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DTSTART;VALUE=DATE:20240620
DTEND;VALUE=DATE:20240727
DTSTAMP:20260613T145650
CREATED:20240617T134842Z
LAST-MODIFIED:20240617T135159Z
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SUMMARY:Sublime Spirit
DESCRIPTION:Marianne Boesky Gallery is pleased to present Sublime Spirit\, a summer group exhibition organized by Marianne Boesky. Featuring work by 12 artists from around the world\, Sublime Spirit explores the animal urge to give oneself over to nature\, to retreat from society and return to an arcadia of one’s own imagining. \n  \nFeaturing new work—all made within the past three years—by Nicola Bailey\, Kim Booker\, Mirela Cabral\, Hadi Falapishi\, Luiza Gottschalk\, Thalita Hamaoui\, Jay Heikes\, Oliver Hemsley\, Dora Jeridi\, Nathalie Khayat\, Antonio Ballester Moreno\, and Mari Ra\, Sublime Spirit examines the innately human desire to escape the world we have made. Drawing on the awe of 18th-century Romanticism and the reverence of 19th-century Transcendentalism\, these 12 artists imagine the viscerality of the wild in contemporary terms. In these landscapes—conjured from memory or imagination\, rendered in dynamic\, expressionistic gestures or careful\, considered geometries—the natural world perpetuates itself\, overtaking any lingering traces of the man-made\, calling to the fore the awesome power of the wild. \n  \nRendering abstracted landscapes in simplified\, geometric terms\, Antonio Ballester Moreno (b. 1977; Madrid\, Spain) and Mari Ra (b. 1996; São Paulo\, Brazil) allude to the inherent\, innate logic of nature. Borrowing the visual language of Geometric Abstraction\, Ballester Moreno captures the rising—or perhaps setting—sun against gradations of color moving along multiple horizon lines. With a small-scale sculpture\, Ballester Moreno brings his celestial geometry into the round\, but the flat-plate forms—suns and moons—remain starkly two-dimensional. Building landscapes out of simplified\, undefinable shapes\, Ra gives dimension to negative space\, alluding to the unseen\, inner workings of the natural world. \n  \nExpressionistic in their approach to the natural world\, Luiza Gottschalk (b. 1984; São Paulo\, Brazil)\, Mirela Cabral (b. 1992; Salvador\, Brazil)\, Thalita Hamaoui (b. 1981; São Paulo\, Brazil)\, and Nathalie Khayat (b. 1966; Beirut\, Lebanon) deploy rich colors and dynamic gestures in immersive landscapes and organic forms. In a suite of paintings tied to the seasons—Spring\, Summer\, Fall\, and Winter—Gottschalk captures the constant\, perpetual reinvention in the elements as the seasons progress. In the work of Cabral and Hamaoui\, otherworldly plant matter forms strange jungles that overtake any remaining traces of the human world. With the undulating\, organic forms of her porcelain vessels\, Khayat evokes the dualities of nature—violence and calm\, growth and decay\, life and death. \n  \nKim Booker (b. 1983; United Kingdom)\, Dora Jeridi (b. 1988; Paris\, France)\, and Jay Heikes (b. 1975; Princeton\, NJ) imbue their landscapes with a palpable existential anxiety. In Booker’s monumental paintings\, sketchy female figures melt into the underbrush—as if they desire to return to the earth. Through her vivid use of color and nearly violent use of line\, Jeridi’s paintings reflect an overwhelming\, uncontained anxiety—about both society and the planet. Expressing a visceral unease about the future of the planet\, Heikes allows familiar natural elements to morph into one another—desert vegetation becomes a coral reef becomes a dramatic mountain range\, all underneath a strange\, gaseous sun—while new anodized aluminum lily pads by Heikes seem to decay before the viewer’s eyes. \n  \nIn the work of Nicola Bailey (b. 1965; Durban\, South Africa)\, Hadi Falapishi (b. 1987; Tehran\, Iran)\, and Oliver Hemsley (b. 1987; Ely\, Cambridgeshire\, England)\, the sublime manifests in the tender bonds between humans and animals. In both paintings and bronze sculptures\, Bailey captures sleeping dogs with unspeakable tenderness. The expressive—nearly childlike—animals in Falapishi’s canvases and ceramic vessels speak to the unaffected awe with which young people experience nature. From Hemsley’s richly textured near-abstractions\, tender moments emerge—a dog carefully holding a fish in its mouth\, a human hand delicately caressing a dog’s paw—speaking to the unbreakable bonds between the realm of animal and that of human. \n  \n“Wherever we look\,” poet Maxine Kumin once wrote of the late poet Mary Oliver\, “we find Oliver reaching for the unattainable while grateful for its unattainability. She stands quite comfortably on the margins of things\, on the line between earth and sky\, the thin membrane that separates human from what we loosely call animal.” The artists of Sublime Spirit do much the same in their longing for a connection to the wild—perhaps even hearkening back to some distant shared memory of when we were all one. Ultimately\, Sublime Spirit reminds us that humans\, too\, belong to the natural world\, that this wilderness we long for also longs for us—calling to us\, as Oliver writes\, like the wild geese.
URL:https://artinamericaguide.com/event/sublime-spirit/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240620
DTEND;VALUE=DATE:20240727
DTSTAMP:20260613T145650
CREATED:20240617T134158Z
LAST-MODIFIED:20240617T134158Z
UID:108930-1718841600-1722038399@artinamericaguide.com
SUMMARY:Material World
DESCRIPTION:Marianne Boesky Gallery is pleased to present Material World\, a group exhibition curated by gallery artist Gina Beavers. With Material World\, Beavers brings together 22 artists who examine the power in everyday objects—artists who have served as points of inspiration and reflection for Beavers as she works toward her next solo exhibition at Marianne Boesky Gallery\, opening in September 2024. \n  \nIf the traditional source material for art is found in the figure\, in history\, in religion\, or in the landscape\, the artists of Material World look elsewhere—to the very things that populate their daily lives. Taking as their starting point the things we might find in our homes or offices\, the things we wear on our bodies\, the things we absentmindedly toss in the trash\, these artists translate the paraphernalia of quotidian living into grand abstractions\, intricate assemblages\, and riffs on the tropes of art history. \n  \nThroughout their work\, Sarah Meyohas\, Jared Madere\, Andrew Roberts\, Josh Kline\, and Robert Rauschenberg filter the experience of physical objecthood through a lens of replication or reproduction—be it photography\, artificial intelligence\, digital algorithms\, or sculptural recreation. Sarah Meyohas (b. 1991; New York\, NY) and Jared Madere (b. 1986; New York\, NY) experiment with various technological and artificial-intelligence processes in their work—Meyohas by an algorithmically defined pastel plotter machine as an extension of the artist’s own hand\, Madere by creating large-scale digital photo mash-up. The body asserts itself as an object in the sculptures of Andrew Roberts (b. 1995; Tijuana\, Mexico) while a brick-and-resin wall installation by Josh Kline (b. 1979\, Philadelphia\, PA) and a historic screenprint by Robert Rauschenberg (b. 1925\, d. 2008) invoke critiques of capitalism\, calling attention to the sheer onslaught of imagery we experience in a digital age. \n  \nThe works of Jack Whitten\, Jonathan Sánchez Noa\, LaKela Brown\, and Allison Janae Hamilton occupy the liminal space between the art and objecthood—and mine the distance between past and present\, between the abstract and the real. With cubes of acrylic paint and an old pair of sunglasses\, Jack Whitten (b. 1939\, d. 2018) composes a nearly portrait-like image\, toying with both perception and assumption. Jonathan Sánchez Noa (b. 1994; Havana\, Cuba) and Allison Janae Hamilton (b. 1984; Lexington KY) draw on cultural histories to create new objects imbued with mythic character: Sánchez Noa weaves tobacco fibers into handmade paper compositions that hang like tapestries from the wall while Hamilton adorns the surface of an antique fencing mask with flowers carved in reclaimed wood. With a plaster cast—presented alongside its mold—LaKela Brown (b. 1982; Detroit\, MI) makes reference to both early human art forms and 90s hip-hop culture\, reflecting on modes of historicization and the distance between past and present. \n  \nGhada Amer\, Rosemarie Trockel\, Leslie Wayne\, El Anatsui\, and Sanford Biggers all engage with textile-based crafts throughout their work\, infusing seemingly simple objects and forms with loaded histories and alternative possibilities. Reimagining an ancient textile tradition associated with male tentmakers in her native Egypt\, Ghada Amer (b. 1963; Cairo\, Egypt) appliqués a text by Tunisian women’s rights activist Amina Sboui onto canvas\, mimicking the ubiquitous form of a QR code. Rosemarie Trockel (b. 1952; Schwerte\, Germany) similarly pulls at the threads of gender in her machine-knit tapestries\, recreating a work of renowned male artists in a feminine-coded medium. In contrast\, Leslie Wayne (b. 1953; Landstuhl\, Germany) hangs a traditional oil-on-canvas painting from a hook on the wall\, at once making reference to domestic textiles and the tools of an artist’s studio. Weaving aluminum liquor bottle caps and newspaper printing plates with copper wire\, El Anatsui (b. 1944; Anyako\, Ghana) repurposes refuse—and its loaded associations—into a sculptural tapestry that defies categorization. Collaging and molding found 19th century quilts—versions of which\, according to African American folklore\, acted as coded signposts on the Underground Railroad—Sanford Biggers (b. 1970; Los Angeles\, CA) positions viewers to confront the obscured histories embedded within his historic materials. \n  \nDarren Bader\, Mike Kelley\, Jessica Stockholder\, and Samara Golden deploy found objects throughout their work\, closely examining the very things that occupy our everyday lives. Building a site-specific installation out of celebrity refuse—Jane Fonda’s doily\, Shirley MacLaine’s shoes\, Mick Fleetwood’s Swiss Army knife—Darren Bader (b. 1978\, Bridgeport\, CT) juxtaposes the value of a celebrity name with the sheer ordinariness of their one-time possessions. Mike Kelley (b. 1954\, d. 2012) arranges a selection of kitschy objects—representative of an American adolescence—just so on a simple wood shelf. Jessica Stockholder (b. 1959; Seattle\, WA) builds a colorful\, sunset landscape—as reflected in the rearview mirror of a trailer truck—out of small\, household objects. Using inexpensive\, readily available materials and objects\, Samara Golden (b. 1973; Ann Arbor\, MI) builds a kitchen table—complete with a full breakfast spread—on the wall\, toying with viewers’ perception of time and space. \n  \nElizabeth Murray\, Samara Golden\, Heidi Bucher\, Claes Oldenburg\, and  Woody De Othello deploy more traditional artmaking processes to evoke nostalgia and interrogate the familiarity of domestic spaces. Elizabeth Murray (b. 1940\, d. 2007) reinterprets the forms of teacups in her signature improvisational style. With latex and textiles\, Heidi Bucher (b. 1926\, d. 1993) creates a skin of an exterior door\, interrogating notions of privacy and loneliness. With a combination of plaster\, glass\, ceramic\, aluminum\, paper\, and plastic\, Claes Oldenburg (b. 1929\, d. 2022) presents an unassuming ice cream sundae. Woody De Othello (b. 1991\, Miami\, Florida) renders household objects in intricately formed ceramic\, allowing them to slump and melt as if under the weight of their own gravity. \n  \nThe artists of Material World deploy their quotidian objects of choice to various ends—to invoke a certain nostalgia or comforting familiarity\, to examine a culture of overconsumption or anxiety about the climate\, to investigate elements of personal or political identities\, or simply because they need to use objects at their disposal. Nevertheless\, these artists—who span generations\, geographies\, movements and mediums—are firmly planted in the tangibility of their material world\, using the objects that surround them as a starting point to think about history\, memory\, and identity. \n  \nABOUT GINA BEAVERS \nMining the ubiquitous imagery of Instagram\, TikTok\, and YouTube\, Gina Beavers (b. 1974; Athens\, Greece) pushes paint to the height of its sculptural potential—breaking the fourth wall of the internet and pushing her forms through the screen and out into the physical world. Color Story—forthcoming at Marianne Boesky Gallery—will feature a new suite of paintings by Beavers. The artist’s work was the subject of a solo exhibition—titled The Life I Deserve—at MoMA PS1 in 2019. Beavers’s work has also been included in group presentations at Lehman Art Gallery\, the Barns Art Center\, Kentucky Museum of Contemporary Art\, Louisville; Nassau County Museum of Art\, New York; Flag Art Foundation\, New York; William Benton Museum of Art\, Connecticut; and Abrons Art Center\, New York. Exhibitions of her work have been reviewed in the New York Times\, the New Yorker\, Frieze\, Artforum\, Art in America among others. Her work is included in the permanent collections of the Whitney Museum\, the ICA Miami and the Tel Aviv Museum of Art. Beavers earned an MFA in Painting and Drawing from the School of the Art Institute of Chicago\, an MS in Education from Brooklyn College\, and a BA in Studio Art and Anthropology from the University of Virginia. She served as an Adjunct Professor at Columbia University from 2019–2020. Beavers lives and works in Orange\, New Jersey.
