kurdian said.

The artifacts originated from various locations in Mexico including Colima, Veracruz, Valley of Mexico, Oaxaca, Michoacán, and Guerrero. The collection includes artifacts from Costa Rica: including Atlantic Watershed, Guanacaste-Nicoya Zone, and the Diquis Zone. The objects date from 1000 B.C. to 1450 A.D.
The collection was given to the Wichita Art Museum by Haig, Rima, and Gregory Kurdian in 1977. Then in 1986, Louise and S.O. Beren offered the Wichita Art Museum a selection of artifacts, they had earlier received from Haig’s expeditions.

Image: Mexican (Teotihuacan), Cylinder Tripod Vessel, about 450-600 B.C. Terra cotta, 7 x 6 1/2 inches. Wichita Art Museum, Gift of Haig, Rima, and Gregory Kurdian
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An American Salon: 19th-century Paintings from the Wichita Art Museum’s Permanent Collection
2019-09-19 - 2021-09-19 | Wichita Art Museum, 1400 West Museum Boulevard, Wichita, KS, 67203, United States
The term salon style derives from the exhibition of the French Royal Academy of Painting and Sculpture, which began in 1667 in Paris.

In order to display work by all the Academy’s students, the paintings were hung as close as possible from floor to ceiling. In the nineteenth century, this salon-style hanging became increasingly popular across Europe and in the United States. The gallery has been transformed into an American salon featuring remarkable 19th-century paintings from the museum’s permanent collection.

Image: Titian Ramsay Peale, Ruffled Grouse in a Landscape, 1873. Oil on canvas, 16 x 22 inches. Wichita Art Museum, Museum purchase, Wichita Art Museum Members Foundation
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No Idle Hands: Treasures from the Americana Collection at the Wichita Art Museum
2019-09-19 - 2021-09-21 | Wichita Art Museum, 1400 West Museum Boulevard, Wichita, KS, 67203, United States
No Idle Hands gives museum visitors a chance to view the art and artifacts that reflect daily life in America’s early history. The exhibition features highlights from WAM’s newly acquired collection of more than 450 works of American folk art, including some of the best furniture, samplers, hunting decoys and lures, and corner store paraphernalia from the new collection.
It tells the story of America’s past while also foregrounding the beautiful materials and craftsmanship of many of these objects.
Wichita Art Museum’s curatorial staff organized the exhibition with local architect Dean Bradley, of Platt, Bradley, Adams, and Associates. As a specialist in residential architecture with a personal passion for history and preservation who also serves on the board of The Wichita-Sedgwick County Historical Museum, Bradley designed a gallery installation evoking the stores and homes in which the works were originally used and cherished. Shop signs–including iconic striped barber poles–conjure up an image of Main Street. Portraits, toys, and miniatures–small, hand-held portraits sometimes worn as jewelry–reference the life of the family and home. Each object–some rare and precious and others common fare—tells the story of the changes and continuities of daily life in America over the last 200 years.
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Catching Light: Selections from the Wichita Art Museum's Burnstein Collection
2019-09-19 10:00 - 2021-09-19 17:00 (America/Halifax) | Wichita Art Museum, 1400 West Museum Boulevard, Wichita, KS, 67203, United States
Dr. Robert Burnstein, a Detroit psychiatrist, began collecting glass in the 1980s. He was attracted to American glass of the 19th and 20th centuries because, as he stated, “it was a time when handcrafted expertise and precision craftsmanship were the benchmarks of the American glass industry.”
Soon he came to find that among American companies, the glass produced by Steuben was unsurpassed in quality, color intensity, and breadth of design.
Therefore, he focused his collecting first on Steuben, then on candlesticks in particular. He concentrated on candlesticks given their elegance of design and great variety of their colors and decorative techniques. Dr. Burnstein has presented his collection in honor of his parents, Donald and Arlene Burnstein.

