Art in America Guide

Joanne Freeman: New York Conversation
2025-11-02 14:12 (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 14:12 (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 14:12 (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 14:12 (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 14:12 (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 14:12 (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 14:12 - 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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Identifiably Houston – Foundations III
2018-09-15 10:30 - 2018-10-27 17:30 (America/Halifax) | Deborah Colton Gallery, 2445 North Boulevard, Houston, 77098, United States
Identifiably Houston: Foundations III
September 15 through October 27, 2018
Opening Reception: Saturday, September 15, 2018, from 4:00 to 6:00 pm
Panel Discussion and Open House: Saturday, October 20th, 2:00 to 6:00 pm (Panel at 2:30)

JOHN ALEXANDER BOB CAMBLIN MICHAEL COLLINS VIRGIL GROTFELDT
LUCAS JOHNSON BERT L. LONG JR. JESSE LOTT SHARON KOPRIVA
KERMIT OLIVER FORREST PRINCE EARL STALEY RICHARD STOUT

Deborah Colton Gallery is pleased to present Identifiably Houston: Foundations III, a group exhibition of courageous and spirited artists who have made a major impact and have conveyed the pioneering spirit that Houston was founded with over 180 years ago. The exhibition is also paying tribute to Houston’s Heritage Society and their related events this season.
Although this is just a small sampling of Houston artists who reveal their strong individualism and brave representational type art that has a narrative — often with an aspect of abstraction, as viewers enter Deborah Colton Gallery during this exhibition, they will instantly feel and see the connection within this genre or “School” that is something special and unique to Houston!
Sharon Kopriva, Forrest Prince and Kermit Oliver, though working with dissimilar processes, are all sensitive to religious influences where narratives are commingled with their powerful personal visions, spiritual traditions, and attraction to global events and mythologies, all which further energize their strong creative voices. The works of John Alexander, Bert L. Long Jr. and Earl Staley have long represented the rich traditions and highest qualities of story-telling and their works continue to inspire and connect us with a splenetic era. A pioneer and leader in his own right, Jesse Lott has never been afraid to create awareness of serious human rights and humanitarian issues through his art. Lott’s important sculpture from 1980, titled Big Girl –A Tribute to Eula Love that is featured in this exhibition reveals this clearly. Richard Stout and Michael Collins share inspiration from places remembered and imagined that posses a certain evanescence and soulfully verdant energy. Virgil Grotfeldt has used bold materials and imagery that evoke a sense of mystery that take us to a higher level of consciousness. Both Lucas Johnson and Bob Camblin have used the figurative and the landscape to express bold statements about society and the human condition. The tragic and joyous may be found in all of these masterful creations. All of these artists have not been afraid to tackle tough issues and are as courageous as the first settlers founding Houston, the first artists coming out of Houston, and have been affected by our geography, neighboring boarders, their travels and those artists making a strong statement in Houston before them.
On Saturday, October 20th, at 2:30 pm, Deborah Colton Gallery will host a panel discussion addressing the question, is there a type of art, a spirit of art that is “Identifiably Houston”? Does this go back as far as Emma Richardson Cherry and the first artists who organized as a Gallery Guild around the time Houston was founded? What were they influenced by? What artists in the 20’s, 30’s and 40’s were “setting the stage” for this type of art in Houston? Who were the mentors of these artists and who are the other artists whose work displays these qualities? There are certainly many. Is this a “Houston School”? How do the historical roots of our artists in Houston differ from other cities in Texas? What were the outside influences geographically and through artist who came to the city and formed a community with others? Has there been more of a community of artists in the past and where are we now as a community of artists? Panel Members will include Pete Gershon, Randy Tibbits and Michael Collins. Moderator will be Deborah Colton.

Born on the bayou in east Texas, John Alexander has made an international career as a skilled draftsman, a painter of lush landscapes, and as a satirist creating allegorical tableaus. Alexander (b. 1945) began studying art at Lamar University in his hometown of Beaumont. After earning an MFA in 1970 from Southern Methodist University in Dallas, Alexander took a teaching position at the University of Houston, where he became a key figure in the city’s nascent art scene. Alexander moved to New York City in 1979, taking a SoHo loft he still calls home. In addition to his continuing fascination with the surreal and humankind at its worst, Alexander gravitates toward depicting marshy landscapes, and studied portraits of flora and fauna, particularly the birds flocking to his part-time home on Long Island’s East End. Naturalism and conservation remain hallmarks of his work, and he says the Beaumont bayou of his youth is never far from his mind. Alexander has been widely exhibited, with major shows at the Smithsonian American Art Museum in Washington, D.C., and the Museum of Fine Arts, Houston. His work can be found in public collections at the Metropolitan Museum of Art; Hirshhorn Museum and Sculpture Garden; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Dallas Museum of Art; Museum of Fine Arts, Houston; and many others. He has received many awards in the arts nation-wide.

Bob Camblin was born in Oklahoma in 1928 and studied painting at the Kansas City Art Institute, earning an MFA in 1955. He taught at Rice University from 1967 to 1973 with Joe Tate and Earl Staley, with whom he shared a studio space. His influence and art was a constant undercurrent in the Houston art scene, revealing much about the environment and those that surrounded him. He left Houston in the early 80s. Known for his drawings, watercolors, paintings and his gregarious, direct personality, Camblin was included in the Fresh Paint, The Houston School Museum of Fine Arts exhibition in 1985 and was the only artist without a written statement in the catalogue….

Michael Roque Collins is an artist recognized for producing some of the most profoundly affecting figurative Post Symbolist painting seen today in Contemporary art. He was born in Houston, Texas, in 1955 and maintains his primary studio in this Gulf Coast city. His works have been favorably reviewed in a variety of international arts publications, such as Art News Magazine, Art In America, Art Lies, and Art World Magazine. His art has been curated in more than 250 group exhibitions in the U.S., Cuba, Peru, Germany, China, Mexico, France, Denmark, Greece, and Istanbul. His paintings have received more than 50 juried awards, including a National Endowment for the Arts-Middle American Arts Alliance grant for excellence in painting and works on paper, as well as three Cultural Arts Council of Houston grant awards for excellence in painting. Collins has held many university teaching positions and is currently the Senior Director of the Visual Arts Department, at Houston Baptist University, where he is also Artist-in-Residence in Painting, Professor of Art and focuses on teaching in the MFA program.