URL:https://artinamericaguide.com/event/material-world/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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END:VEVENT
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DTSTART;TZID=America/New_York:20240611T080000
DTEND;TZID=America/New_York:20240616T170000
DTSTAMP:20260613T145650
CREATED:20240529T152347Z
LAST-MODIFIED:20240605T205616Z
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SUMMARY:Art Basel | Marianne Boesky Gallery
DESCRIPTION:Marianne Boesky Gallery is pleased to present works by Ghada Amer\, Jennifer Bartlett\, Sanford Biggers\, Pier Paolo Calzolari\, Svenja Deininger\, Mary Lovelace O’Neal\, Suzanne McClelland\, Sarah Meyohas\, Donald Moffett\, Hannah van Bart\, and Michaela Yearwood-Dan for Art Basel 2024.  \nWith new embroidered paintings and a bronze sculpture\, Ghada Amer builds on her ongoing investigation of language and material. Grounded in precise mathematical abstractions\, Jennifer Bartlett’s works call into question the rigid—often self-imposed—constraints and restrictions of the grid\, resulting in dynamic compositions with deep poetic and aesthetic resonance. In marble works from his Chimera series and quilt-based works from his Codex series\, Sanford Biggers continues his investigation into our understandings of collective historical narratives\, mythologies\, and traditions. Onto the surface of pigmented and salt-strewn panels\, Pier Paolo Calzolari attaches small objects\, providing focus for contemplation within the surrounding textures and colors. In new paintings\, Svenja Deininger opens dialogues between shape\, color\, texture\, and surface. With two paintings from her Mexico series\, Mary Lovelace O’Neal mines the visual language she has developed over her six-decade career\, iterating on the imaginative forms\, innovative materiality\, and inventive handling of color that define her practice.  \nRepeating\, burying\, and dissolving fragments of language within her paintings\, Suzanne McClelland alternately obscures and exposes their linguistic and numerical origins. In a new\, multi-panel hologram\, Sarah Meyohas surfaces magnified\, abstracted imagery of plant matter—a reminder that the natural world is its own form of technology. In multi-dimensional paintings\, Donald Moffett exposes the urgency of environmental degradation at the hands of governments and industry. Throughout her atmospheric portraits\, still lifes\, and landscapes\, Hannah van Bart captures strange figures and uncertain lands. In large-scale paintings\, Michaela Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy abstract forms and heavy drips of paint\, reflecting an inviting domesticity. \nTogether\, these works produce a dialogue that highlights—and complicates—their shared themes\, exemplifying the gallery’s interest in forming narratives across backgrounds and mediums while speaking to the very nature of what it means to make art today. 
URL:https://artinamericaguide.com/event/art-basel-marianne-boesky-gallery/
LOCATION:Art Basel\, Messe Basel Messeplatz 10\, Basel\, 4058\, Switzerland
CATEGORIES:Art Fair
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END:VEVENT
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DTSTART;TZID=America/New_York:20240509T080000
DTEND;TZID=America/New_York:20240608T180000
DTSTAMP:20260613T145650
CREATED:20240529T152347Z
LAST-MODIFIED:20240529T152347Z
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SUMMARY:Suzanne McClelland | Highland Seer
DESCRIPTION:Marianne Boesky Gallery is pleased to present Highland Seer\, an exhibition of new work by Suzanne McClelland (b. 1959; Jacksonville\, FL). For her second solo exhibition with Marianne Boesky Gallery\, McClelland turns her keen observational eye to notions of measurement and prediction\, incorporating divergent materials\, forms\, and modes of painting that she has developed throughout the course of her 35-year career. \nA singular voice in contemporary art\, McClelland examines the visual\, semantic\, and acoustic dimensions of language. Frequently beginning her paintings with a lexicon of words\, phrases\, characters\, or numbers\, McClelland builds upon these forms through drawing and writing\, which are interchangeable throughout her practice. Repeating\, burying\, and dissolving these fragments of language\, the artist alternately obscures and exposes their linguistic origins. \nWith Highland Seer\, McClelland brings together work from her three studios—in Orient\, Brooklyn\, and Los Angeles—demonstrating both the breadth and depth of her current practice. While each painting bears the evidence of the specific environmental conditions under which it was made\, the gathered body of work nevertheless pulls at common threads: language\, measurement\, notions of the self\, erasure\, and methods of prediction and divination. Various symbols and forms appear throughout this group of paintings—math problems\, zeroes and infinity symbols\, the body\, and classic cartoon characters. Each of these subjects promises fixed meaning: math problems have one solution\, zero is infinity’s twin\, the body is stable\, Wile E. Coyote follows the same narrative formula time after time. Yet in McCelland’s canvases\, these forms become fluid: a number\, divided by itself\, equals itself; zero morphs into infinity; the body is represented in fragments\, made up of only what the artist can see of herself as she works\, and alternately duplicated or erased; and a predator becomes prey to their own machinations. \nMcClelland’s practice is\, in many ways\, a study in how we interpret information\, in how we take measure of what we see and hear\, what we read and learn. Endlessly fascinated by communication—in all its forms—the artist here turns her attention to how we use linguistic and visual signifiers to identify and interpret the patterns found in our histories\, both personal and societal. Throughout Highland Seer\, McClelland deploys her array of forms—numbers\, characters\, bodies\, phantoms\, cartoon characters—in an effort not only to take stock of the past and the present\, but to use these measures to address our endless desire to predict what the future may hold. \nHighland Seer takes its title from Reading Tea Leaves\, a slight volume written by an unnamed Scottish author first published in 1920. The author—identified only as a Highland Seer—offers guidance for those who wish to learn to read leaves\, to interpret shapes as symbols\, omens\, or prophecies. Reading tea leaves is a rather quotidian method of divination\, the Highland Seer tells us\, “all that is required\,” they write\, “is for someone to read and interpret these symbols correctly in order to ascertain what is likely to happen.” Reading tea leaves may be an occult practice\, but its rules are clear\, each sign linked to a specific meaning. In its most basic form\, reading leaves is a practice of identifying a shape and determining its associated interpretation. \nWith this handbook\, the Highland Seer implies that a sense of certainty about the future is easy enough to come by\, that a series of shapes and signs\, read in context\, will provide clarity—that a package will arrive or that we will return safely from a journey. Abstract paintings\, like McClelland’s gathering of work for this exhibition\, offer something akin to the bottom of a teacup—a series of shapes and forms to be read and interpreted by the viewer. Yet\, in McClelland’s paintings—amidst her various origin inscriptions and unconventional materials and modes of making—these shapes tumble and fracture and fold\, teetering on the edge of legibility or foretelling erasure\, of the self\, of language\, of measurement. These signs and omens morph or disappear before they can be established with any clarity\, before they can be identified and interpreted. The future\, by its very nature\, is uncertain\, and we long to predict what may come. Yet\, with these works\, McClelland never provides the cosmic reassurance we long for. \n  \nABOUT SUZANNE MCCLELLAND \nMcClelland’s work has been exhibited extensively since the early 1990s. Solo exhibitions of her work have been presented at the Aldrich Museum of Contemporary Art\, Ridgefield\, CT; the Whitney Museum of American Art at Philip Morris\, New York\, NY; the Fralin Museum of Art at the University of Virginia\, Charlottesville\, VA; and the Orlando Museum of Art\, FL\, among others. Her work was included in the 1993 and 2014 Whitney Biennials\, and she has been included in group exhibitions at the Metropolitan Museum of Art\, New  York\, NY; Parrish Art Museum\, Watermill\, NY; Wexner Center for the Arts\, Columbus\, OH; Pulitzer Arts Foundation\, St. Louis\, MO; the National Museum of Women in the Arts\, Washington\, D.C.; and the New Museum of Contemporary Art\, New York\, NY. McClelland is the recipient of numerous awards\, including a Guggenheim Fellowship in 2019\, an Anonymous Was A Woman Award\, and a Nancy Graves Foundation Grant\, and she has participated in international residencies\, including the Troedsson Villa Residency in Nikko\, Japan in 2019. Her work is held in numerous public collections including that of the Brooklyn Museum\, Brooklyn\, NY; the Museum of Modern Art\, New York\, NY; the Metropolitan Museum of Art\, New York\, NY; the Norton Museum of Art\, West Palm Beach\, FL; the Walker Art Center\, University of Minnesota\, Minneapolis\, MN; and the Whitney Museum of American Art\, New York\, NY\, among others. McClelland earned an MFA at the School of the Visual Arts\, New York\, NY and a BFA from the University of Michigan\, Ann Arbor\, MI. McClelland lives and works in Brooklyn and Orient\, NY.