Image: Pairpoint Glass, Candlestick (one of a pair), about 1920-1925. Blown glass, 10 1/16 x 5 3/16 inches. Wichita Art Museum, Gift of Robert S. Burnstein
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Erika Wastrom - Just Us Here
2020-11-27 - 2021-04-26 | Gaa Gallery, 494 Commercial Street, Provincetown, MA, 02657, United States
Gaa Gallery is pleased to present Just Us Here, a selection of new work from painter Erika Wastrom. Opening Friday, November 27, at 494 Commercial Street, Provincetown, MA, this exhibition will be presented in the Gaa Gallery Provincetown Project Space through April 26, 2021.
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Patrice Aphrodite Helmar - This Nettle, Danger
2020-11-27 - 2021-04-26 | Gaa Gallery, 494 Commercial Street, Provincetown, MA, 02657, United States
Gaa Gallery Provincetown is pleased to present This Nettle, Danger, an exhibition of black and white photographs and a participatory installation by Patrice Aphrodite Helmar. Opening on November 27, 2020, This Nettle, Danger will be on view through April 26, 2021.
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Gerhard Richter: Cage Paintings
2020-12-03 - 2021-04-03 | Gagosian Beverly Hills, 456 North Camden Drive, Beverly Hills, CA, 90210, United States
Gagosian is pleased to present Gerhard Richter’s Cage paintings (2006) in Los Angeles and New York. The presentation follows their inclusion, as a cornerstone, in the artist’s retrospective, Gerhard Richter: Painting After All at the Metropolitan Museum of Art in New York earlier this year. In conjunction with this key group of six paintings, a new group of drawings created by the artist on consecutive days over the summer of 2020 will be shown for the first time. The Los Angeles exhibition will travel to Gagosian New York in April 2021.
Gerhard Richter said, “I am very happy that finally the Cage paintings will be shown in Los Angeles and in New York in Larry Gagosian’s galleries, after all. And I thought adding eight recent drawings would make sense.”
Larry Gagosian commented, “I am delighted to have the opportunity to show Gerhard Richter’s extraordinary Cage paintings in Los Angeles and New York. Richter, like John Cage himself, has changed the history of art and has had such an enormous influence on subsequent generations of artists. To present this important series alongside new drawings is a great honor for me.”

Image:
Gerhard Richter working on one of his “Cage” paintings, Cologne, Germany, 2006
Artwork © Gerhard Richter 2020 (05102020)
Photo: © Hubert Becker
Courtesy Gagosian

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Anila Quayyum Agha: All the Flowers are for Me
2020-12-05 11:00 - 2021-05-30 17:00 (America/Halifax) | Cincinnati Art Museum, 953 Eden Park Dr, Cincinnati, OH, 45202, United States
The museum will once again present Anila Agha: All The Flowers are for Me. The popular exhibition, first displayed in 2017, features Pakistani-American artist Anila Quayyum Agha who creates immersive installation by manipulating lights. Light emanates from the center of a laser-cut steel cube, enveloping the gallery in intricate shadows that ripple and change as you walk through the space. Inspired by Islamic architectural forms and referencing her experience as a diaspora artist, the geometric and floral patterns cast upon the walls, floor, and ceiling creates a sense of belonging through shared experience and social distancing.
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Dellamarie Parrilli: Up Close and Colorful
2020-12-31 08:00 - 2021-06-04 17:00 (America/Halifax) | Cross Contemporary Partners
The paintings of Dellamarie Parrilli, a particularly cheerful variant on abstract expressionism, look to bright colors, often primary, that are merged in forms that are resolutely nonobjective. A restless and intrepid experimenter, it is Parrilli’s prior extensive background in music and dance that is reflected in her work. She has transformed her creativity for expression from the stage to the studio from her own unique perspective and introspective vision. Art writer Jonathan Goodman observes: “her art looks to an implicit merger between individualized components of painting and the nearly excessive beauty of nature.”
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“Albers and Morandi: Never Finished," Giorgio Morandi and Josef Albers
2021-01-07 - 2021-04-04 | David Zwirner, 537 West 20th Street, New York, NY, 10011, United States
Opening January 7, 2021: Giorgio Morandi and Josef Albers, “Albers and Morandi: Never Finished.”