Born in 1948 in Decatur, Illinois, Virgil Grotfeldt earned a bachelor’s degree in art education from Eastern Illinois University in 1971 and a master’s degree at Tyler School of Art in Philadelphia in 1974. He moved to Houston in 1977. He began teaching painting and drawing at HBU in 2002, where he was also widely considered instrumental in the concept and construction of the University Academic Center’s new building, of which the art department occupies about 70 percent. Grotfeldt’s work is included in many private and public collections, including The Menil Collection, Houston, Texas; Whitney Museum of American Art, New York, New York; NOG Insurance Company, Amsterdam, The Netherlands; Free International University World Art Collection, Zeist, The Netherlands; Museum of Fine Arts, Houston, Texas; Dallas Museum of Art; El Paso Museum of Art; Tyler Museum of Art, Tyler, Texas; and Upriver Gallery Collection, Chengdu, China.

Lucas Johnson was a self-taught, multi-disciplinary artist immersed in the creative community in Houston from the time of his settling here in 1973 until his passing in 2002. He lived for an extended time in Mexico City, where he was embraced and influenced by artist contemporaries who followed the great Mexican muralists. Self-taught in drawing, paintings, printmaking and bronze casting, he debuted paintings for the first time in 1967. Johnson was a guest instructor in the arts at the Glassell School of Art and at Houston’s Rice University. His work is represented in the permanent collections of museums in Mexico City, the Menil and Museum of Fine Arts Houston, and the Modern Art Museum in Tel Aviv. In 1993 Johnson was a founding board member of the Houston Artists Fund with two associates, effectively establishing a charitable organization, still active, that serves as a fiscal sponsor for nonprofit art-related projects and provides administrative support and budgets monitoring for funds raised from the art community.

Bert L. Long, Jr., a self-taught artist, was born in 1940 in Texas, grew up the Houston’s historic Fifth Ward and received his formal education from UCLA. Following a career as a master chef, Long decided to devote himself entirely to art in 1979. He began to explore folk art and assemblage to create a unique body of work, attracting the attention of Jim Harithas, then Director of the Contemporary Arts Museum Houston, and artists John Alexander, Salvatore Scarpitta and James Surls. His life spanned an era of radical change in the American social climate, the influence of which can be seen clearly in his work. Long’s paintings and sculptures incorporate a high level of skill and sophisticated knowledge of art history, along with complex philosophical and social issues. Long describes the philosophy behind his work as “a quest to help people diagnose their inner self,” believing his art to be “the vehicle to help facilitate [such a] process.” The late Peter Marzio, former Director of the Museum of Fine Arts, Houston, said of Bert Long: “Bert Long does not avert his gaze from that which is painful, but as [his artworks] testify, he also brings a spirit of joy and redemption to his art. We can all learn from this great artist.” Over Long’s 33-year career as a painter, sculptor, and photographer, he was awarded several significant awards including the National Endowment for the Arts Grant in 1987 and the prestigious Prix de Rome fellowship in 1990.

Jesse Lott is an African-American sculptor of great distinction and a long time 5th Ward, Houston resident, who began his artistic career creating and selling his works as a student at E.O. Smith Elementary School in 1957. Jesse Lott works in paper, metal, and wood as well as working with armatures and wire, all the while building with his artistry a capacity for emotional power. His technique is derived from collecting and recycling discarded materials, as a type of urban archeology fused with scientific methodology. He has influenced many artists, including Texans as well known as James Surls, Bert Long Jr. and Angelbert Metoyer. The all-ages workshops that he has held over the years in his studio as a community service have inspired many students who would otherwise have no exposure to art. Lott’s community-oriented philosophy and his Artists in Action program helped spark the creation of the now famous Project Row Houses.”

Sharon Kopriva is a Houston native. Her career launched in 1985 with the exhibition Fresh Paint at the Museum of Fine Arts, Houston. In the past 25 years she has exhibited her art in major cities in the United States, Mexico, Peru, India, Cuba, China, and Europe. In addition to her participation in Fresh Paint – The Houston School, her most notable exhibitions include a solo show curated by the legendary Walter Hopps at The Menil Collection in 2001 and a retrospective of her work shown at the Ogden Museum of Southern Art, curated by Bradley Sumrall in 2012, entitled From Terra to Verde. Kopriva is deeply influenced by a varied set of inspirations, including her Catholic upbringing, the wonders of nature, and her continued spiritual journey.

Kermit Oliver was born in Refugio, Texas, the son and grandson of African American working cowboys. He majored in art and education at Texas Southern University and graduated with a Bachelor of Fine Arts degree and teaching certificate. Throughout college, Kermit was mentored by professor and artist, John Bigger who recognized strength and individual spirit. Over the years, Kermit Oliver’s masterfully executed paintings and drawings have earned him worldwide recognition as one of the finest contemporary American artists of our time. Oliver’s work was included in the inaugural exhibition at the Smithsonian’s National Museum of African American History and Culture and recently also, The Nave Museum held a solo exhibition of selected works by Oliver. In 2013, Oliver received the first Lifetime Achievement Award from the Art League Houston. Oliver’s work was the subject of a major retrospective at the Museum of Fine Arts Houston in 2005. His work was included in the 2001 international SITE SANTA FE biennial, curated by art historian/critic Dave Hickey. His works have a sense of spirit and mystery that reflect his unique and personal vision.

Forrest Prince was born in Houston, Texas in 1935. With no formal art education, he began making art in 1969, and in 1976 was given his first solo exhibition at the Contemporary Art Museum, Houston. In 1983 Prince founded the Praise God Foundation. His body of work is unusual in its’ freedom from the machinations and impurities of the art world and represents man’s higher spiritual aspirations. In addition to his Christian religious work, Prince’s artwork is also concerned with political and social issues. Some of his artworks involve the artist’s investigations into food consumption other works severely question the satanic practices of the US Government. He has participated in many group exhibitions in museums and galleries including: Diverse Works, Hooks-Epstein Gallery, San Antonio Museum of Fine Arts, Lawndale Art Center, Art Car Museum, Station Museum, and The Menil Collection.

Earl Staley was born in the Chicago suburb of Oak Park, received his BFA from Illinois Wesleyan University and his MFA from the University of Arkansas. His first teaching position was at Washington University, Saint Louis, Mo. Earl arrived in Houston in 1966 to teach at Rice University. In 1969 he became the chairperson at the new studio art American Academy in Rome. He remained there four years studying the old masters and painting from the Classics. His major influences are Texas/Mexico and Classical Art. Earl showed at the 1973 Whitney Biennale, and then in 1979 in the landmark show, Bad Painting, at the New Museum, in New York. He has had two exhibits at the Contemporary Arts Museum Houston; one was a 10-year survey 1974-1984 which traveled to the New Museum, New York. Earl was included in Fresh Paint – Houston School Museum of Fine Arts exhibition, the Venice Biennale 1984 and numerous exhibits across the USA and Europe. Since 1992 He teaches at Lonestar College/Tomball.