URL:https://artinamericaguide.com/event/suzanne-mcclelland-highland-seer/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
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END:VEVENT
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DTSTART;TZID=America/New_York:20240502T100000
DTEND;TZID=America/New_York:20240608T180000
DTSTAMP:20260613T145650
CREATED:20240529T152347Z
LAST-MODIFIED:20240529T152347Z
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SUMMARY:The Haas Brothers | Inner Visions
DESCRIPTION:Marianne Boesky Gallery is pleased to present Inner Visions\, an exhibition of new work by the Los Angeles-based artist duo the Haas Brothers (b. 1984; Austin\, TX). Featuring all-new sculptures and paintings\, Inner Visions—the Haas Brothers’ third solo exhibition with Marianne Boesky Gallery—captures the precise physics\, disciplined methodology\, and subtle spirituality underpinning their ongoing material experimentations. Inner Visions coincides with Haas Brothers: Moonlight\, on view at the Nasher Sculpture Center\, Dallas\, TX\, May 11 – August 25\, 2024. \nThroughout their practice\, the Haas Brothers—twins Nikolai and Simon—investigate the slippery divide between art and design with humor\, whimsy\, and inventive originality. While they are best known for their riotously colorful biomorphic forms\, genitalia-adorned furniture\, and pun-infused titles\, an intellectual\, conceptual\, formal\, and technical rigor grounds their practice. Marrying their respective personalities and strengths—Simon’s penchant for analysis and systemization and Niki’s playfulness\, humor\, and creativity—the duo’s practice integrates a studied\, systematic approach to materials and processes with a commitment to dismantling rigid social constraints\, guiding them toward an emotional and spiritual resonance within their work. \nWith Inner Visions\, the Haas Brothers debut a series of paintings—a first for their practice—alongside new bronze sculptures\, both of which represent an evolution of the accretion technique they began developing more than a decade ago. Inspired by the layered accumulation process found throughout the natural world—in coral\, in tree fungus\, in cave formations—the artists aspired to build something of a similar texture. In the first iteration of the Accretion process\, the artists brushed layers of wet clay atop dried clay—their ceramic vessels\, over time\, amassing mottled\, organically textured surfaces. “Accreting layer by layer we guide the growth of tiny\, fragile structures until each original speck of texture has become a porcelain petal\,” the Haas Brothers write. “The resulting texture is a record of time and growth\, it’s fur-and-fungus-like fingers breathing life into the vessel’s form.” \nWhile the Accretions began as small ceramic objects\, the process lends itself to the kinds of labor-intensive\, cross-disciplinary material innovations for which the Haas Brothers are renowned. Over the past ten years\, the pair translated the Accretions first to bronze and most recently into painting. To create accreted works in bronze\, the artists developed an innovative process loosely based on ceramic coil building\, using wax to build up the richly textured surfaces. Translated into bronze\, these bulbous forms—both domestic and monumental in scale—are finished with a chemical patina that\, over time\, produce natural\, unique variations in color and texture on the accreted surface. \nThe new Accretion Paintings begin as a predetermined set of rules—draw this shape\, make that line—that the artists repeat using squeeze bottles of acrylic paint\, building up the surfaces over time to create richly textured\, three-dimensional surfaces. The Haas Brothers paint the canvases by hand\, following the same pattern again and again; their forms taking on the imperfections inherent to a human process\, as in the way a story\, told over and over\, takes on new details and meanings. The resulting paintings bear intriguing—yet indecipherable—patterns\, the desire to make sense of them drawing viewers in. Both time and labor-intensive\, the Accretions—in all their material forms—embody the Haas Brothers’ almost obsessive investment in process\, a meditative celebration of human artistic creation as defined systems and the laws of physics yield to unexpected beauty. \nThe exhibition takes its title from Stevie Wonder’s 1973 album\, Innervisions\, which Nikolai and Simon listened to frequently as children. Wonder’s groovy melodies\, crooning vocals\, and psychedelic reminiscences set the tone for the exhibition—yet\, these elements of Wonder’s music also belie his technical virtuosity and prodigious musicality. The same can be said of the Haas Brothers’ work—their humorous spirit and trippy aesthetics at times overshadowing the scientific rigor and spiritual depth of their work. With Inner Visions\, the Haas Brothers bring the systematic underpinnings of their practice to the fore\, reaching for a deep meditative\, metaphysical spirit that lives within their practice. \nABOUT THE HAAS BROTHERS \nThe Haas Brothers—twins Nikolai and Simon—investigate the slippery divide between art and design with humor\, whimsy\, and inventive originality. The duo have shown their work widely in the United States and abroad. Exhibitions of their work are forthcoming at the Nasher Sculpture Center\, Dallas\, TX and the Cranbrook Art Museum\, Bloomfield Hills\, MI. Their work has been the subject of solo exhibitions at the Katonah Museum of Art\, Katonah\, NY; the Bass Museum of Art\, Miami FL; the Savannah College of Art and Design Museum of Art\, Savannah\, GA\, and featured in group exhibitions at the San Jose Museum of Art\, San Jose\, CA; Anderson Ranch Arts Center\, Snowmass Village\, CO; the Shelburne Museum\, Shelburne\, VT; Sculpture Milwaukee\, WI; the Boca Raton Museum of Art\, FL; the KMAC Museum\, Louisville\, KY. In 2016\, they were included in the Cooper Hewitt Design Triennial at the Cooper Hewitt\, Smithsonian Design Museum\, New York\, NY\, and in 2019\, they were recipients of the YoungArts Foundation Arison Award. The Haas Brothers’ work is in the permanent collections of the Museum of Art\, Rhode Island School of Design\, Providence\, RI; the Cooper Hewitt\, Smithsonian Design Museum\, New York\, NY; the Metropolitan Museum of Art\, New York\, NY. The Haas Brothers live and work in Los Angeles\, CA.
URL:https://artinamericaguide.com/event/the-haas-brothers-inner-visions/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20230607T100000
DTEND;TZID=America/New_York:20230728T180000
DTSTAMP:20260613T145650
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SUMMARY:Purple Prose: Queer Illiteralism & A Flowering  Cacophony
DESCRIPTION:Stone the crows by all means\, but let the birds of paradise get on \nwith the business of being gorgeous. \n– Paul West\, “In Defense of Purple Prose” \nMarianne Boesky Gallery is pleased to present Purple Prose: Queer Illiteralism & a Flowering Cacophony\, a summer group exhibition featuring works by Felix Beaudry\, John Burtle\, David Gilbert\, Borna Sammak\, Marisa Takal\, and Michaela Yearwood-Dan. Taking its title from the literary term for an overly embellished writing style\, Purple Prose is a queer celebration of the fanciful\, the excessive\, the transgressive. Organized by Kory Trolio\, the exhibition embraces the artist’s rambling plight and the tortuous journey of queer being\, foregrounding playful narratives of evolving selves. \nBeaudry\, Burtle\, Gilbert\, Sammak\, Takal\, and Yearwood-Dan rely on their idiosyncrasies\, sensibilities\, and extravagances\, all “over-responding” and “intolerably vivid”—to borrow a pair of phrases from “In Defense of Purple Prose\,” Paul West’s influential 1985 essay advocating for flowery language in literature. These purplists—as West refers to architects of excess—are fantasists scrawling in the margins\, an inherently queer place to inhabit. Their works are a mouthful\, an eyeful\, a campy cacophony; they overwhelm the senses\, calling attention to themselves\, to their flagrant refusal to conform\, to minimize\, to present a clear narrative. These meandering daydreams tussle with an art world whose oppressive demands of branded authorship and “simplistic formulas” (again\, West) sideline the messiness and multiplicity inherent to contemporary life. Rejecting these demands\, this demiurgic group booms with voices flowing between dissonance and harmony rather than superficial style. \nFelix Beaudry (b. 1996; Berkeley\, CA) places two oversized\, loosely stuffed humanoid bodies on a tacky floral sofa straight out of a 1970s midwestern living room. These gargantuan bodies completely overwhelm the couch\, their flaccid limbs spilling unashamedly onto the surrounding floor. Unsettling in both scale and visage\, Beaudry’s figures are excess embodied\, sinew and viscera adorned in machine-woven skin bags\, liberated from the constraints of the normative by embracing\, by indulging\, by celebrating their own monstrous mutability. \nJohn Burtle (b. 1985; Long Beach\, CA) draws with rubber stamps collected from second-hand stores and eBay\, composing\, piece by piece\, a cartoon simulacra inked in PAID-stamp red. Burtle’s gesture is relentless in its repetition—the stamps are necessarily limited in number\, yet\, the combinations they produce are endless\, inexhaustible\, serendipitous. Burtle’s purplist prowess lives in the depths of this accumulation\, of the artist’s imagination\, of their affinity for excess. \nDavid Gilbert (b. 1982; New York\, NY) compiles the unassuming debris and detritus of quotidian life— ribbons\, rope\, string\, scraps of paper\, a lone glove\, a strand of silk ivy—into insouciant\, yet decadent\, compositions. After memorializing these theatrical sculptural forms in photography\, Gilbert strikes the set\, only to begin again with the same gusto and wonder—and often the same material. The resulting works are both intimate and monumental\, contained by the frame of the camera yet reveling in their own dishevelment\, their own illiteralness\, their own material indecision. Captured with exuberance and pride\, Gilbert’s photographs record the perpetual process of creation\, a process that\, to again quote West\, “ponders things in detail\, takes its time and habitually masticates its object until a wonder leaps forth.” \nBorna Sammak (b. 1986; Philadelphia\, PA) embroiders cut patches of brightly colored beach towels onto canvas\, transforming this garish pop fodder into a collage of verdant foliage that spills out of an embroidered trompe l’oeil martini glass. Splashed against a velvety black background\, the image Sammak produces is pure kitsch\, reminiscent of hazy memories of liquid feasts\, of basements and back rooms\, of curiosities consumed and satisfied. \nMarisa Takal’s (b. 1991\, Montclair; New Jersey) practice is an intrepid foray into the multitudinous nature of being. Her canvas Unborn Star attempts to contain these multitudes; her decorated tea boxes release them. Takal’s collaged boxes are unfolding\, introspective narratives that viewers can touch\, experiencing the ripeness of their potential. With these autobiographies of the everyday\, Takal relates and reassures—offering a smiling mirror\, a generous\, familiar connection shared between author and reader. \nMichaela Yearwood-Dan’s (b. 1994; London\, UK) lush paintings are unapologetic in their coquettishness and abstract sensuality. Her colors and gestures are unruly\, free\, instinctual. Within her fertile compositions\, Yearwood-Dan embeds pieces of language—song lyrics\, poetry\, personal meditations—at varying levels of legibility\, allowing her paintings to bluster with a voice unlocked straight from the diary. But there is no storm in these w rks\, just the losing of oneself in the luxuriousness and joy of paint\, indulging in love and self-fulfillment. \nPurple Prose is a delectable\, chaotic\, anarchist\, baroque\, subversive\, queer world; it’s an exultant and gilded tangle edging\, refusing to finish\, to be definitive. These works—these artists—are in the process of endlessly proliferating\, creating\, becoming; they reveal multi-faceted tensions of dreamer artists navigating the internal self and the external world through reverie\, through unexpected materiality\, through new combinations of color and sense and language. \n… indulge yourself. What’s a self for\, anyway?
URL:https://artinamericaguide.com/event/purple-prose-queer-illiteralism-a-flowering-cacophony/2023-06-07/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230516T180000
DTEND;TZID=America/Halifax:20230630T180000
DTSTAMP:20260613T145650
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SUMMARY:Sarah Meyohas
DESCRIPTION:Marianne Boesky Gallery is pleased to present the first solo exhibition of New York-based conceptual artist Sarah Meyohas (b. 1991\, New York\, NY). Experimenting with artificial intelligence and complex uses of holographic and photographic technology\, Meyohas expands upon her long-standing engagement with optics and perception and reveals a new fascination with anatomy—from the female form to the human eye. \nThroughout her practice\, Meyohas considers the production of value\, the nature of exchange\, and the romantic resonance of the sublime while seeking to reveal the systems—both innate and manufactured—that govern contemporary society. Pairing a studied consideration of the unrealized potential of various technologies with a deft handling of analog artistic techniques\, Meyohas produces work that is as conceptually rich as it is visually arresting. Investigating the intricacies of a broad range of media\, including photography\, film\, holography\, artificial intelligence\, and the blockchain\, Meyohas unearths potential connections among nature\, culture\, technology\, and humanity. \nMeyohas debuts two new series—the Méduses and the Diffractions—alongside new works from her ongoing Interferences series in this exhibition. Enigmatic and mesmerizing\, the sculptural Méduses use Midjourney—a generative AI program—to marry the form of a jellyfish with that of a human eye. Meyohas places the generated images of jellyfish eyes within a glass dome\, illuminates the images from within\, and finishes the work with a custom lens\, to produce a glowing\, ethereal effect. Visually intriguing\, the Méduses engage with the intricacies of technology\, symbolism\, and myth. Meyohas sees a metaphorical link between the nervous system of jellyfish and artificial intelligence\, both ancient and decentralized. The French word méduse\, which literally translates as “jellyfish\,” also references the myth of Medusa—the ancient Greek monster whose gaze held the power to petrify. The semantic leaps Meyohas makes in these works echo the ways in which artificial intelligence systems produce their own surrealism. Drawing on the concept of the “evil eye\,” Meyohas here meditates on the power of both the gaze and the image\, harnessing Medusa’s gaze and Athena’s shield to evoke a sense of both wonder and trepidation. Technologically sophisticated and visually compelling\, the Méduses are nonetheless grounded in sensory experience\, utilizing the natural world to underscore an embodied experience of the artwork. \nBuilding on her ongoing experimentation with glass\, technology\, and the intersections therein\, Meyohas also debuts a work from her new Diffractions series\, a suspended sculptural form comprising multiple glass panel diffraction gratings. Created by etching an image into glass at a rate of three thousand lines per millimeter—these opalescent objects create a kaleidoscopic array of colors when viewed from different angles. Much like holograms\, diffraction gratings generate precise structural color—color produced by the interference of light waves with the microscopic structures etched into the glass. The snaking\, sculptural form\, combining overlapped and repeated images of the female form\, evokes the organic nature of the body represented within. Eliciting a sense of movement and transformation reminiscent of early experimentation with movement in photography\, Diffraction #1 reflects the continued influence of technological innovation on contemporary artistic expression—an ever-present theme in Meyohas’s work. \nAlongside her novel experiments with AI and diffraction gratings\, the exhibition features new works from Meyohas’s ongoing Interferences series\, including a monumental\, multipanel hologram. Here\, Meyohas layers the magnified imagery of plant matter of the early Interferences with images of the nude female form\, laying bare the connections between plant matter and bodies as coexisting living organisms. At fourteen feet wide and comprising more than thirty trapezoidal panels\, the new hologram\, Interference #18\, is perhaps her most explicit engagement yet with the complex dynamics of human life in an increasingly technological society. Fractured and flickering\, this abstracted\, sensorial experience of the body serves as a reminder that the natural world is its own form of technology. \nThroughout her singular practice\, Meyohas acts as artist\, inventor\, economist\, and technologist. Constantly pushing technologies and processes beyond their understood limits to experiment with the yet-unrealized visual and sensory possibilities that lie within\, her artistic experiments are often without precedent—the practical applications for the technical processes she tends to work in often only exist within the realms of the scientific or the economic. Meyohas’s work\, then\, is a perpetual state of returning these processes to nature\, of unearthing the inherent connections between the organic and the technological.