Image caption: Giorgio Morandi, Natura morta (Still Life), 1953. © Artists Rights Society (ARS), New York/SIAE, Rome. Courtesy David Zwirner.
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Richard Artschwager
2021-01-14 - 2021-04-24 | Gagosian Rome, Via Francesco Crispi 16, Rome, 00187, Italy
“Form always begins with a something. And then if that something occurs in another place, there is slippage involved and what is created as a result develops a parallel existence to the original thing. I have located my art in terms of reducing all objects to the attention they demand. This gives me a good shot at innovation, to put it boldly.”
—Richard Artschwager
Gagosian is pleased to present an exhibition of works by the late Richard Artschwager from a key period in his career, 1964 to 1987.
Associated with many genres but conforming to none, Artschwager’s art has been variously described as Pop, because of its incorporation of quotidian objects and commercial materials; as Minimal, due to its crisp forms and solid geometric presence; and as Conceptual, owing to its cerebral engagement with information. This rare survey of the early decades of Artschwager’s varied career demonstrates his ability to rearrange the structures of perception, bringing the deceptive pictorial world of images into direct confrontation with the concretely human world of objects.

Through shifts in scale and transpositions of form and material, Artschwager’s artworks prompt an ongoing reassessment of space and time, suggesting compound narratives and compositional complexities, often at once quotidian and surreal. Employing synthetic, commercial, and industrial materials, Artschwager transformed his sources with a deadpan visual wit that makes the familiar strange. In 1962 he began working with Formica, a radically unconventional and “low” material, then most closely associated with the slippery surface of lunch counters. Its high-shine, typically marbled finish is both recognizable from everyday life and bears an abstract resemblance to expressionist painting. The early 1960s also marked the beginning of Artschwager’s experiments with Celotex, a heavily textured compound board made from compressed sugarcane fiber, which he used as a ground for his singular grisaille paintings, the waywardness of the industrial material blurring and obscuring his hand-drawn lines. These compositions were often based on subjects both arcane and mundane; Interior (1964), for example, is a semiabstract, diagrammatic perspectival image of a domestic setting, narrowing as depth perception progresses.
Artschwager’s sculptural works demonstrate the ways in which he integrated artisanal skills into intellectual and formal experiments in perception and composition. In Sliding Door (1964), the door of a cabinet casts a shadow within the work’s pale interior, generating a constantly changing pattern that shifts along with light and the motion of the viewer around the object. Untitled (1965), made from Formica and wood, uses a circle’s curvature in the same way; while nonfunctional, it mimics the utilitarian aesthetic of an audio speaker or household appliance, demonstrating Artschwager’s ability to meet our expectations of an object or picture only to then subvert them.
A fully illustrated bilingual catalogue will be published on the occasion of the exhibition, with an essay by curator Dieter Schwarz.
Gagosian would like to thank CFHILL Art Space, Stockholm, for their collaboration on this project.
A retrospective of Artschwager’s work curated by the late Germano Celant opened at the Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Italy, in October 2019, and traveled to the Guggenheim Bilbao Museum in February 2020.

Image:
Richard Artschwager, Installation View, Gagosian Rome, 2021
Photo: Matteo D’Eletto, M3 Studio
Courtesy Gagosian Artwork © 2020 Richard Artschwager / Artists Rights Society (ARS), New York