Richard Stout was born in 1934 in Beaumont, Texas. He quickly discovered his interest in art and, while still in high school, studied at the Art Academy of Cincinnati during summer visits with family in Ohio. Stout received a scholarship to attend the School of Art at the Art Institute of Chicago, where he earned his Bachelor of Fine Arts (BFA). He completed graduate studies and earned his Master of Fine Arts (MFA) at the University of Texas at Austin. From 1959 to 1967, Stout was an instructor at the Museum School of the Museum of Fine Arts, Houston. After completing his MFA, he began teaching art at the University of Houston, a career he maintained until his retirement in 1996. Stout was named Texas Artist of the Year in 2004 by the Art League of Houston and, in 2010, received the Lifetime Achievement Award from the Center for the Advancement and Study of Early Texas Art (CASETA). Currently, Richard Stout has the exhibition “A Sense of Home” at the O’Kane Gallery at the University of Houston – Downtown. This exhibition debuted at the Art Museum of South East Texas in Beaumont and then traveled to the Art Museum of South Texas. Richard Stout resides in Houston, Texas.

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, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas, national and international artists to make positive change and to help Houston become a leading destination city of the arts.
Since 2013 especially, Deborah Colton Gallery has had a strong focus on establishing HOUSTON FOUNDATIONS which reveres our city’s artistic roots. By understanding where we came from, we can build on this foundation to become an even more dynamic and empowered “City of the Future” in the national and international art world. Deborah Colton Gallery’s Foundations I was Suzanne Paul’s PROOF exhibition in 2016, which the gallery actually started researching over a decade earlier when it started to house this important archive after Suzanne Paul’s passing. Suzanne Paul’s archives are the most comprehensive photographic documentation of Houston art scene from the 1970’s to 2005. September – October of 2017, Deborah Colton Gallery organized and exhibited Foundations II: Focus on the 70’s & 80’s which featured 26 of the most significant artists of that time period who have made a major impact on who we are as an art city today. The Foundations Symposium Series of panels and lectures was part of this exhibition. Deborah Colton Gallery has a permanent Foundations Room in the back of the gallery which highlights Suzanne Paul’s photographs of the Houston art scene plus a video excerpt of our Foundations Symposium Series from 2017. The video was created by Lee Benner. There also is a library of publications on Houston artists. For more information on our Foundations Projects, please access our website.
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Dick Wray: Select Works
2018-11-10 10:30 - 2019-01-05 17:30 (America/Halifax) | Deborah Colton Gallery, 2445 North Boulevard, Houston, 77098, United States
Foundations III: Part 2
Cosmic Attraction: Works by Dorothy Hood and Don Redman
Basilios Poulos: A Moment in Time
Dick Wray: Select Works
November 10, 2018 to January 5, 2019
Opening Reception: Saturday, November 10, 2018 5:00 to 8:00 pm
Please join us for the second part of our Foundations Series exhibitions this fall season!

As one of the early Texas abstract artists, Dorothy Hood was born in Bryan, Texas in 1918. Hood was raised in Houston and won a scholarship to the Rhode Island School of Design and then studied at the Art Students League in New York. Moving to Mexico, Dorothy Hood was front and center in the cultural, political, and social activity of Mexico and Latin America during a period of intense creative ferment. She developed close friendships with all the European exiles, Latin American surrealists, and Mexican social realists of the time — artists, composers, poets, playwrights, and revolutionary writers that influenced her art. Upon returning to Houston in 1961, Hood started to create the epic paintings that evoked the limitless skies and psychic voids of space, years ahead of NASA images. Over the next four decades, she became a renowned and highly collected Texas painter whose works were collected across the United States. Her works are included in over 30 major museums throughout the United States, as well as the collections of many individuals, corporations and foundations.
A large-scale exhibition of Hood’s opened in 2016 at the Art Museum of South Texas in Corpus Christi, which marked the first major retrospective of her artwork and included paintings, drawings and collages from the 1930s to 2000. Dorothy Hood’s work is currently being featured in the Museum of Fine Arts – Houston exhibition, Kindred Spirits: Louise Nevelson & Dorothy Hood. Deborah Colton Gallery re-introduced Hood’s work to Houston in September of 2016 with a magnificent booth featuring Hoods work at the Houston Fine Arts Fair, then in a solo exhibition of her work at Deborah Colton Gallery in November 2016 to January 2017. Dorothy Hood’s work has also been exhibited in major group exhibitions at Deborah Colton Gallery including Focus on the 70’s and 80’s Houston Foundations II in 2017, which included 26 well-known artists who contributed to the vibrant Houston art scene during this era. Hood was also included in the 20th anniversary exhibition of Deborah Colton Galley, DCG Looking Back and Beyond earlier this year.

Don Redman was born in Houston and spent much of his childhood near the Gulf of Mexico. His father was a ship builder and provided him his first opportunities to work with steel, while his mother supplied him with stockpiles of wood with which he could carve, saw and paint. After attending the High School for the Performing and Visual Arts and the Art Institute of San Francisco, he was fortunate to become the apprentice to several internationally recognized artists; among them Luis Jimenez, James Surls, and Salvatore Scarpitta. Over his forty plus years as a sculptor, his work has grown from a fascination with kinetics to a more subtle utilization of movement created by light. His sculptures are in public, private, and corporate art collections throughout the United States and around the world.
Don Redman was first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Since then Redman has also been featured in the 20th anniversary exhibition of Deborah Colton Gallery, Looking Back and Beyond in February 2018.

Basilios Poulos came to Houston in 1975 from New York to be Artist-in-Residence at Rice University. He was born in South Carolina and went to the Atlanta School of Art for his BFA and Tulane University for his MFA. His many art career honors include French Government Grant from 1965-1966, Guggenheim Fellowship 1974, Artist Residency at the Ecole des Beaux-Arts, Paris 1983, and Visiting Professor for the University of Georgia Studies Abroad Program, Cortona, Italy 1997. His solo exhibitions in Paris, Athens, New York City, Atlanta, San Francisco, New Orleans, Houston and others comprise forty-eight years of painting. Retiring from teaching at Rice University in 2008, Poulos has continued to paint in his Houston studio.
Basilios Poulos first exhibited at Deborah Colton Gallery during September – October 2017 in Focus on the 70’s and 80’s: Houston Foundations II. A Moment in Time is Basilios Poulos’ first solo exhibition at Deborah Colton Gallery and features his works from the 80’s. These paintings are about mark-making, whereby Poulos creates singular pictorial imagery that is not about storytelling. The beautiful colors are the carrier of emotion with the acrylic paint applied by brush and squeegee. The painting is the image. Now and in the past, Basilios Poulos has always strived to make beautiful and provocative paintings that are open and accessible.