URL:https://artinamericaguide.com/event/sarah-meyohas/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230408T140000
DTEND;TZID=America/Halifax:20230408T150000
DTSTAMP:20260613T145650
CREATED:20230502T182750Z
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SUMMARY:In Conversation: Michaela Yearwood-Dan and Folasade Ologundudu
DESCRIPTION:SATURDAY\, APRIL 8 | 2-3 PM\nMARIANNE BOSKY GALLERY\n507 W 24TH STREET
URL:https://artinamericaguide.com/event/in-conversation-michaela-yearwood-dan-and-folasade-ologundudu/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Event
ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230406T180000
DTEND;TZID=America/Halifax:20230520T180000
DTSTAMP:20260613T145650
CREATED:20230323T210937Z
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SUMMARY:Michaela Yearwood-Dan: Some Future Time Will Think Of Us
DESCRIPTION:Marianne Boesky Gallery presents Michaela Yearwood-Dan: Some Future Time Will Think of Us\, the London-based artist’s second solo exhibition with the gallery. The new paintings\, ceramics\, works on paper\, and site-specific mural and sound installation embody Yearwood-Dan’s ongoing investigation of contemporary culture and millennial political concerns\, as well as her desire to build spaces of queer community\, abundance\, and joy. \n  \nYearwood-Dan (b. 1994; London\, UK) has developed a singular visual language that draws on a diverse range of influences\, including Blackness\, queerness\, femininity\, healing rituals\, and carnival culture. Moving freely between painting\, drawing\, and ceramics\, Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy\, swirling forms and heavy drips of paint. From the monumental scale of her paintings to the more intimate scale of her ceramics and works on paper\, Yearwood-Dan’s practice frequently reflects an inviting domesticity. Resisting any singular definition of identity\, the artist explores the possibilities of creating spaces—physical\, pastoral\, metaphorical—that allow for unlimited and unbounded ways of being. \n  \nSome Future Time Will Think of Us features new paintings—including a monumental\, multipanel painting\, the artist’s largest to date—alongside works on paper and ceramics in the gallery’s 507 W 24th Street space. In the gallery’s adjacent space at 509 W 24th Street\, Yearwood-Dan will produce an immersive mural and \naccompanying sound installation. Lush and brightly hued\, this work is at once personal and political\, exemplifying Yearwood-Dan’s distinctive approach to engaging materials and colors for their symbolic associations. The handbuilt ceramic vessels are an unmistakable nod to women’s work and domesticity—as women have been the primary producers of ceramic goods throughout history. The pale pinks\, brilliant oranges\, deep violets\, and rich blues employed throughout her work subtly echo colors of the lesbian and bisexual pride flags. Ceramic petals collaged into her paintings make reference to queer history—pansy petals reclaim a common slur for gay men\, while green carnations recall the lapel pins popularized by Oscar Wilde and worn to signal queerness in England and the United States in the 19th century. \n  \nLanguage intertwines with botanical motifs throughout Yearwood-Dan’s work: abstract habitats teem with painted plant life while live houseplants grow out of wall-mounted ceramics. Within the paintings\, she inscribes lines of text—pulled from song lyrics\, poetry\, or her own diaristic writings. These meditations\, appearing at various scales and degrees of legibility\, are at once insightful and funny\, confident\, and questioning. Her words beckon the viewer into a vivid\, welcoming world of paradox\, play\, and contemplation formed within an atmosphere of swirling forms and brilliant hues. \n  \nThe exhibition takes its title from a poem by Sappho; titled “You may forget but\,” the fragment is a brief\, optimistic stanza: \n  \nYou may forget but \nlet me tell you \nthis: someone in \nsome future time \nwill think of us \n  \nYearwood-Dan’s work has been shown at the Contemporary Arts Center\, Cincinnati\, OH; Scottsdale Museum of Contemporary Art\, AZ; the Green Family Art Foundation\, Dallas\, TX; Palazzo Monti\, Brescia\, Italy; and the Museum of Contemporary African Art\, Marrakesh\, Morocco\, among others. Her work is included in the permanent collections of the Hirshhorn Museum and Sculpture Garden\, Washington D.C.; Institute of Contemporary Art Miami\, FL; the Crocker Art Museum\, Sacramento\, CA; the Jorge M. Perez Collection\, Miami\, FL; and the Columbus Museum of Art and the Pizzuti Collection\, Columbus\, OH. In 2022\, she produced her first public mural installation for Queercircle\, London\, UK. She has participated in a range of fellowships and residencies\, including the Palazzo Monti Residency\, Brescia\, Italy\, and Bloomberg New Contemporaries in Partnership with Sarabande: The Lee Alexander McQueen Foundation\, London\, UK. The artist received her B.A. from the University of Brighton in 2016. Yearwood-Dan lives and works in London.
URL:https://artinamericaguide.com/event/michaela-yearwood-dan-some-future-time-will-think-of-us/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230302T170000
DTEND;TZID=America/Halifax:20230401T180000
DTSTAMP:20260613T145650
CREATED:20230215T174600Z
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SUMMARY:Anthony Pearson
DESCRIPTION:Marianne Boesky Gallery is pleased to present an exhibition of new work by Anthony Pearson\, the Los Angeles-based artist’s sixth solo presentation with the gallery. The exhibition\, featuring work from Pearson’s Embedments and Casements series\, embodies a new chapter in his career-spanning investigation of form and material. \nRenowned for his inventive processes and sensitive approach to materials\, Pearson (b. 1969; Los Angeles\, CA)  has built a body of work that exudes an intimate\, poetic certitude. Through ongoing experimentation with the formal and technical limits of his chosen materials\, he has developed a singular visual vocabulary rooted in abstraction that interrogates the balances of positive and negative\, light and dark\, control and chance. Working seamlessly across an ambitious range of media that includes photography\, drawing\, installation\, and sculpture\, Pearson elevates the intrinsic qualities of his materials\, yielding an understated and unexpectedly sensitive oeuvre. \nBegun in 2021\, the Casements are a continuation of Pearson’s investigation into the formal\, material\, and aesthetic potential of Hydrocal\, an industrial gypsum cement. To produce these works\, he pours pigmented Hydrocal directly into loosely constructed fabric molds\, allowing the liquid cement mixture to spread within the cloth as it hardens. Once cured\, Pearson peels the fabric away from the surface to reveal interlocking abstract forms and\, in some instances\, finishes them with Keim mineral paint\, which binds mechanically to Hydrocal\, staining the works in deep\, rich hues. The Casements record the process of their creation-the moments Hydrocal meets cloth. And while the cement\, by its nature\, is perpetually hardening\, the works nevertheless retain the softness of the textiles in which they are cured-the pattern of the fabric’s weave and the loose fibers of the cotton or linen remain visible in the cement surface. The Casements\, cement fragments articulated with an unexpected softness and sensuality\, revel in their inherent dualities: soft and hard\, chance and control\, movement and stillness. \nThe Embedments\, another recent iteration of the artist’s work in Hydrocal\, contain the cement forms within the confines of the frame. Pearson creates a cloth mold inside a frame and pours pigmented concrete in from the reverse. Once cured\, he removes the fabric to reveal compositions formed\, in part\, by chance. Contained within the frame\, the Embedments take on the appearance of abstract paintings\, the softness of their gentle\, organic forms countering the hard physicality of the material itself. Embedments and Casements build upon Pearson’s earlier bodies of work in Hydrocal\, a material he began working with as an intermediary in 2007. With the Casements\, in contrast to the earlier framed Hydrocal works\, Pearson removes the forms of his Embedments from the constraints of the frame\, the abstracted forms thrust off the wall and into space. \nBorn and raised in Los Angeles\, Pearson earned a BFA from California College of the Arts and an MFA from the University of California\, Los Angeles-and his distinctly West Coast practice sits comfortably within the legacy of California modernism. Throughout the course of his career\, Pearson has moved fluidly between mediums-from the abstract photography of his early practice to the sculptural work in which he is currently engaged. Yet\, for the artist\, these practices are inextricably linked: the concerns at the heart of his practice-his attention to materiality\, to form\, to the interplay of shadow and light\, of positive and negative space-remain the same across media. For Pearson\, curator Alex Klein writes\, the topography of Southern California “was a site of endless childhood discovery\, and its earth tones and Mediterranean atmosphere would come to shape an aesthetic sensibility attuned to the dynamic subtleties of the Southern California landscape.” \nThe exhibition will be on view March 2 – April 1 at Marianne Boesky Gallery. Keefe Butler\, in collaboration with the artist\, will design the lighting for the exhibition to highlight the subtle complexities at play in Pearson’s newest body of work.
URL:https://artinamericaguide.com/event/anthony-pearson-2/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230121T180000
DTEND;TZID=America/Halifax:20230218T180000
DTSTAMP:20260613T145650
CREATED:20230119T172306Z
LAST-MODIFIED:20230119T172306Z
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SUMMARY:Jennifer Bartlett: Works on Paper\, 1970–1973
DESCRIPTION:Marianne Boesky Gallery is pleased to present Jennifer Bartlett: Works on Paper\, 1970-1973. Featuring never-before-exhibited Bartlett drawings\, the exhibition offers a window into the artist’s early practice\, as she developed and rehearsed the forms and ideas that she returned to throughout her career. Jennifer Bartlett: Works on Paper is the first exhibition to exclusively feature the late artist’s drawings from this foundational period.
URL:https://artinamericaguide.com/event/jennifer-bartlett-works-on-paper-1970-1973/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230117T170000
DTEND;TZID=America/Halifax:20230317T170000
DTSTAMP:20260613T145650
CREATED:20230117T210524Z
LAST-MODIFIED:20230118T200549Z
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SUMMARY:San Francisco Pop-Up
DESCRIPTION:Marianne Boesky Gallery is pleased to present a pop-up exhibition at Gallery 181—The Art Program at 181 Fremont—in San Francisco featuring works by Pier Paolo Calzolari\, the Haas Brothers\, Sarah Meyohas\, and Frank Stella. The gallery’s first presentation of this scale in San Francisco will coincide with the city’s beloved FOG Design+Art Fair. Both Frank Stella and the Haas Brothers have been shown and collected extensively in San Francisco—Stella’s work is in the collection of SFMOMA\, and his most recent career-spanning retrospective was on view at the de Young Museum in 2016. The pop-up will also feature Pier Paolo Calzolari and Sarah Meyohas—for both artists\, this will be their first time showing in San Francisco.
URL:https://artinamericaguide.com/event/san-francisco-pop-up/
LOCATION:Gallery 181\, 181 Fremont\, San Francisco\, CA\, 94105\, United States
CATEGORIES:Exhibition,Pop up
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ORGANIZER;CN="Marianne Boesky Gallery":MAILTO:info@boeskygallery.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221013T100000
DTEND;TZID=America/Halifax:20221105T180000
DTSTAMP:20260613T145650
CREATED:20221012T183426Z
LAST-MODIFIED:20221013T171400Z
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SUMMARY:Martyn Cross | Roarings Further Out
DESCRIPTION:Marianne Boesky Gallery presents Roarings Further Out\, the first New York solo exhibition of the Bristol\, United Kingdom–based artist Martyn Cross. Executed at a small scale\, the all-new works on view unfurl into luminous\, uncanny landscapes informed by Cross’s fascination with medieval imagery and the speculative literary genre known as weird fiction. The exhibition takes its title from a series of four novellas by Algernon Blackwood\, one of weird fiction’s most prolific authors\, and touches on the genre’s themes\, including otherworldly environments and alternative human experiences.