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Rudolf Polanszky
2021-01-16 - 2021-04-24 | Gagosian Paris, 4 Rue de Ponthieu, 75008 Paris, Paris, 75008, France
“Freedom is a chimera in a sense, but this illusion is realized as far as is possible in art. I can do something, and you can say, “No, don’t do that, that’s wrong,” but I’ll do it anyway.”
—Rudolf Polanszky
Gagosian is pleased to present new and recent paintings and sculptures by Rudolf Polanszky. This is the first exhibition of the artist’s work at Gagosian in Paris.
A key figure in the Vienna art scene, Polanszky creates cerebral yet tactile works that embrace chance occurrence. From the early 1990s, he began experimenting in mixed-media painting with the series Reconstructions (1991–). To make these subtle compositions, he uses salvaged industrial materials such as acrylic glass, aluminum, mirrored foil, resin, silicone, and wire, decontextualizing them from their original uses and recombining them into aesthetic forms. Polanszky’s process of “ad hoc synthesis” produces works that oscillate between material constructions and symbols of subjective perception.
In this exhibition, the Reconstructions newly incorporate copper foil. Interspersed between fields of white corrugated cardboard and silvery aluminum, these gleaming, gently creased metal sheets add an entirely new tonal and textural dimension to the surface of each painting. In some compositions, Polanszky combines copper with silver or deep purplish mirrored foil, recalling the rippling, reflective surfaces of the Bright Mirrors and Dark Mirrors—two paired subseries of the Reconstructions first seen in his exhibition at Gagosian New York last year.
Also on view are two recent sculptures in which Polanszky makes use of the rough-hewn edges of the same repurposed objects, manipulating strips of metal and acrylic glass into curved forms and dynamic abstractions. Polanszky’s handling of material is intuitive and improvisational; he often leaves the individual components of his works outdoors, letting the natural elements help determine his constructions’ final surfaces and forms. Yet these works also reveal his acute consideration of the properties and possibilities of materials. In Polanszky’s hands, industrial fragments are transformed into shimmering arrangements that transcend their mundane origins.

Image:
RUDOLF POLANSZKY
Reconstructions / Choros / Ecliptics, 2020
Copper foil, aluminium, copper wire, resin, silicone, acrylic glass, mirror foil, acrylic mounted on wood, in artist frame
59 1/2 x 59 1/2 inches
151.2 x 151.2 cm
© Rudolf Polanszky
Photo: Jorit Aust
Courtesy Gagosian

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The Universe Makers- A Virtual Group Show Curated by Dominique Nahas
2021-01-22 08:00 - 2021-10-31 17:00 (America/Halifax) | Cross Contemporary Partners
Bassmi Ibrahim, Victoria Lowe, Anne Marchand, Dellamarie Parrilli, and John Lyon Paul are our universe-makers. To place their highly differentiated abstract aesthetic visions together so that they seem to react and inspire each other reminds me that this exhibition of visual persuasions is perhaps like visual chamber music of individual voices, heard collectively. These individual voices, passionately unique, create indelible experiences for the beholder.- Dominique Nahas, Curator
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Mapping Narratives: New Prints 2021/Winter
2021-01-28 - 2021-04-03 | International Print Center New York, 508 West 26th Street, 5A, New York, NY, 10001, United States
Selected by Black Women of Print, Mapping Narratives features new prints and print-based works by 40 artists, comprising a wide array of technical, formal, and conceptual practices. Reflecting not only skill and innovation in the contemporary print field, these works also reveal myriad identities, ways of seeing, and approaches to visual storytelling. Together, they explore how we anchor ourselves, our histories, and our lived experiences in our present moment and environment.
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Hong Kong Exchange
2021-01-28 - 2021-04-30 | Gagosian Hong Kong, 12 Pedder Street,, Central Hong Kong, Hong Kong Island, Hong Kong
HONG KONG EXCHANGE
January 28–April 30, 2021
Gagosian is pleased to present Hong Kong Exchange, an exhibition of works by some of the gallery’s most esteemed artists, most of whom have shown at the Hong Kong location, and some of whom will be exhibiting in the space for the first time.
New and recent works will be featured, including Ed Ruscha’s painting on paper TOWN TONE (2020) and Andreas Gursky’s large-scale photograph Hong Kong Shanghai Bank I (2020), a revisitation of his 1994 depiction of the same skyscraper. These compositions will be shown alongside key works of historical significance, such as Cy Twombly’s enigmatic oil painting Untitled (1957) and Nam June Paik’s iconic sculpture Bakelite Robot (2002).
Additional works in various media by Georg Baselitz, John Currin, Roe Ethridge, Urs Fischer, Katharina Grosse, Andreas Gursky, Damien Hirst, Tetsuya Ishida, Alex Israel, Jeff Koons, Takashi Murakami, Nam June Paik, Richard Prince, Sterling Ruby, Ed Ruscha, Jenny Saville, Rudolf Stingel, Sarah Sze, Cy Twombly, Mary Weatherford, Jonas Wood, and Zeng Fanzhi will be on view.