A native Houstonian born in 1933, Dick Wray, was an artist of incomparable talent and personality who played a critical role in the development of Houston’s contemporary art scene since the 1950s. Often categorized as an Abstract Expressionist, Wray is best known for his explosive and dynamic abstractions that received numerous accolades from Houston’s critical community as well as notable arts figures across the United States throughout his career. Wray attended the University of Houston’s School of Architecture followed by the Kunstakademie, Dusseldorf, Germany. Returning to Houston in 1959, he began seriously working as an artist. Over the next fifty years, he participated in a large number of important exhibitions nationally, including his first solo exhibition at the Contemporary Arts Museum Houston in 1975. Dick Wray was an instructor at the Glassell School of Art from 1968 until 1982. Wray was awarded the Ford Foundation purchase prize in 1962, a prestigious Artist’s Grant from the National Endowment for the Arts in 1978 and named Texas Artist of the Year by the Art League of Houston in 2000. His work is in major collections, including the Albright Knox Museum, Buffalo, National Gallery of Art in Washington, D.C., the Modern Art Museum of Fort Worth, the Museum of Fine Arts and the Contemporary Art Museum of Houston and the Museum of Modern Art in New York City.
The works of Dick Wray were first shown at Deborah Colton Gallery during Focus on the 70’s and 80’s: Houston Foundations II. Dick Wray’s work was also featured in DCG Looking Back and Beyond in 2018. A comprehensive solo exhibition of Dick Wray’s work will take place at Deborah Colton Gallery in September – October 2019.

These three exhibitions are the second part of Deborah Colton Gallery’s Foundation III exhibition, with the recent Identifiably Houston being the first part. 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, conceptual future media and public space installations. The Gallery aspires to provide a forum through connecting Texas, national and international artists to make positive change and to help Houston become a leading destination city of the arts.
Since 2013 especially, Deborah Colton Gallery has had a strong focus on establishing HOUSTON FOUNDATIONS, which reveres our city’s artistic roots. By understanding where we came from, we can build on this foundation to become an even more dynamic and empowered “City of the Future” in the national and international art world. Deborah Colton Gallery’s Foundations I was Suzanne Paul’s PROOF exhibition in 2016, which the gallery actually started researching over a decade earlier when it started to house this important archive after Suzanne Paul’s passing. Suzanne Paul’s archives are the most comprehensive photographic documentation of Houston art scene from the 1970’s to 2005. September – October of 2017, Deborah Colton Gallery organized and exhibited Foundations II: Focus on the 70’s & 80’s which featured 26 of the most significant artists of that time period who have made a major impact on who we are as an art city today. The Foundations Symposium Series of panels and lectures was part of this exhibition. Deborah Colton Gallery has a permanent Foundations Room in the back of the gallery that highlights Suzanne Paul’s photographs of the Houston art scene plus a video excerpt of our Foundations Symposium Series from 2017. The video was created by Lee Benner. There also is a library of publications on Houston artists.

For more information on our Foundations Projects, please access our website.
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Basilios Poulos: A Moment in Time
2018-11-10 10:30 - 2019-01-05 17:30 (America/Halifax) | Deborah Colton Gallery, 2445 North Boulevard, Houston, 77098, United States

Cosmic Attraction: Works by Dorothy Hood and Don Redman
2018-11-10 10:30 - 2019-01-05 17:30 (America/Halifax) | Deborah Colton Gallery, 2445 North Boulevard, Houston, 77098, United States

Opening Reception for A Tale of Five Rings
2018-11-29 18:00 - 20:00 (America/Halifax) | High Line Nine, 507 West 27th Street , Gallery #9, New York, NY, 10001, United States
Morgan Lehman Gallery is pleased to present a pop-up exhibition at the High Line Nine, a modern arcade-style group of gallery spaces between West 27th and 28th Streets, underneath the High Line and adjacent to the Zaha Hadid building at 520 West 28th. A Tale of Five Rings is a multidisciplinary project by jeweler Jennifer Odell and painter Elisa Johns. Weaving together poetic writing with sensuous imagery and objects, this collaboration brings to life an archetypal tale about character.
Full Address of High Line Nine: 507 West 27th Street, Gallery #9, New York, NY 10001
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Sharon Kopriva: Meditations, Migrations and Muses
2019-01-11 10:30 - 2019-02-23 18:00 (America/Halifax) | Deborah Colton Gallery, 2445 North Boulevard, Houston, 77098, United States
Sharon Kopriva
Meditations, Migrations and Muses
January 12 through February 23, 2019
Opening Reception: Saturday, January 12, from 6:00 to 8:00 pm

Deborah Colton Gallery is pleased to present Meditations, Migrations and Muses, the third solo-exhibition at Deborah Colton Gallery of internationally recognized artist from Houston, Sharon Kopriva. This brilliant multi-media exhibition, which encompasses most of Deborah Colton Gallery, opens Saturday, January 12th and runs through February 23rd, 2019.
In this exhibition, Sharon Kopriva searches for spirituality and light in her forests and fields. A Texas native, she currently works in Houston, Texas and Hope, Idaho. Since her inauguration with the Fresh Paint exhibition at the Museum of Fine Arts, Houston in 1985, Kopriva has exhibited nationally and internationally, including solo exhibitions at The Menil Collection, The Ogden Museum and national museums in Lima, Peru and Monterrey, Mexico. Sharon Kopriva works in both two and three-dimensional media. Her career has taken her through investigations of Pre-Columbian cultures in Peru, exclamations of her Catholic faith, inspirations from the spiritual forest of the Pacific Northwest, and most recently an exploration of Muses of the Visual Arts.
Sharon Kopriva was first shown at Deborah Colton Gallery in 2009, and in 2011 had her first solo exhibition at Deborah Colton Gallery, titled Cathedrals, Phantoms and Naked Dogs. Since then, Kopriva has been featured at Deborah Colton Gallery in many group exhibitions including Visions, DCG Looking Back and Beyond, Houston Foundations exhibitions and at many local and national art fairs. Sharon’s last solo exhibition at Deborah Colton Galley was Illuminations in 2014, which then toured to Kirk Hopper Gallery in Dallas as Tubers* Tablets* Turfs* Tails in 2016.