URL:https://artinamericaguide.com/event/martyn-cross-roarings-further-out/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220908T100000
DTEND;TZID=America/Halifax:20221008T180000
DTSTAMP:20260613T145650
CREATED:20220906T174737Z
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SUMMARY:Chidinma Nnoli | When will my feet catch fire?
DESCRIPTION:Marianne Boesky Gallery is pleased to present When will my feet catch fire?\, a solo presentation of five new paintings and a sculptural work by Lagos\, Nigeria-based artist Chidinma Nnoli. The works on view explore various modes of processing trauma and healing\, and delve into the ways in which stigma\, dissociation\, and dominant societal narratives limit  discourses around traumatic events. For Nnoli\, the works pose the question: “When will the things I am going through be ‘big’ enough for me to speak about?”
URL:https://artinamericaguide.com/event/chidinma-nnoli-when-will-my-feet-catch-fire/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220908T100000
DTEND;TZID=America/Halifax:20221008T180000
DTSTAMP:20260613T145650
CREATED:20220825T181151Z
LAST-MODIFIED:20220908T204907Z
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SUMMARY:Jammie Holmes | What We Talking About
DESCRIPTION:Marianne Boesky Gallery is pleased to present What We Talking About\, Jammie Holmes’s debut solo exhibition in New York. Holmes\, a self-taught artist\, creates complex allegorical works that draw on personal memory\, self-portraiture\, recurrent motifs\, and intersocial relationships to investigate and illuminate themes of Black life across America. What We Talking About will be on view from September 8 – October 8\, 2022 at the gallery’s 507 West 24th Street location. \nHolmes examines and repositions perceptions\, experiences\, and themes of Black life as they relate to both African American history and contemporary realities. Various signifiers of status and power\, luxury and appropriation\, acceptance and exclusion are significant themes in the artist’s work. Ornate gold frames simultaneously reference the exclusivity of art museums (Holmes did not visit one until he was an adult)\, and the colonial looting of gold from Africa\, foregrounding the historical complexities of power and the difficult history behind much cultural presentation in institutional contexts. \nWhen Holmes was first teaching himself to paint\, he studied Gordon Parks’s photographs\, Rashid Johnson’s complex abstractions\, and Kevin Williams’s iconic paintings of African American culture. As Holmes says\, he studied faces\, and the ways artists rendered them\, until the organization and structure of the features clarified in his mind. This emphasis on faces is a leitmotif of Holmes’s work: Many of the paintings include a self-portrait\, where the figure of the artist himself stands in\, metonymically\, for the presence of Black men in U.S. society. \nParallel to Holmes’s incorporation of portraiture into his painterly vocabulary\, the paintings and video on view in What We Talking About reflect his ongoing engagement with contemporary and historical artistic practices: Holmes has recently been studying works from the Dutch Golden Age and the Italian Baroque. Visually\, the influence of Caravaggio is evident in the deepening black of his palettes\, while Holbein’s famous memento mori is recontextualized in a representation of Black southern life. The social themes of luxury as well as bourgeois life that pervade the works that he is studying parallel the artist’s formal and narrative explorations. Underlying this exploration is an intrinsically troubling or unsettling question: How to engage with the traditions of Old Master painting when the word Master is so violently charged in the history of American racism? \nThis capacity to simultaneously draw in and unsettle is exemplary of Holmes’s work. Scenes of warm\, quotidian social interactions –– a game of dice\, a gathering at a kitchen table –– also include figures of violent surveillance\, from the allusive presence of unnamed white men\, to outright confrontations with police. The theme throughout is resilience and vibrancy\, a particular vision into a culture that evolves and endures.
URL:https://artinamericaguide.com/event/jammie-holmes-what-we-talking-about/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220623T100000
DTEND;TZID=America/Halifax:20220805T180000
DTSTAMP:20260613T145650
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SUMMARY:Marianne Boesky Gallery x Goodman Gallery: Fragile Crossings
DESCRIPTION:Marianne Boesky Gallery and Goodman Gallery are pleased to announce Fragile Crossings\, a pair of jointly organized exhibitions opening this summer in New York City and London. The first iteration will open in Marianne Boesky’s New York space June 23; its counterpart will open at Goodman Gallery’s London Space July 21. Artists include Ghada Amer\, Sanford Biggers\, Allison Janae Hamilton\, and Serge Alain Nitegeka from Marianne Boesky Gallery’s program\, and works by ruby onyinyechi amanze\, Carlos Garaicoa\, Kapwani Kiwanga\, and Misheck Masamvu from Goodman Gallery’s roster. This is the two galleries’ second major collaboration following a pop-up exhibition in the Miami Design District in December 2020. \n  \nThe exhibition’s central concern is the fragility of the human condition in light of global instability\, reflecting both galleries’ interest in foregrounding artists who address critical issues of  migration\, social justice\, and environmental responsibility. In Fragile Crossings\, artists from each gallery’s program address the question of humanity’s existential fragility in a variety of mediums\, reflecting a wide range of material and conceptual approaches. \n  \nWorks on view span sculpture\, installation\, film\, and painting\, and share an engagement with themes of Black migrations and their constituent ecosystems.  Serge Alain Nitegeka’s narrative painting Identity is Fragile IV (2021) juxtaposes representational and abstract elements to embody the psychological and physical weight that results from forced migration. The theme of forced migration reappears in a transatlantic context in Sanford Biggers’s Codex series. By repurposing antique quilts –– which\, according to oral tradition\, were used as a coded signal system on the Underground Railroad –– Biggers simultaneously evokes both the original forced migration of the Atlantic crossing\, and the countervailing movements enslaved people made for their own liberation. In the newly commissioned 2022 installation A House Called Florida (on view in A Movement in Every Direction: Legacies of the Great Migration at the Mississippi Museum of Art)\, Allison Janae Hamilton deploys film stills to capture narratives and visual landscapes of southern Black communities in the context of global warming\, emphasizing the ecological consequences of migration. \n  \nIn contrast to the socially and materially constructed phenomena that ground Nitegeka’s\, Biggers’s\, and Hamilton’s work\, Misheck Masamvu investigates human existence as it relates to the natural world. His large-scale painting Pink Gorillas in Hell are Gods (2019) exemplifies the tension between abstraction and figuration\, order and chaos. Similarly\, in Kapwani Kiwanga’s Semence (2020)\, the sometimes violent collisions between natural and social worlds emerge in the form of a monumental installation of hundreds of delicate ceramic rice grains that speaks to the history of the transatlantic slave trade and the implications of colonial systems on contemporary society. ruby onyinyechi amanze’s fold water and fly on land / BIKE + SWIMMING POOLS (2022) is comprised of fragile materials layered with paper\, acrylics\, and varnishes to create weight and thickness\, building a palimpsest of elemental and character-driven narratives. Similarly\, in Sin título (Árbol) / Untitled (Tree) (2021)\, Carlos Garaicoa fuses photographs\, drawings\, and mixed media to examine architecture and urbanism as mirrors of Cuba’s social development and political realities. Ghada Amer’s ceramic sculptures depicting women engage with fragility in content as well as form. Ceramic is a deceptively sturdy material despite being considered fragile––Ancient Greeks used ceramic vessels not only for imbibing\, but for storage and transport. The ambiguity of the material\, together with her representation of female figures\, underscores Amer’s career-long questioning of preconceived notions and expectations of women and the construction of femininity. In this way\, Amer elucidates the complex and shifting meanings and perceptions of what it means to be fragile. \n  \nUltimately\, the interplays between ecological and interpersonal displacement\, between material form and historical narrative\, and the lingering tension between unity and isolation weave through each work in Fragile Crossings. Together\, the works offer an urgent and holistic look at the state of fragility––and at the possibility for resilience that it offers.
URL:https://artinamericaguide.com/event/marianne-boesky-gallery-x-goodman-gallery-fragile-crossings/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220623T100000
DTEND;TZID=America/Halifax:20220805T180000
DTSTAMP:20260613T145650
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SUMMARY:Gina Beavers | Pastel Looks
DESCRIPTION:Marianne Boesky Gallery is pleased to present Pastel Looks\, an exhibition of new works on paper by Gina Beavers. \n  \nWith these works\, Beavers continues her examination of the performative nature and myopic self-obsession of social media\, particularly within the phenomenon of makeup tutorials. Beavers sources imagery and inspiration from Instagram\, YouTube\, and other online sources for her drawings\, mimicking stills from make-up tutorials as well as images that reference “food porn” photography and the proliferation of consumer culture. The use of pastels references both a commonly recognized tool in Western artmaking and an online genre of makeup techniques called “pastel looks;” thus the title of the show acts as a double entendre that both indicates and enacts the collapse of language into meme-ready sound bites. \n  \nWhile Beavers has begun to re-engage with pastels as a medium in recent years\, drawing has always been fundamental to her practice\, as its immediacy parallels the rapid-fire rush of content on social media. Although her works on paper are inspired by various art historical sources––from Degas’s pastels to Wayne Thiebaud’s illustrative renderings of quotidian objects––they retain formal elements reminiscent of Beavers’s own high-relief acrylic paintings. As in her painting practice\, the artist employs a process of layering\, rubbing away\, building up\, and shading to create illusionistic depictions of the source photograph or video still. Paralleling some of the repetitions found within her work\, Beavers presents multiple variations of the same source material in Pastel Looks\, which\, ambiguously\, can either stand alone as individual works\, or form a serial grid with adjacent works. \n  \nWith Pastel Looks\, Beavers joins process\, form\, and content into an evocative and uncanny reflection of the endlessly self-referential nature of the online word. “How can a painting (or a drawing) as a body represent the aspirations\, the frailties\, the pompousness\, and the anxieties of our online selves\,” said Beavers.
URL:https://artinamericaguide.com/event/gina-beavers-pastel-looks/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220503T100000
DTEND;TZID=America/Halifax:20220611T180000
DTSTAMP:20260613T145650
CREATED:20220427T170548Z
LAST-MODIFIED:20220804T192305Z
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SUMMARY:Celeste Rapone | Night Shade
DESCRIPTION:Marianne Boesky Gallery is pleased to present Nightshade\, Celeste Rapone’s first solo show with the gallery. For this exhibition\, the artist will debut a group of nine paintings. In her newest body of work\, Rapone continues to examine the potential of painting through the human form. Drawing inspiration from her native New Jersey\, Rapone seeks to communicate both personal and collective feelings of anxiety\, longing\, and nostalgia experienced in contemporary life. Nightshade will be the artist’s first solo exhibition in New York and is on view May 4 – June 11\, 2022\, at the gallery’s 507 West 24 Street location. \n  \nRapone’s works focus on the figure\, often centering on women protagonists whose bodies impossibly contort and twist up to the confines that Rapone creates within the painting\, or at other times capturing a tender exchange between a pair of figures. Rapone produces her works without preliminary drawings\, gradually building the compositions of her paintings through a dynamic interplay between scale\, color\, pattern\, and the shapes of the human form. \n  \nIn the settings of her paintings\, the artist populates the space with an array of allusions\, pulling from art history\, pop culture\, autobiographical sources\, and drawing influence from the stylized figuration introduced by the Chicago Imagists. Her debut New York solo show Nightshade brings Rapone back into proximity to her hometown in New Jersey. A complicated feeling of nostalgia for her suburban upbringing inspired Rapone to infuse these works with subtle references to that setting: the patterns of New Jersey Transit bus seats\, the Cutco knives that her older brother’s prom date sold when Rapone was growing up\, and the rustic color palettes of her Italian Catholic home. These nods to her upbringing\, however\, only provide the backdrop for more complex examinations of the anxieties and disconnect caused by societal expectations. For instance\, in Rapone’s painting Purist\, a figure is shown hunched over a terrazzo table\, transfixed by the act of slicing garlic with a razor blade. On the figure’s left shoulder are markings of cupping therapy\, a self-applied remedy the artist has used for her shoulder pain. To Rapone\, these indicators of precision mirror her studio practice\, which is rooted in an intensity toward the formal elements of painting. \n  \nRanging in scale\, each work within the show is unique and multifaceted in its development. At times\, Rapone has a narrative in mind from which a thematic environment evolves for her characters to navigate. In others\, the onset of a work is driven by formalist concerns\, in which the artist begins with a unique color configuration or an abstract composition of shapes that then influence the formation of a painting’s scene. The resulting forms of her figures\, whose bodies defy the rules of proportions and scale\, are both undeniably present and vulnerable within the canvases. \n  \n“I imagine these paintings as a synthesis of my everyday experience as a painter in Chicago and projected realities of women interacting within their own sets of circumstances\, in many cases informed by my nostalgia for and removal from suburban New Jersey. I became really interested in negotiating these overlays as a point of entry to this work. Posing these initial narrative questions gave me something new and unpredictable to respond to in the studio\,” said Celeste Rapone. \n  \nAmong the diverse presentations of characters and narratives in Nightshade\, Rapone probes through a multi-layered approach the roles of subject\, artist\, and the viewer. Her figures dominate the scenes of her paintings\, and yet\, in the way that their bodies are squeezed and cropped into the canvas’s frame\, they remain exposed. To this extent\, the works become self-referential allusions to Rapone’s artistic process as she navigates the technical problems found while creating her paintings. On a broader scale\, the perceived tensions of her protagonists who confront\, or at times fail to confront\, the pressures of contemporary adult life become a common thread throughout the works\, allowing for a delicate interchange of humor\, anxiety\, and introspection. \n  \nCeleste Rapone (b. 1985\, New Jersey) received her BFA from the Rhode Island School of Design in 2007 and her MFA from The School of the Art Institute of Chicago in 2013 where she is now an adjunct professor in painting and drawing. Rapone’s work has been exhibited widely across the U.S. and abroad at Josh Lilley\, London; Corbett vs. Dempsey\, Chicago; Roberts Projects\, Los Angeles; The Hyde Park Art Center\, Chicago and Georgia Museum of Art. Rapone was the 2018 recipient of a Pollock-Krasner Foundation Grant. She has been the subject of recent solo exhibitions at Josh Lilley in London and Corbett vs Dempsey in Chicago. Her work is currently included in ICA Boston’s exhibition\, A Place for Me: Figurative Painting Now on view from March 30 – September 5\, 2022. Rapone lives and works in Chicago\, IL.