Image:
NAM JUNE PAIK
Bakelite Robot, 2002
One-channel video installation with four 5.6″ LCD monitors, two 4″ LCD color monitors, colored electric lights
72 3/4 x 56 5/8 x 12 inches
184.8 x 143.8 x 30.5 cm
© Nam June Paik Estate.
Courtesy Gagosian.

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Susan Sommer: Plein Air Abstraction
2021-01-30 13:00 - 2021-10-31 17:00 (America/Halifax) | Cross Contemporary Partners
Susan Sommer has a distinct view of the rhythms of nature. Working in one of the more rustic areas of Upstate New York, she sees the changing seasons and accompanying movements of indigenous species as a constant reminder that nature is the ultimate bringer of stability and change. Instead of making accurate representations, Sommer sees these fascinating facilities as a jumping-off point to dig deep into the shadows and light. Each and every part of our natural environment can be broken down into a symbiotic network of plants, animals, and climate, but how does one express that with pure light and color. Sommer achieves this elusive outcome with cousin shapes, complementary hues, and cohesive compositions that relay holistic harmony to its host of inhabitants.
– D. Dominick Lombardi
Visit the exhibition here: http://bit.ly/ccpssommervg
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African American Art in the 20th Century: Harlem Renaissance, Civil Rights Era, and Beyond
2021-02-06 - 2021-05-23 | Wichita Art Museum, 1400 West Museum Boulevard, Wichita, KS, 67203, United States
African American Art in the 20th Century: Harlem Renaissance, Civil Rights Era, and Beyond, presents nearly 50 paintings and sculptures by 34 African American artists. These masterpieces explore everyday American themes as well as those specific to the African American experience, including the struggle for economic and civil rights, the beauties and hardships of life in rural and urban America, and the power of art and music. Created in moments of significant social and political change—from the 1920s jazz age to the 1960s civil rights movement and beyond—each work dazzles visually while also shedding light on the complex American story.
The exhibition features artworks by leading 20th-century artists Romare Bearden, Sam Gilliam, Jacob Lawrence, Lois Mailou Jones, Hale Woodruff, and others.
African American Art in the 20th Century is organized by the Smithsonian American Art Museum. The C.F. Foundation in Atlanta supports the museum’s traveling exhibition program, Treasures to Go.
Image: William H. Johnson, Sowing, about 1940. Oil on burlap, 38 1/2 x 45 3/4 inches. Smithsonian American Art Museum, Washington D.C., Gift of the Harmon Foundation
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Anselm Kiefer: Field of the Cloth of Gold
2021-02-07 - 2021-06-19 | Gagosian Le Bourget, Paris, 26 Avenue de l'Europe, Le Bourget, 93350, France
“What interests me is the transformation, not the monument. I don’t construct ruins, but I feel ruins are moments when things show themselves. A ruin is not a catastrophe. It is the moment when things can start again.
The pictures become interesting when the subject matter is no more than an excuse, when the artist remembers the struggle, when he sets forth his own world in conflict with the self-secluding earth.”
—Anselm Kiefer

Gagosian is pleased to present Field of the Cloth of Gold, an exhibition of four monumental new paintings by Anselm Kiefer.
The tension between beauty and terror, alongside the inextricable relationship between history and place, has animated Kiefer’s work since the 1970s. Drawing on the literature of cultural memory—including poetry, the Old and New Testaments, and the Kabbalah—Kiefer gives material presence to myths and metaphors. He infuses the medium of paint with startling and unconventional gestures and objects, juxtaposing it with organic and abject materials such as straw, sand, charcoal, ash, and mud. Kiefer asserts himself as an iconoclast; his paintings undergo various processes—such as being cut, burned, buried, exposed to natural elements, splashed with acid, or poured over with lead—so as to be made anew. These strategies, along with the use of materials such as lead, concrete, glass, fabric, tree roots, or burned books, create a symbolic resonance, making palpable both the movement and destruction of human life and the persistence of the lyrical and the divine.