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, conceptual future media and public space installations.
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James Britton
2019-01-26 - 2019-03-02 | HEMPHILL, 1515 14th Street NW, Washington, DC, 20005, United States
A devoted student of the natural sublime, portraiture, and visual criticism, Connecticut-born artist James Britton gave his life to art. He was a prolific writer and note taker, keeping detailed journals of his observations and notes on his life. These writings have compelled curators and historians to revisit his work, having fallen into relative obscurity after his death in 1936, a victim of ailing health and poverty. Despite his meager financial resources, he used whatever tools and materials were available to him, at times using scraps of cereal boxes as canvases for his paintings. He held a deep affection for the splendor of the New England countryside, from Connecticut to New York, and focused primarily on these subjects in the later years of his life. The 10 works on view in James Britton highlight the artist’s command of paint and light. None larger than a sheet of paper, each painting reveals itself to be an exquisite object, inviting closer inspection. Through this small survey of his later works, we are given a glimpse into the artist’s celebration of the American Northeast of the 1920s and 30s.

James Britton (1878 – 1936) was born in Hartford, Connecticut. Active in New York and New England from the 1900s to the 1930s, Britton was well known as both an artist and a writer. In New York, Britton formed an exhibiting group of artists called The Eclectics, which included at times Maurice Prendergast, George Luks, Philip L. Hale and Theresa Bernstein. His work was exhibited regularly in New York City, Connecticut, Boston, and Gloucester, Massachusetts. In addition to his published writings in American ART News and other periodicals and journals, Britton maintained diaries over some 30 years. Britton’s papers are now at the Smithsonian Institution’s Archives of American Art. In 2005, James Britton: Connecticut Artist, was assembled at the Lyman Allyn Art Museum in New London, CT. His work is included in such collections as the Wadsworth Atheneum, the New Britain Museum of American Art, the Florence Griswold Museum, The Mark Twain House and Museum, The Parrish Art Museum, and The New York Public Library. This show marks the first time the work of James Britton has been exhibited in Washington, DC.