URL:https://artinamericaguide.com/event/celeste-rapone-night-shade/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220503T100000
DTEND;TZID=America/Halifax:20220528T180000
DTSTAMP:20260613T145650
CREATED:20220427T170548Z
LAST-MODIFIED:20220804T192251Z
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SUMMARY:Maud Madsen | Daisy Chain
DESCRIPTION:Marianne Boesky Gallery is pleased to present Daisy Chain\, a solo presentation of paintings by Maud Madsen. In a new group of large-scale paintings\, Madsen expands on her exploration of our emotional connections to a specific time and place and the sanitization of memory. Through her portrayals of the female body\, the artist sheds light on topics that are at times uncomfortable to leave room for an unvarnished and more complex truth.  Daisy Chain is on view May 3 through May 28\, 2022 at the gallery’s space at 509 W 24th Street. This exhibition follows the artist’s inclusion in the gallery’s group show In Situ in 2021. \n  \nThe works that compose Daisy Chain place Madsen’s subjects in an array of environments—often recalling locations specific to the artist’s upbringing—but maintain the figure as the central focus. Caught between adulthood and childhood\, the characters in Madsen’s work examine the insecurities of adolescence\, including the artist’s hyper awareness of her own body as a young woman. Madsen displays her figures from unique and unusual vantage points\, shown crouched on the ground or seen from below\, to effectively put the body and its imperfections on full display in the canvas. \n  \nTo craft the framework of her paintings\, Madsen draws from the feeling of a particular experience and the imagery of her youth to transplant her characters into re-envisioned\, invented memories. The artist depicts moments such as scooping dirt in a sandbox with a plastic bucket or sleeping in the sticky summer humidity to recall familiar experiences of childhood. Madsen’s use of saturated tones transports her characters into serene\, almost dream-like spaces. To construct her scenes\, the artist will go so far as to recreate miniature models such as of a childhood swing set to better capture the imagery and feeling of the space. \n  \nWhile the paintings’ surroundings recall feelings of child-like exploration\, the bodies of women characters are mature and grounded to further map the often-awkward transitions of adolescence. The obscured faces in each painting leave space for ambiguity: subjects are seemingly unaware of the viewer and the onlooker is left room to see themselves in the figure. Madsen focuses on the female body to rewrite the memories of her past and give the women in her images room to be on display. Although beginning from a personal place\, the artist constructs spaces in which insecurity\, empowerment\, and the tension of the real and imagined can coalesce to allow for collective reflection. \n  \nAbout Maud Madsen \nMaud Madsen (b. 1993\,  Edmonton\, Alberta\, Canada) currently lives and works in Brooklyn\, NY. Her work has recently been exhibited at Half Gallery\, Los Angeles; 1969 Gallery\, NY; The Green Family Art Foundation\, Dallas and New York Academy of Art\, NY. Madsen received her BFA from the University of Alberta and MFA from the New York Academy of Art. She has been a recipient of the Chubbs Post-Graduate Fellowship at the New York Academy of Art and Elizabeth Greenshields Foundation Grant. 
URL:https://artinamericaguide.com/event/maud-madsen-daisy-chain/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220318T100000
DTEND;TZID=America/Halifax:20220423T180000
DTSTAMP:20260613T145650
CREATED:20220314T130804Z
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SUMMARY:Pier Paolo Calzolari | Painting as a Butterfly
DESCRIPTION:Marianne Boesky Gallery is pleased to present Painting as a Butterfly\, Pier Paolo Calzolari’s (b. 1943) fourth solo exhibition with the gallery\, on view March 18 – April 23\, 2022\,and spanning both spaces. This marks Calzolari’s first solo show in the United States since 2017 and will feature more than 30 paintings made over the past four years. Many of these new works were created in isolation and delicately channel a collective longing for human connection. New paintings depicting a howling wolf\, flowing rivers\, and suspended shoes dancing in space are included alongside works from a new series of paintings entitled “Shop Signs” (2019-ongoing). These smaller scaled paintings are inspired by the absence of daily rituals. Hung salon-style\, they reimagine the pleasure of a stroll past a flower shop\, a hatter\, or a shoemaker in the artist’s native Marche Valley village in Italy. The gallery is also pleased to present this new body of work in dialogue with two monumental historical paintings by Calzolari shown for the first time in the United States. \nBorn in Bologna\, Italy\, and currently living and working in Lisbon\, Portugal\, Calzolari is recognized as one of the pioneering figures in the late 1960s Arte Povera movement\, and he continues to be one of the most important contemporary Italian artists working today. Painting as a Butterfly follows his first major survey of paintings at the Madre Museum in Naples\, Italy in 2019. \nThe artist has said that “painting should be about getting lost finding oneself or finding oneself getting lost. But for me painting has always been\, above all\, a lover: I have a bond with it that comes from a fascination of the senses and\, at the same time\, the loss of the senses. Painting is the gesture that comes before the decision\, the insecurity brought to economy.” \nPainting as a Butterflyis a continuation of Calzolari’s decades-long poetic fascination with the alchemical. He is seen here growing more transfixed with the narratives embodied by the elements of the natural world; flowers\, rain\, and celestial bodies are both material and content\, like words forming a haiku. While the artist continues to incorporate sculptural elements made of organic matter such as salt\, feathers\, clover petals\, and seashells\, it is his striking new use of raw pigment powders and tempera in startlingly saturated colors that imbue these new paintings with an exuberance both radiant and sensorial. The luminous canvases include fields of intense primary yellows\, reds\, blues\, and whites with varying surfaces and textures that call to mind nature in the form of sunlight\, fire\, and a night sky\, making this exhibition a meditation on the transience and delicate beauty of everyday life. \n“Calzolari’s paintings are performative and poetic\,” said gallery founder Marianne Boesky. “This show is the result of Pier Paolo’s tremendous output over the last few years during isolation imposed by Covid-19. In these new works\, the artist is returning to raw pigments in vibrant reds\, blues\, and yellows with an unexpected exuberance after several decades. This exhibition reflects a kind of laser focused energy that might only have been possible in quarantine.” \nAbout Pier Paolo Calzolari \nCalzolari’s first exhibition at Marianne Boesky Gallery\, in 2012\, was the artist’s first in the United States in over 20 years. Calzolari’s works are included the Centre Pompidou\, Paris; Museum of Modern Art\, New York; Museum of Contemporary Art Australia\, Sydney; Art Institute of Chicago; Solomon R. Guggenheim Museum\, New York; Sammlung Goetz\, Munich; Centre Pompidou\, Paris; and Palazzo Grassi and Punta della Dogana\, François Pinault Collection\, Venice; among many others. He has exhibited at the Museum of Modern Art\, New York (1985\, 2013); Documenta IX\, Kassel (1992); the Galerie Nationale du Jeu de Paume\, Paris (1994); the Venice Biennale (1978\, 2007); Ca’ Pesaro\, Galleria Internazionale d’Arte Moderna\, Venice (2011); the Peggy Guggenheim Collection\, Venice (2011); and the Centre Pompidou\, Paris (2016). The artist currently lives and works in Lisbon\, Portugal.
URL:https://artinamericaguide.com/event/pier-paolo-calzolari-painting-as-a-butterfly/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210909T100000
DTEND;TZID=America/Halifax:20211023T180000
DTSTAMP:20260613T145650
CREATED:20210907T142734Z
LAST-MODIFIED:20220804T192207Z
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SUMMARY:Ghada Amer | The Women I Know Part II
DESCRIPTION:Marianne Boesky Gallery is pleased to present The Women I Know Part II\, Ghada Amer’s inaugural solo exhibition with the gallery. The exhibition highlights new works from Amer’s most recent series of paintings\, The Women I Know. In this series\, the artist creates intimate painted and embroidered portraits of the women she knows personally to explore the dynamics of the gaze and female identity that are exchanged between artist\, subject\, and viewer. The exhibition also includes new cast sculptures\, highlighting the artist’s diverse practice that delves into varying mediums. The Women I Know Part II will be on view September 9 – October 23\, 2021\, at the gallery’s 507 West 24th Street location in New York. \nAmer’s work is inherently feminist—during her artistic studies\, she was routinely turned away from painting classes that were reserved for male students. In an interrogation of these gendered power structures\, Amer developed her own visual language distinct from the male-dominated tradition of painting by embroidering canvases with needle and thread—a practice that has been historically considered women’s work. Explicitly engaging with the vocabulary of painting\, the artist even refers to the hanging threads as her “drips.” Her works have featured a range of female subjects\, including her well-known embroidered canvases that use eroticized imagery of women sourced from pornography and popular media. When Amer began herThe Women I Know series in 2013\, it marked a departure in her practice\, now expanding her iconic artistic language to focus on the women in the artist’s personal life. Amer presented the first part of The Women I Knowat Kewenig gallery in Berlin\, Germany\, from November 21\, 2020 – January 23\, 2021. \nFor the new works in The Women I Know\, Amer began by photographing her subjects\, which are comprised of her friends\, family\, and close collaborators. Before painting and embroidering the canvas\, she draws the portrait of the subject from her photographs\, further deepening the care that goes into creating the image of the individual’s identity. The silhouettes of her subjects are partially exposed and concealed by repeating text that comprises an additional layer to the painting. Amer selects phrases or quotes focused on feminist and social issues\, including lines such as “Men are taught to apologize for their weaknesses\, women for their strengths” that weave in and out of view as the viewer scans the brightly colored and textured surfaces of the works. In the creation of portraits of women Amer is closely associated with\, the works are inherently intertwined with the notion of the female gaze\, heightened by the fact that women were once often only able to enter the field of art making through portrait painting. \n“Painting The Women I Know has been a very liberating turn in my practice. I believe this liberation stems from my work with ceramics which was a new medium for me. My lack of familiarity with its artistic language turned out to be an asset as it liberated me from the theoretical and historical debates specific to this field. I felt uninhibited and thus entirely free to experiment and create. It is this same freedom I feel with the new series of The Women I Know\, Part II (and Part I in fact). I now feel liberated from the canon of art history and from the father figures of painting. The only reference now in my work is the subject matter\, that is painting itself\,” said Ghada Amer. \nIn addition to the artist’s paintings\, new cast sculptures will be on view by Amer. Distinct from The Women I Know series\, the sculptures depict silhouettes of women from pornography magazines—subjects that have reappeared in her work over the decades. Thus\, despite their anonymity\, Amer also likens these women to her friends who make good company among the painted portraits. \nWhile Amer has worked in cast sculpture since 2010\, the exhibition marks the first time she will show bronze forms that mount on the wall. Other sculptural silhouettes will be freestanding and viewed in the round. Amer’s continued engagement with media beyond painting has presented a form of liberation in her artistic practice that was once so enchained due to her gender. \nShown together\, the works in The Women I Know Part II invite reflections on the perceptions of women in the viewer’s own lives\, and how this fundamentally intersects with the presentation of women in popular media and culture. In this expansion of Amer’s visual language\, the artist continues to examine the role of the gazer and the gazed\, centering the female experience in her ongoing questioning of the history of art. \nLastly\, in an annex of the gallery’s space at 509 West 24th Street\, Amer will present an overview of her outdoor garden installations. A documentary meditation on an important component of her artistic practice\, the presentation makes for an even deeper understanding of Amer’s persistence to claim space for women not only inside gallery walls but also beyond into the public sphere. \nIn addition to her show with Marianne Boesky Gallery\, Amer will unveil a new monograph\, Ghada Amer: Painting in Revoltwith text by Susan Thompson and published by Skira Paris. \nGhada Amer was born in Cairo\, Egypt in 1963 and moved to Nice\, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989)\, during which she also studied abroad at the School of the Museum of Fine Arts in Boston\, Massachusetts in 1987. In 1991 she moved to Paris to complete a post-diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France\, she was invited to the United States in 1996 for a residency at the University of North Carolina\, Chapel Hill. She has since then been based in New York.