The exhibition’s title refers to the historic peace summit between King Henry VIII and King Francis I that took place five hundred years ago in a field in what is now Pas-de-Calais, France. The conference, centered around a strategic alliance between England and France, had the goal of outlawing war between Christian nations. The alliance was considered a key event in shaping Europe’s geopolitics—until it dissolved and war broke out, a year later. While Kiefer did not begin making these works with this event or title in mind, the connection became apparent and synchronous after their completion. As he stated in a recent interview, “the title is often not the explanation of the picture,” but is rather “an allusion.” History is one of the materials he uses and synthesizes in his work, “like clay for the sculptor or color for the painter.”
Completed over the last two years, these works predate the COVID-19 pandemic, the ripple-effect crisis it created, and the international and cross-cultural relationships it has reconfigured. While history has been fractured and unpredictable since the Field of the Cloth of Gold conference, our cultural memory holds the violent unpredictability of human relations on a continuum. The layered and visceral character of these paintings, whose scale almost matches the landscapes they depict, evokes the surging capriciousness of European history and the effects and aftermaths of war. As in The Morgenthau Plan series of 2012, Kiefer affixes other elements to the surfaces of these paintings, from plant matter to industrial material, building a third dimension onto the painted canvas. Here the field of history is transfigured into a field of gold under a dark sky.
As is customary in Kiefer’s work, each painting’s title and symbols contain a rich literary and historical set of references. Sichelschnitt (Sickle Cut) (2019) refers to the Manstein Plan (Sichelschnittplan), a war plan devised by the German Army during the Battle of France in 1940, while Beilzeit—Wolfszeit (Axe-Age—Wolf-Age) (2019) nods to “Völuspá (Prophecy of the Seeress),” the first poem of the Poetic Edda of Old Norse mythology. Verse 45 of this poem is translated as “Axe-time, sword-time, | shields are sundered, / Wind-time, wolf-time, | ere the world falls.” Ein Wort von Sensen gesprochen (One Word Spoken by Scythes) (2019–20) evokes the poem “From Hearts and Brains” by Paul Celan, whose poetry has been a point of reference for Kiefer for decades. Celan’s verse reads, “and a word, spoken by scythes / bends them into life.”

Image:
Anselm Kiefer
Field of the Cloth of Gold
February 7 – June 19, 2021
Gagosian, Le Bourget
Installation views:
Artwork © Anselm Kiefer
Photo: Thomas Lannes
Courtesy Gagosian

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Paul McCarthy: A&E Sessions
2021-02-18 - 2021-04-10 | Hauser & Wirth, 22nd St, 548 West 22nd Street, New York, NY, 10011, United States
Celebrated American artist Paul McCarthy continues to mine the depths of contemporary society in an exhibition of new drawings, paintings, and sculpture that confront and interrogate the entrenched psychological and emotional complexities of power and politics. Central to the exhibition will be large-scale drawings from McCarthy’s most recent project, “A&E.” An acronym for Adolf & Eva, Adam & Eve, and Arts & Entertainment, “A&E” evolved out of the artist’s film project “NV Night Vader” (2019-). Based on Liliana Cavani’s sadomasochistic erotic drama The Night Porter (1974), the work continues McCarthy’s critical delve into the origins of fascism, Hollywood, the contemporary art world, and the current political climate.

Image:
Paul McCarthy: A&E, EXXA, Santa Anita session(detail), 2020; at Hauser & Wirth, New York. © Paul McCarthy. Photo Fredrik Nilsen.