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Photographs from the Tom Birch Collection
2019-01-26 - 2019-03-02 | HEMPHILL, 1515 14th Street NW, Washington, DC, 20005, United States
There is something inherently strange about a photograph: its pretense of veracity, the illusion of an unpremeditated subject, and the feeling of an unmediated presence. Herein lies the beauty of the medium and the opportunity for collecting photographs to become an adventure. A collection of photographs can tell us many things. In the best photography collections, each photograph is a knot on a thread leading to ever deeper and more penetrating experiences of beauty. Sometimes it is an elusive beauty captured from the real world. Other times beauty is exposed within something boring, horrible or shocking, revealed by the craft of the photographer and the willingness of the viewer to engage.
The Tom Birch Collection tells us he collected fearlessly, always reaching for the next new beauty. In reviewing personal collections one becomes used to seeing the predictable pantomiming of the reassuring qualities of the museum’s canon. One sees collections based on themes that barely recognize the inner dynamic of individual artworks. Some collections reflect only the desire to soothe, never to challenge, when so much more can be experienced. It is clear Tom Birch was spurred onward by a willingness to explore the widest range of what photography had to offer. This manner of collecting nudges the idea of taste away from a fixed set of rules into an evolving narrative of personal discovery. For Tom, each photograph is a moment on a clock spinning backwards through his life, telling him of the places his consciousness occupied before and then after acquiring each picture.
Some collections are broken up among heirs, some rightly go to institutions, and others are sold. In the selling of the Birch collection there is the goal of setting the artworks free to travel into the hearts and minds of other people, expanding their experiences of strange and wonderful beauty. Now, it is time for each of the photographs to become milestones in other collectors’ lives.
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Rive by Jon Verney
2019-02-07 18:00 - 2019-04-25 17:00 (America/Halifax) | SACI Gallery, 454 W 19th Street, New York, NY, 10011, United States
RIVE: A PHOTOGRAPHY EXHIBITION
Jon Verney a photographer whose work engages in manipulated found imagery, an interplay between the images of forgotten amateur photographers and the powerful sensation of abstract colors and fractal patterns and reticulation of the original.
His work is a reiteration of the dadaist practice of found objects and their subsequent metamorphoses after entering his possession. Using the contemporary material that is a Polaroid and subjecting them to methods of tangible and controllable manipulation of the photographic emulsion, Verney draws out of them the untapped potential that lay dormant.
He sources his materials, the Polaroids, from flea markets, shops, or bought in bulk online. Blowing these small personal images up to a large scale reinvents the originals into something unintended at their initial creation, giving a commentary on personal versus public.
The disassociation with the subjects and the original photographers’, whose work allows Verney the ability to create his work, mirrors that of Jacqui Kenny or Doug Rickard and their respective use of Google Street View, a global resource allowing those two photographers to create artwork from the comfort of their own homes using the resources of our modern society.
The subject of this body of work, Rive, engages in the theme of a schism, a fault line, a separation of two worlds that butt up against one another, like the waves of the ocean lapping against the shore. The banal common-place nature of these amateur photographs is at the same time both obscured behind, and obscuring the organic blooms of his manipulations, giving the sensation of a reciprocity between reality and surreality.
Join us for the Opening Reception!
Thursday, February 7, 2019 from 6:00-8:00pm
Make sure to also stop by the Artist Talk!
Thursday, April 18, 2019 from 6:00-7:00pm
Jon Verney is a visual artist whose practice interweaves the materiality of painting, photography, and film. After earning a BFA with Distinction in Painting from Massachusetts College of Art and Design in 2010, he relocated to Florence, Italy, where he attended SACI’s Post-Baccalaureate studio program. He was afterwards awarded a SACI Photo/Media Teaching Assistantship and remained at the school for two more years as a TA and darkroom technician. Upon returning to the United States, he received his MFA from the Stamps School of Art & Design at the University of Michigan in 2016. Verney has exhibited his work nationally and internationally and has attended artist residencies at the Vermont Studio Center, the Studios at MASS MoCA, Penland School of Craft, and the Independent Imaging Retreat in Ontario, Canada. His studio practice is based in North Adams, Massachusetts.
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Jasper Johns: Recent Paintings & Works on Paper
2019-02-09 - 2019-04-06 | Matthew Marks Gallery 522, 522 West 22nd Street, New York, NY, 10011, United States
Matthew Marks is pleased to announce Jasper Johns: Recent Paintings & Works on Paper, the next exhibition in his gallery at 522 West 22nd Street. The exhibition includes fifteen paintings and twenty-three works on paper made since 2012.
Two 2018 paintings, as well as a group of new drawings and monotypes, are based on a photograph of a soldier, Lance Corporal James Farley, taken during the Vietnam War by LIFE magazine photographer Larry Burrows. The soldier is seen at the end of a long day, head in his hands after a failed mission. Stenciled at the top and bottom of both canvases are the words “FARLEY BREAKS DOWN / AFTER LARRY BURROWS.”
Also on view are four paintings and two works on paper from the Regrets series, all completed after the exhibition of the same name at the Museum of Modern Art, New York, in 2014. Like the Farley series, they are based on an image of a man covering his face, in this case a photograph of Lucian Freud seated on a bed. In the catalogue that accompanies the current exhibition, Alexi Worth writes that these series both “show Johns breaking what seemed like foundational prohibitions against outright depiction and unguarded emotion.” The artist’s willingness to contradict himself may account for the perpetual surprises in his long career. “I think you can be more than one person,” Johns has said. “I think I am more than one person. Unfortunately.”
In two other new paintings, Johns revisits his Seasons paintings of the mid-1980s. Like them, the new canvases feature the artist’s shadow flanked by motifs from his earlier work. In the 2018 paintings, however, the shadow is overlaid with a skeleton wearing a hat. Accompanying these paintings are five related works on paper, including drawings in ink and charcoal on paper or ink on plastic, as well as several prints.
In October 2020, Johns’s work will be the subject of a major retrospective at the Whitney Museum of American Art in New York and the Philadelphia Museum of Art. Shown at both institutions simultaneously, it will be the artist’s most comprehensive exhibition to date.
Jasper Johns: Recent Paintings & Works on Paper is on view at 522 West 22nd Street from February 9 to April 6, 2019, Tuesday through Saturday, from 10:00 AM to 6:00 PM.
For additional information, please contact Jacqueline Tran at 212-243-0200 or jacqueline@matthewmarks.com.
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David Weiss: Drawings
2019-02-09 - 2019-04-06 | Matthew Marks Gallery 523, 523 West 24th Street, New York, NY, 10011, United States
Matthew Marks is pleased to announce David Weiss Drawings, the next exhibition in his gallery at 523 West 24th Street. The exhibition presents a cross-section of the artist’s works on paper made between the late 1960s and the early 1980s, before he began collaborating with Peter Fischli.
In those early years David Weiss (1946–2012) explored a range of visual idioms with the same playful curiosity that infused his later collaborative work with Fischli. Some of the earliest drawings were made during his extensive travels from his native Switzerland to London, Montreal, New York, San Francisco, Los Angeles, Mexico, Morocco, and Italy. Many of them convey this restless spirit, particularly the multi-sheet Metamorphoses, with their hallucinatory transformations of free-associated images, or his World Mapsdrawings, which depict the earth’s major landmasses with affectionate looseness.
The over fifty drawings in the exhibition are executed in a variety of media and in a wide range of sizes. Weiss’s love for underground and classic comics can be seen in the drawings of smoking Giacometti sculptures and flirtatious flowers. Rendered with cartoonish black lines on bright watercolor backgrounds, they embody not only his absurdist humor but also his sense of wonder. As Barry Schwabsky writes in the accompanying catalogue, “These works reflect a commitment neither to a particular type of subject matter, nor to a particular way of drawing, but rather to an exploration of drawing as such.” This exploration is clear in the Neocolor series, with its colorful sgraffito marks in oil pastel, and the Women series, a showcase of brushwork techniques in ink and watercolor.