URL:https://artinamericaguide.com/event/ghada-amer-the-women-i-know-part-ii/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:Michaela Yearwood-Dan | Be Gentle With Me
DESCRIPTION:Marianne Boesky Gallery is pleased to present Be Gentle With Me\, a presentation of new paintings by Michaela Yearwood-Dan at the gallery’s 509 West 24th Street location. Be Gentle With Me is the artist’s first solo presentation with the gallery and is on view from September 9 to October 23\, 2021. \nYearwood-Dan’s new paintings emerge from her deeply personal reflections on the past two years\, notably including the Black Lives Matter movement\, the global pandemic\, and queer liberation. In Be Gentle With Me\, she explores the possibilities of creating space and spaces—physical\, pastoral\, metaphorical and even chimeric vis-a-vis her social and political positions as a queer Black feminist woman. Across a series of works\, the artist presents lush\, abstract\, non-realistic habitats teeming with a panoply of botanical motifs and forms. She also inscribes writing onto the canvas\, frequently comprised of her own poetry and epigrams as well as lyrical and comedic references and questions about her own artmaking\, contemporary culture\, and demotic language that all appear with varying degrees of focus and legibility. Her words beckon the viewer into a vivid\, invitational world of paradox\, play\, and contemplation formed from a palette of Battenberg pinks and yellow and rondos of dripping blues\, blanket teals\, wet blacks\, and vivid greens—all operating according to an indeterminable yet otherworldly logic. \nIn previous ‘episodes’ of her work\, Yearwood-Dan has explored the diaristic introversions of personal vulnerability\, drawing heavily on the vicissitudes of her own romantic life to present disquisitions on nostalgia and disillusionment. In her latest body of work\, the artist paints instead from a point of communal vulnerability to offer an idealized description and place for her and people like her. In effect\, these paintings evoke the idealized locus amoenus and present a sort of sanctuary from the staccato demands of a fraught civilization and its social and economic disorder. With grace and inventive vitality\, Yearwood-Dan explores the liminal significance and escapist provision of her soft\, ethereal\, dream-like spaces in an epoch of urgent crisis and oppositional change. Ultimately\, Be Gentle With Me is a message for and of community. \nMichaela Yearwood-Dan’s work reflects on subjectivity and individual identity as forms of self-determination. Whilst her work may be underpinned by an expansive and multivalent repertoire of cultural signifiers borrowing freely from Blackness\, healing rituals\, flora\, texting\, acrylic-nails\, gold-hoops\, carnival culture\, they enable her to present and privilege the variance of her own individual experience. She defamiliarizes many of these reference points in her paintings resisting the clichés and strictures of representation. \nMichaela Yearwood-Dan lives and works in London. Recent exhibitions include In Situ\, Marianne Boesky Gallery\, New York\, US (group – 2021); Ancient Deities\, Arusha Gallery\, Edinburgh\, Scotland\, UK (group – 2020); Clay TM\, TJ Boulting\, London\, UK (group – 2020); The Green Fuse\, Frestonian Gallery\, London\, UK (group -2020); No Time Like the Present\, Public Gallery\, London\, UK\, (group – 2020); Begin Again\, Guts Gallery\, London\, UK\, (group – 2020); After Euphoria\, Tiwani Contemporary\, London\, UK (solo – 2019); One English Pound\, Sarabande\, The Lee Alexander McQueen Foundation\, London\, UK (solo – 2019).
URL:https://artinamericaguide.com/event/michaela-yearwood-dan-be-gentle-with-me/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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SUMMARY:Danielle Mckinney | Midnight Oil
DESCRIPTION: Marianne Boesky Gallery is pleased to present Midnight Oil\, an exhibition of new paintings by Danielle Mckinney shown on the second floor of the gallery’s Aspen location from June 24 – July 25\, 2021. The works on view capture profoundly contemplative scenes with engaging and expressive energy\, highlighting the artist’s intuitive observation of human life and feeling. Midnight Oil is the artist’s first exhibition with Marianne Boesky Gallery.  \nMckinney’s paintings present intimate portraits of a lone protagonist\, primarily female\, lost in moments of deep reflection and respite within lushly colored interior spaces. In these scenes\, the artist pays particular attention to the gaze of her subject. At times\, the figure captures the viewer’s eye\, but most often the subject focuses on a space only visible to them\, engrossed in their own solitude and rituals. The nuanced details of the paintings – a trail of smoke\, the glisten of a necklace – invite further observation to reveal hidden narratives\, exploring themes of spirituality and the self with cathartic effect.  \nIn her works\, Mckinney skillfully delves into the formal elements of painting and image-making\, apparent in the gestures and careful cropping of her subjects\, attention to light and space\, and the subtle symbolic references found in her distinct compositions. This imagery is made all the more arresting by the methods Mckinney employs from her experiences as a photographer in the darkroom\, building up her compositions from a background of black paint to intensify the depth and vibrance of the scenes. Her paintings evoke a sense of timelessness\, recalling art historical references and an imbedded canon of portraiture. Mckinney’s intuitive and minimal brushstrokes create vignettes that are self-reflective\, pulling from the artist’s own experiences\, and yet strikingly familiar in their human moments of rest and action.  \nDanielle Mckinney (b. 1981) creates narrative paintings that often focus on the solitary female protagonist. In these intimate portraits\, Mckinney captures the figure immersed in various leisurely pursuits and moments of deep reflection. Engaging with themes of spirituality and self\, her paintings uncover hidden narratives and conjure dreamlike spaces\, often within the interior domestic sphere. With a background in photography\, Mckinney paints with an acute awareness of the female gaze\, employing deeply colorful hues and nuanced details with cinematic effect. Mckinney received her BFA from Atlanta College of Arts and holds an MFA in Photography from Parsons School of design.  Her work has most recently been presented in exhibitions at Fortnight Institute\, New York; Half Gallery\, New York and FLAG Art Foundation\, New York. The artist lives and works in Jersey City\, NJ.
URL:https://artinamericaguide.com/event/danielle-mckinney-midnight-oil/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTEND;TZID=America/Halifax:20210806T180000
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SUMMARY:A Thought Sublime
DESCRIPTION:Marianne Boesky Gallery is pleased to present A Thought Sublime\, a group exhibition featuring works by Pier Paolo Calzolari\, Martyn Cross\, Molly Greene\, Jay Heikes\, Sheree Hovsepian\, Wanda Koop\, William J. O’Brien\, and Thiago Rocha Pitta. Shown together\, the works on view present a range of perspectives on one’s position in the cosmos\, offering meditations on recent paradigm shifts within our shared world. A Thought Sublime will be on view June 17 – August 6\, 2021 at the gallery’s 507 West 24th Street location in New York. \nThe title of the exhibition references a poem published in 1848 and sonnet of the same title\, “I Am”\, both written by English poet John Clare. The poems\, both melancholic in their descriptions of loneliness and alienation\, also reflect the complex experiences of existence through vivid imaginings of the author’s desired escape by way of nature and the heavens. A Thought Sublime is drawn from a line in the sonnet “I Am” that reads: \n  \n“I was a being created in the race \nOf men disdaining bounds of place and time: \nA spirit that could travel o’er the space \nOf earth and heaven — like a thought sublime” \n  \nThe works on view reflect on these sentiments\, offering deeply contemplative and wistful introspections. At times\, the artists rely on modes of alchemy and the transcendence of natural materials. Jay Heikes presents a painting from his Mother Sky series\, wherein the artist depicts cloudy skies in vibrant and extraordinary colors. Before screen printing clouds and applying paint onto the surface\, Heikes stains the canvas using a combination of vinegar\, salt\, and powdered pigment. As they react\, these substances generate unpredictable hues to form the artist’s tempestuous vistas. Similarly\, Pier Paolo Calzolari captures ephemeral states with his use of commonplace and organic materials\, such as salt\, lead\, fabric\, and feathers\, as a means to explore states of matter\, transience\, light and beauty. \nAmong the works on view are themes of connectedness between the body\, the mind\, the earth and the universe. Sheree Hovsepian\, acclaimed for her intimately constructed photographs and collages\, presents recent assemblage works. Here\, the artist layers photographs of organic lines and shapes\, including imagery of the body\, with ceramic fragments to navigate a heightened consciousness of one’s own subjectivity. Molly Greene likewise confronts the bodily\, the natural\, and the mechanical in her paintings. Greene creates surrealistic\, mirrored imagery of flora and fauna that blur the boundary between natural and unnatural\, questioning our systems of identification. \nOtherworldly and rich imagined environments are notable throughout the exhibition. Thiago Rocha Pitta\, known for his temporal and sensitive body of work that engages with the natural world\, presents a series of new watercolor works that portray subtle transformations in abstract scenes of the earth\, sea\, sky\, and beyond. Paintings on view by Martyn Cross similarly evoke timeless and folkloric scenes of nature\, displaying the undulating waters and meditative currents of unfamiliar lands. Wanda Koop\, who deftly explores the intersections between urbanization and the environment\, presents paintings of surrealist landscapes that alternate between the real and the imagined\, compelling closer examination of Koop’s familiar yet alien worlds. Central to the exhibition is a new ceramic work by William J. O’Brien\, whose work employs rich material experimentation. Titled earth\, water\, fire\, wind & space\, pt. 1\, the work is an adaptable installation that serves as an offering to Mother Nature. The installation examines the strengths of multiplicity\, of connection\, community\, and strength in numbers\, and the power of the space in-between\, offering the ability to dream again.