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Distinctive/Instinctive: Postwar Abstract Painting
2021-02-20 - 2021-05-22 | Michael Rosenfeld Gallery, 100 11th Ave, New York, NY, New York, United States
Featuring Charles Alston, William Baziotes, Norman Bluhm, James Brooks, Elaine de Kooning, Jay DeFeo, Beauford Delaney, Claire Falkenstein, Sam Gilliam, Michael Goldberg, Adolph Gottlieb, Hans Hofmann, Alfred Jensen, Yayoi Kusama, Alfred Leslie, Norman Lewis, Conrad Marca-Relli, Joan Mitchell, Alfonso Ossorio, Richard Pousette-Dart, Milton Resnick, Alma Thomas, Mark Tobey, Jack Tworkov, Charmion von Wiegand, William T. Williams and Hale Woodruff.
To schedule your visit, click here.
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Alfredo Gisholt: Rituals of Perception
2021-02-20 10:30 - 2021-05-15 17:30 (America/Halifax) | Deborah Colton Gallery, 2445 North Boulevard, Houston, 77098, United States
Alfredo Gisholt: Rituals of Perception
February 20 through May 15, 2021
Deborah Colton Gallery is pleased to present Rituals of Perception, an exhibition featuring paintings and works on paper by Alfredo Gisholt. This grand solo exhibition encompasses the entire gallery. The exhibition can be seen online through the gallery’s Viewing Room. Installation and artwork images can be seen through the gallery’s Virtual Slide Show and website. A Virtual Artist Talk and Walking Tour will take place during the exhibition. Questions or interest in specific artworks can be addressed by email, phone or “By Appointment” at Deborah Colton Gallery. The Gallery hours remain Tuesday through Saturday, 10:30 am to 5:30 pm. The exhibition is in conjunction with Forma 110 – Mariana Valdes Art Promotion.
The paintings and works on paper in the exhibition, Rituals of Perception, are Alfredo Gisholt’s response to two places: the studio and the landscape in the seacoast of Maine where he has spent much time. These two places provide Gisholt with the subject and the structure from which he builds, configures and reconfigures spaces into new pictorial realities. The transformation occurs through the accumulation of visual experiences: the light moving across the room, the clouds shifting in the sky, the pile of objects in a corner, the ebb and flow of the tide.
With his studio being an interior space, and the landscape being an exterior one, the duality of interior and exterior space is an allusion to internal and external personal experience. The dialogue between both, through the act of seeing and responding, becomes a metaphor from which imagination can transform the subject.
Goya has for many years been an important influence on Gisholt’s work due to Goya’s willingness to take on and speak of all aspects of the human experience. Since Goya titled one of the etchings from the series The Disasters of War, “I saw it” (Yo lo ví), his claim to have seen it has made a lasting impression on Gisholt. The importance of seeing “it,“ whether it be the landscape or a corner in the studio, Gisholt becomes fully engaged in this ritual of perception. Seeing and looking at the world, using paint and material to be the evidence of the experience allows Gisholt to imbue each painting with a physical and emotional reality that contain its meaning.
Alfredo Gisholt was born in Mexico City. He attended the Academia de San Carlos, has a BFA from Florida International University and an MFA from Boston University. Gisholt has had solo exhibitions at CUE Foundation, NYC; Forma110 Gallery and Deborah Colton Gallery, Houston; University of Maine Museum of Art, Bangor; and Recinto Project Room, Mexico City. Alfredo Gisholt’s debut at Deborah Colton Gallery was in 2015, with his powerful solo exhibition that also encompassed the entire gallery, Alfredo Gisholt: Canto y Calvera.
Gisholt has been featured in Beer with a Painter, Hyperallergic, Painter’s Table and The Brooklyn Rail. He has exhibited in group shows at Park Place Gallery, NYC; Museo Morelense de Arte Contemporaneo Juan Soriano, Cuernavaca; Museo de Arte Popular, Mexico City; Rose Art Museum, Waltham, among others. Gisholt teaches at Brandeis University and RISD and has been a visiting artist at the Vermont Studio Center, University of Houston, Fashion Institute of Technology and Boston University. He lives and works in Boston.
Deborah Colton Gallery is founded on being an innovative showcase for ongoing presentation and promotion of strong historical and visionary contemporary artists world-wide, whose diverse practices include painting, works on paper, sculpture, video, photography, performance and conceptual future media installations.
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