David Weiss was born in Zurich and had his first exhibition in Bern in 1970. His early drawings were the focus of a 2014 survey at the Bündner Kunstmuseum in Chur, Switzerland, which traveled to the Swiss Institute in New York in 2014–15. His creative collaboration with Peter Fischli, which began in 1979 and lasted until the end of Weiss’s life, yielded a celebrated and enormously influential body of work that has been the subject of numerous museum exhibitions around the world, including, most recently, “Peter Fischli David Weiss: How to Work Better” at the Guggenheim Museum in New York in 2016.
David Weiss Drawings is on view at 523 West 24th Street from February 9 to April 6, 2019, Tuesday through Saturday, from 10:00 AM to 6:00 PM.
For additional information, please contact Stephanie Dorsey at 212-243-0200 or stephanie@matthewmarks.com.
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Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb
2019-02-21 - 2019-04-13 | David Zwirner, 525 West 19th Street, New York, NY, 10011, United States
David Zwirner is pleased to present an exhibition organized by Robert Storr that examines the mind and career of R. Crumb. The exhibition will feature a wide array of printed matter culled from the artist’s archive: tear sheets of drawings and comics, taken directly from the publications where the works first appeared, as well as related ephemera. These often fragile works on paper will be installed across the walls of the gallery’s 519 West 19th Street space in New York. Further illuminating Crumb’s practice, the show will also feature a selection of rare sketchbooks and original drawings by the artist.
Image: Installation view, Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb, David Zwirner, New York, 2019
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The Young and Evil
2019-02-21 - 2019-04-13 | David Zwirner, 525 West 19th Street, New York, NY, 10011, United States
David Zwirner is pleased to present The Young and Evil, a group exhibition curated by Jarrett Earnest, at the gallery’s 533 West 19th Street location in New York. The exhibition will feature significant works from the first half of the twentieth century by Paul Cadmus, Fidelma Cadmus Kirstein, Charles Henri Ford, Jared French, Margaret Hoening French, George Platt Lynes, Bernard Perlin, Pavel Tchelitchew, George Tooker, Jensen Yow, and their circle. This group of artists and writers looked away from abstraction toward older sources and models—classical and archaic forms of figuration and Renaissance techniques. What might be seen as a reactionary aesthetic maneuver was made in the service of radical content—endeavoring to depict their own lives.
Drawn from important public and private collections, key works include a painting from Paul Cadmus’s infamous sailor trilogy, Shore Leave (1933), on loan from the Whitney Museum of American Art; a major canvas by Pavel Tchelitchew featuring vignettes of George Platt Lynes at work; rare paintings by Margaret French and works on paper by Fidelma Cadmus Kirstein; and never-before-seen erotic drawings and photographs from the Kinsey Institute at Indiana University. On the occasion of the exhibition, a fully illustrated, comprehensive catalogue featuring new scholarship by art historians Ann Reynolds and Kenneth E. Silver is forthcoming from David Zwirner Books.
Kindly note that some material in the exhibition may not be suitable for children.
Image: Installation view, The Young and Evil, David Zwirner, New York, 2019
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Jonathan Gardner, "Desert Wind"
2019-02-21 - 2019-04-20 | Casey Kaplan, 121 W. 27th St, New York, NY, 10001, United States
Jonathan Gardner presents fantastical, layered tableaus of the quotidian for Desert Wind, his second exhibition at Casey Kaplan. Oil paint is rendered in bizarre, flattened compositions that are suspended between art historical motifs culled from a variety of sources, and uncanny manifestations of the artist’s mind.
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Magic Ben Big Boy: Lutz Bacher, Nayland Blake, Vincent Fecteau
2019-02-22 - 2019-04-20 | Matthew Marks Gallery 526, 526 West 22nd Street, New York, NY, 10011, United States
Matthew Marks is pleased to announce Magic Ben Big Boy: Lutz Bacher, Nayland Blake, Vincent Fecteau, the next exhibition in his gallery at 526 West 22nd Street.
Conceived by Vincent Fecteau, the exhibition centers on a re-creation of the artist’s first one-person show, “Ben,” originally presented twenty-five years ago at Kiki, a short-lived but influential artist-run gallery in San Francisco’s Mission District. The title “Ben” comes from a 1972 movie and its theme song of the same name, sung by Michael Jackson. A love song from a boy to his pet rat, it became a #1 hit single and was nominated for an Academy Award. The works in the exhibition include collages of found photographs of cats, sculptures made from old shoeboxes, and eggshells painted to look like eyes.
Two important works made in San Francisco a few years earlier by Nayland Blake and Lutz Bacher are installed in the adjacent galleries. Bacher’s sculpture Big Boy (1992) replicates an anatomically detailed stuffed doll, like those used in child-abuse assessments, but expands it to larger than human size. Blake’s Magic (1990–91) is an assemblage featuring Madame, the puppet star of Wayland Flowers’s 1980s sitcom Madame’s Place. At the time of “Ben,” Fecteau was working as an assistant in Blake’s studio. “Magic is one of my favorite pieces from that period of Nayland’s work,” says Fecteau. “Nayland also introduced me to Lutz when she approached him about finding someone to help fabricate Big Boy.” Fecteau worked on Bacher’s sculpture in his bedroom for several months before it was finished with help from a costume designer for the San Francisco Opera.
Lutz Bacher lives and works in New York. Bacher’s work has been the subject of one-person museum exhibitions in Düsseldorf, Vienna, and New York, and has been included in three Whitney Biennials.
Nayland Blake (b.1960) lives and works in New York. Blake’s work has been the subject of one-person museum exhibitions in San Francisco, Houston, and New York, and been included in the Whitney Biennial and the Venice Biennale. In September the most comprehensive survey of Blake’s work to date will open at the Institute of Contemporary Art, Los Angeles.
Vincent Fecteau (b.1969) lives and works in San Francisco. Fecteau’s work has been the subject of several one-person museum exhibitions, most recently in Vienna and Basel, and has been included in the Carnegie International and two Whitney Biennials. In 2016 Fecteau was awarded a MacArthur prize.
Magic Ben Big Boy: Lutz Bacher, Nayland Blake, Vincent Fecteau is on view at 526 West 22nd Street from February 22 to April 20, 2019, Tuesday through Saturday, from 10:00 AM to 6:00 PM.
For additional information, please contact Ted Turner at 212-243-0200 or ted@matthewmarks.com.
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Alice Neel: Freedom
2019-02-26 - 2019-04-13 | David Zwirner, 537 West 20th Street, New York, NY, 10011, United States
On view at David Zwirner’s 537 West 20th Street gallery in New York from February 26 through April 13, 2019, Alice Neel: Freedom will include a selection of paintings and significant works on paper by Alice Neel (1900–1984). With a range of works spanning her career, this exhibition focuses primarily on Neel’s portrayal of the nude figure and the ways in which the artist resolutely challenged traditional perceptions of sexuality, motherhood, and beauty.
One of the foremost American figurative painters of the twentieth century, Neel was a humanist—she was fascinated by people. She loved to paint them in all their complexities—to penetrate and reveal their fears and anxieties, their defiance and survival. She also loved to paint the unadorned human figure. Her nudes explore the body with frankness while celebrating the individuality of each of her subjects, and they exemplify the freedom and courage with which she approached her work and her life. In their mastery of form, color, and implied social commentary, her nudes are as relevant today as when they were painted.
Organized by Ginny Neel of The Estate of Alice Neel, the exhibition will comprise significant loans from museum and private collections. It will be accompanied by a fully illustrated catalogue that will include newly commissioned scholarship by Helen Molesworth, an introduction by Ginny Neel, and a contribution by Marlene Dumas.
Image: Installation view, Alice Neel: Freedom, David Zwirner, New York, 2019
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Sherrie Levine: After Reinhardt
2019-02-28 - 2019-04-20 | David Zwirner 69th Street, 34 East 69th Street, New York, NY, 10021, United States
David Zwirner is pleased to present Sherrie Levine: After Reinhardt at the gallery’s 34 East 69th Street location in New York. This will be the artist’s third solo exhibition with the gallery.
Levine’s work engages many of the core tenets of postmodern art, in particular challenging notions of originality, authenticity, and identity. Levine rose to prominence as a member of the Pictures Generation, a group of artists based in New York in the late 1970s and 1980s whose work examined the structures of signification underlying mass-circulated images—and, in many cases, directly appropriated these images in order to imbue them with new, critically inflected meaning. Since then, Levine has created a singular and complex body of work in a variety of media (including photography, painting, and sculpture) that often explicitly reproduces artworks and motifs from the Western art-historical canon.
Image: Installation view, Sherrie Levine: After Reinhardt, David Zwirner, New York, 2019
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Adolph Gottlieb: Classic Paintings
2019-03-01 - 2019-04-13 | Pace Gallery 25th Street, 540 West 25th Street, New York, NY, 10001, United States
Pace Gallery is honored to present an exhibition of paintings by Adolph Gottlieb (1903 – 1974), a leader of the New York School and seminal force in abstraction. Drawing together works from the Adolph and Esther Gottlieb Foundation alongside a number of paintings on loan from major institutions—including the Albright-Knox Art Gallery, the Blanton Museum of Art, the Jewish Museum, the Princeton University Art Museum, the Museum of Modern Art, the Walker Art Center, and the Whitney Museum of American Art, among others—Adolph Gottlieb: Classic Paintings features over 20 large-scale paintings created by Gottlieb from the mid-1950s until his death in 1974.To accompany the exhibition, Pace will publish a full-color catalogue with a new essay by Dr. Kent Minturn.
Image: Installation view, “Adolph Gottlieb: Classic Paintings,” March 1 – April 13, 2019, Pace Gallery, New York © Adolph and Esther Gottlieb Foundation / Artists Rights Society (ARS), New York.
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Matthew Barney: Redoubt
2019-03-01 10:00 - 2019-06-16 17:00 (America/Halifax) | Yale University Art Gallery, 1111 Chapel St, New Haven, CT, 06510, United States
In his first major exhibition at his alma mater, the renowned and provocative contemporary artist Matthew Barney, B.A. 1989, presents his latest work, including a new feature-length film titled Redoubt. In addition to the film, the exhibition features pieces in other media that demonstrate casting and electroplating techniques developed by Barney. Touching on themes of artistic creation, ecology, and dance, Matthew Barney: Redoubt showcases the artist’s trademark interdisciplinary and multimedia approach.
https://artgallery.yale.edu/exhibitions/exhibition/matthew-barney-redoubt
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Jan-Ole Schiemann: A Different Pose
2019-03-07 - 2019-05-04 | Kasmin Gallery, 297, 297 10th Ave, New York, NY, 10001, United States
Kasmin is pleased to present A Different Pose, the gallery’s first solo exhibition of new paintings by Cologne-based artist Jan-Ole Schiemann. Schiemann’s paintings are grounded in both gestural abstraction and the history of 20th-century animation, aspects that combine to imbue his work with a rare sense of kinetic energy. Half-formed, simultaneously disappearing and reappearing shapes suggest that somewhere amidst the lines, there are figures tumbling, colliding, or fighting obscured by clouds of smoke. As a result of Schiemann’s meticulous, layered application of charcoal, oilstick, ink and acrylic, the works have the illusion of both a sculptural and a digital depth. The artist’s first solo exhibition at Kasmin will be comprised of new medium-scale and monumental paintings, as well as the debut of a new series of works on paper.
Schiemann’s process begins with the collection of references—cut-outs from cartoon strips, elements from his own drawing process—which the artist then collages onto transparencies and projects against the canvas. Using primarily ink on the unprimed surface, Schiemann uses sweeping gestures to build the dynamic base of the picture plane before moving on to more precise, illustrative detailing. The works are then built up to fruition carefully, introducing exuberant color and spontaneity as Schiemann reimagines the projected configurations.
The series of works on paper demonstrates Schiemann’s commitment to drawing, and its fundamental place in his oeuvre. Appearing as a consolidation of fragments of many sketches bought together into balanced coherence, the works give further insight into Schiemann’s process and highlight the strength of his forms.
Jan-Ole Schiemann has mounted solo shows recently at CHOI&LAGER Gallery, Seoul, South Korea (2018); Nino Mier Gallery, Los Angeles (2017, 2015) and Half Gallery, New York, (2015). Schiemann was also included in curated exhibitions such as Cliché, Almine Rech Gallery, New York (2018); Abstract/Not Abstract, curated by Jeffrey Deitch and Larry Gagosian, Moore Building, Miami (2017); Prinz – the Ghosts are Outside, Kreuzberg Pavilion, Berlin (2015); and 17 Abstract Paintings, Warhus Rittershaus, Cologne (2014) amongst others. He is a graduate of the Kunstakademie Düsseldorf under Albert Oehlen and Andreas Schulze (2007-2013) and currently lives and works in Cologne, Germany.
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CAROL JACOBSEN: LIFE ON TRIAL
2019-03-07 18:00 - 2019-04-06 18:00 (America/Halifax) | Denise Bibro Fine Art, 529 West 20th Street, 4th Floor, New York, 10011, United States
Denise Bibro Fine Art, Chelsea, NYC is pleased to present Life on Trial, a video installation and photography by Carol Jacobsen, running March 7 – April 6, 2019.
The exhibition includes Life on Trial, a video installation that investigates women’s criminalization from the perspective of a woman who killed her rapist in self-defense. She was then convicted to first-degree murder and sentenced to life in prison. She was named plaintiff on six different lawsuits against the State for sexual assaults by guards and other issues on behalf of women prisoners. Also exhibited is Letters of the Law, a photographic series on incarcerated women with whom Jacobsen has worked through her nonprofit, Michigan Women’s Justice & Clemency. Her work has helped free 13 women from life sentences.
Carol Jacobsen is an award-winning artist whose work actively confronts issues of women’s criminalization, human rights and censorship. Her films and photography have been exhibited and screened worldwide, including Lincoln Center, New York; Cultura Contemporanea, Barcelona; Kunstforum; Bonn and many others. She has received awards from the National Endowment for the Arts, Paul Robeson Foundation, Women in Film Foundation, and others. Her exhibitions and screenings in New York and abroad have been sponsored by Amnesty International since 1998. Her book, For Dear Life: Women’s Decriminalization and Human Rightswill be featured in a discussion with the artists exhibiting in MSDEMEANORS and their books on April 4, 6-8 pm. She is Professor of Art and Women’s Studies at The University of Michigan and serves as Director of the Michigan Women’s Justice & Clemency Project. She he has given talks and lectures including Oxford University in England and John Jay College of Criminal Justice in New York.
This exhibition is co-sponsored by Amnesty International, with support from The University of Michigan Office of Research, Institute for the Humanities, the Penny W. Stamps School of Art & Design, and Institute for Research on Women and Gender. If you are interested in learning more about Jacobsen’s nonprofit please visit: http:www.umich.edu/~clemency.
There will be a panel discussion with the artists about their work and books at the gallery on Thursday, April 4, 6-8pm.
Opening reception is Thursday, March 7, 6-8pm. The artist will be present.
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Blackface: A Reclamation of Beauty, Power, and Narrative
2019-03-08 08:00 - 17:00 (America/Halifax) | FL
Galerie Myrtis and The Agora Culture present Blackface: A Reclamation of Beauty, Power, and Narrative.
In asserting the beauty of the black body, affirming its power— and societal and historical place, curators Myrtis Bedolla and Jessica Stafford Davis offer a counter narrative to the racist archetypes that evolved from 18th century minstrelsy, and its negative stereotyping of African Americans that prevails today.
The exhibition explores contemporary notions of black identity through photography by Tawny Chatmon, and painters Alfred Conteh, Jerrell Gibbs, and Jas Knight; and an investigation of blackface from a historic perspective presented in paintings by Arvie Smith and multidisciplinary works by Felandus Thames. The addition of a compiling video by filmmaker Karina Griffith captured in Berlin, Germany evokes the maligning of blackness through an international lens.
In addressing the insidious nature of minstrelsy and the appropriation of black culture —to deploy and rationalize the subjugation of African Americans for financial gain, Frederick Douglass described blackface performers as:
“…the filthy scum of white society, who have stolen from us a complexion, denied them by nature, in which to make money, and pander to the corrupt taste of their white fellow citizens.” [i]
[i] Lott, Eric (1993). Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press.

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