URL:https://artinamericaguide.com/event/a-thought-sublime/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTEND;TZID=America/Denver:20210610T180000
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SUMMARY:Simphiwe Mbunyuza | ISIBAYA
DESCRIPTION:Marianne Boesky Gallery is pleased to present an exhibition of new ceramic works by South African\, Oklahoma-based artist Simphiwe Mbunyuza\, ISIBAYA. The exhibition will be on view on the first floor of the gallery’s Aspen location from June 10 – July 25\, 2021. The title of the show\, ISIBAYA\, denotes in Xhosa an enclosure for cattle and other domestic animals in the villages of native peoples in South Africa. In this exhibition\, Mbunyuza reflects on the importance of heritage and social bonds\, as this enclosed space within a village is used in rituals as a church to connect with the people’s ancestors. In addition to his exhibition at the gallery\, Mbunyuza will be a visiting artist at Anderson Ranch Arts Center from May 31 – June 12\, 2021. The program is an opportunity that affords artists the time and space to complete projects within their area of expertise and to explore new work. \nSimphiwe Mbunyuza’s sculpture explores relationships and interactions within African cultural symbolism and cultural day to day objects used by African groups\, particularly Xhosa people. These objects are the subject of functional and non-functional ceramic and sculptural pots. The drama carried by the pots entails and details the African culture of Bantu speaking people\, in relation to other African cultural groups. Mbunyuza grew up in South Africa\, Eastern Cape Province\, Butterworth in the village called Mambendeni\, an area surrounded by various villages of Xhosa speaking people. Today\, these villages are no longer exclusively occupied by Xhosa speaking people but by a number of different African cultural groups. \nMbunyuza’s masterful practice of richly textured ceramics brings together a diverse array of materials\, including stoneware\, leather\, fabric\, and steel. In the creation of his ceramics\, the artist pays particular attention to the surfaces of his sculptural works\, incorporating bold areas of color and graphic two- and three-dimensional patterns and designs on his distinctive forms. Working with clay as his primary medium\, Mbunyuza adapts practices and techniques that are of personal significance to the artist’s background\, such as the use of a coiling technique in his ceramics that was employed by the Xhosa people for centuries to make pots. In ISIBAYA\, Mbunyuza’s work portrays the values and importance of cultural elements from these groups\, drawing from both present and historical influences as a method of sharing the artist’s heritage through a unique\, contemporary lens. \nSimphiwe Mbunyuza (b. 1989) was born in Butterworth\, Eastern Cape\, South Africa\, and lives and works in Norman\, OK. Mbunyuza has been the subject of exhibitions in the United States and internationally\, including recent presentations with Dyman Gallery\, Stellenbosch\, South Africa; South Willard\, Los Angeles\, CA; and Gallery 1957\, London and Accra\, Ghana; and is the recipient of awards and residencies including the Red Clay Faction Award and Oscar Jacobson Award from The University of Oklahoma\, Fred Jones Museum\, Norman\, OK in 2019\, and a residency with A.I.R Vallauris\, France\, in 2017.
URL:https://artinamericaguide.com/event/simphiwe-mbunyuza-isibaya/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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SUMMARY:Suzanne McClelland | PLAYLIST
DESCRIPTION:Marianne Boesky Gallery is pleased to present PLAYLIST\, Suzanne McClelland’s first solo exhibition at the gallery\, on view May 4 – June 5\, 2021 at 507 West 24th Street in New York. For the past 30 years\, Suzanne McClelland’s paintings\, drawing\, collaborative unbound books\, multiples and prints have explored the visual\, linguistic and acoustic dimensions of language. \nIn her newest series of paintings\, PLAYLIST\, McClelland approaches language through music\, organizing lists and conjoining names of musicians to suggest language as a form of portraiture. Performers are paired based on aural affinities in their music\, dissolving the factors of genre or category. McClelland approaches text as abstraction bringing to light the porous nature of identity. Since names are inherently abstract\, and in this case proper names\, they are only imbued with meaning once attached to a person. McClelland’s interest lies in parsing the gap between a name and its physicality; searching for what a name represents. The canvases become a place for inscription\, akin to graffiti\, a map\, or initials carved into a tree. The materiality of McClelland’s paintings echoes this gesture as she employs polymers\, dry pigments\, archival glitter\, and graphite to excavate meaning within their surface. \nReflecting back on her early experience as a photographer and the chemistry in the dark room\, McClelland’s material dissection similarly allows the final image to come into view almost magically as her framed subject emerges. The visual qualities of the names themselves create formal relationships within the canvas\, asking the traditional structure of the grid to dissolve\, shifting to accommodate pure color and the form of the letters. On the backs of the canvases\, McClelland has collaged a collection of photographs of each performer\, providing another set of data to inform the abstraction while relegating any direct representation. \nThe very act of creating a playlist is a personal one\, and here\, McClelland posits playlists as a form of both personal and collective memoir. In offering a list of names\, the artist invites the viewer to bring their own memories and experiences to the work\, suggesting a shared history built through music. Through recalling her own memories of musical history\, abstracted on the canvas\, McClelland implies a greater reverence for aural history\, naming names\, noting who listened to whom\, and the performers’ recording history.
URL:https://artinamericaguide.com/event/suzanne-mcclelland-playlist/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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SUMMARY:Allison Janae Hamilton | A Romance of Paradise
DESCRIPTION:Marianne Boesky Gallery is pleased to present A Romance of Paradise\, Allison Janae Hamilton’s inaugural solo exhibition with the gallery. For A Romance of Paradise\, Hamilton will present new photographs\, videos\, and sculptural works that highlight the artist’s ongoing exploration of interwoven themes such as environmental justice\, folklore and mythologies\, and the traditions of communities living in vulnerable landscapes within the rural American South. The title of the exhibition takes the original denotation of the word paradise\, meaning “heaven\,” underscoring the myths of an Edenic southern landscape formed during the exploitative and violent southward expansion of the United States. A Romance of Paradise will be on view March 27 – April 24\, 2021 at the gallery’s 507 West 24th Street location in New York. Marking a major milestone at the gallery\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. \n  \nA Romance of Paradise is centered around the undeniable verity that the development of the United States was an expansion squarely rooted in the creation of narratives. In contrast to the West\, which was viewed as an open range to be conquered and settled\, the South was surrounded by optimistic legends of a rich\, fertile landscape primed for cultivation. Some early explorers to southeast America maintained the view that the biblical Garden of Eden was literally located on the 35th parallel north\, the length of which runs from New Bern\, North Carolina\, to Memphis\, Tennessee. Within the works on view\, Hamilton looks at the formation of these mythologies and the way in which brutal colonization of land and people have molded contemporary beliefs and current realities\, such as the continued exploitation of land and resulting climate change crisis that often disproportionately impacts communities in the rural Black South. The artist deftly explores the often less visible yet resilient histories of the region\, driven by her own connections to Kentucky\, where she was born\, to Florida\, where she grew up\, to rural Tennessee\, the location of her maternal family’s homestead. Hamilton weaves in these personal narratives with pressing contemporary issues\, through her photography that combines the lush landscapes shot in rural Northern Florida with the complex lived experiences of its inhabitants\, and sculptural works that evoke a land that is simultaneously idyllic\, fragile\, and haunted by its own history. \n  \nA Romance of Paradise will include recognized elements to the artist’s work and new interpretations of recurring items and motifs. Hamilton’s familiar fencing masks\, adorned with gathered materials such as feathers and botanical designs\, will be presented in a lighter color palette\, contrasting the warriorlike appearance of the masks\, as well as mixed media works from the artist’s Yard Signs series. Additionally\, new sculptures from Hamilton’s Creatures series will be on view. The sculptures\, taking forms of an alligator\, white-tailed deer\, and a rattlesnake – all found in her home region of North Florida\, present visions of predator and prey in a delicate\, white finish reminiscent of porcelain. Taken as a whole\, the ethereal colors and textures create\, at first glance\, a heavenly\, immersive landscape. However\, upon closer examination\, the snarling creatures and warlike masks interspersed in the space speak to an underlying violent depth. \n  \n“The works in A Romance of Paradise comprise a narrative ecosystem that is both tangible and mythic.  The photographs\, videos\, and sculptures explore how historical myths used to justify violent expansion have contemporary implications affecting present-day landscapes and those living therein\, not only in the American South but throughout the world at large.” said Allison Janae Hamilton \n  \nMany of the artworks in A Romance of Paradise draw from early African American nature writing\, rituals of hoodoo and traditional healing modalities\, botanical drawings\, and contemporary lived experiences of communities navigating the distinct impacts of climate change within the South. By drawing together elements from these sources in her deeply personal\, interdisciplinary practice\, Hamilton interrogates how these histories and myths can give clues to present day experiences and the precarious implications of environmental exploitation on the future. In Hamilton’s photography\, for instance\, the artist imbeds friends\, family\, and herself as actors against the backdrop of Northern Florida\, bringing together elements of landscape and portrait photography. Adorning her subjects with objects gathered from the environment and combining them with both timeless and contemporary symbolic gestures\, Hamilton creates narrative portraits of the actors who are inextricably linked to and disruptors of an environment that collapses history\, present\, and future. \n  \nShown together\, the works in A Romance of Paradise explore how human intervention on the landscape over time has impacted the communities that inhabit it today\, presenting an image that is contemporary yet ancient\, captivating yet disturbing. Each element of the exhibition brings forth the rituals that work within and around these landscapes\, demonstrating the continuation and precariousness of the notion of the American Eden. \n  \nAligning with Hamilton’s interest in environmental justice\, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery. The gallery has expanded and prioritized its commitment to sustainability since the formation of its Green Initiative Committee in 2019. In addition to ongoing environmentally friendly practices with Galleries Commit\, A Romance of Paradise will track carbon output throughout the planning and execution of the individual artworks and the exhibition as a whole and will account for carbon conservation in the cost of each work. At the end of the show\, the gallery will make a donation\, including for any unsold works\, to permanent\, old-growth forest conservation with Galleries Commit x Art to Acres. \n  \nTimed to the opening of the exhibition\, Allison Janae Hamilton will present her video work Wacissa (2019)\, for Times Square Arts’ ‘Midnight Moment’ from April 1 – 30\, 2021. Midnight Moment is the world’s largest\, longest-running digital art exhibition\, synchronized on electronic billboards throughout Times Square nightly from 11:57pm to midnight. In Wacissa\, the viewer is submerged in the undulating waters of rivers from Hamilton’s home region of North Florida. Recounting a deeply localized history\, the film shows a river system wherein limestone was excavated by slave labor to bring cotton from Georgia through the Florida Panhandle to ships waiting in the Gulf of Mexico\, exploring intertwined concepts of the coastal South\, labor\, and myths of paradise. \n  \nAllison Janae Hamilton (b. 1984) was born in Kentucky\, raised in Florida\, and her maternal family’s farm and homestead lies in the rural flatlands of western Tennessee. Hamilton’s relationship with these locations forms the cornerstone of her artwork. Hamilton has exhibited her work at the Museum of Modern Art\, New York\, NY; Storm King Art Center\, New Winsor\, NY; the Studio Museum in Harlem\, MoMA PS1\, Long Island City\, NY; the Smithsonian National Portrait Gallery\, Washington\, DC; the Jewish Museum\, New York\, NY; Fundación Botín\, Santander\, Spain; the Brighton Photo Biennial\, Brighton\, UK; and the Istanbul Design Biennial\, Istanbul\, Turkey. Solo exhibitions of her work include Pitch at the Massachusetts Museum of Contemporary Art (MASS MoCA)\, North Adams\, MA (2018); Passage at Atlanta Contemporary\, Atlanta\, GA (2018); and Wonder Room at Recess\, New York\, NY (2017). She is the recipient of the Creative Capital Award and the Rema Hort Mann Foundation Grant\, as well as wide range of residencies. Hamilton’s work is in numerous private and public collections including the Studio Museum in Harlem and The Menil Collection. Hamilton received her PhD in American Studies from New York University and her MFA in Visual Arts from Columbia University. \n  \nAbout Galleries Commit \nGalleries Commit is a worker-led collective committed to a climate-conscious\, resilient\, and equitable future for New York City galleries.
URL:https://artinamericaguide.com/event/allison-janae-hamilton-a-romance-of-paradise/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210213
DTEND;VALUE=DATE:20210314
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SUMMARY:Jay Heikes | Echo in Color
DESCRIPTION:Marianne Boesky Gallery is pleased to present Echo in Color\, Jay Heikes’ fifth solo exhibition with the gallery. With his upcoming show\, Heikes continues his exploration of alchemical processes and the fleeting sense of connection that can be found when turning to nature and the universe. The exhibition will feature a selection of new and recent paintings from the artist’s Mother Sky series and Minor Planets sculptures. Echo in Color will be on view February 13 – March 13\, 2021 at the gallery’s 507 West 24th Street in New York. On the occasion of this exhibition\, the artist’s first comprehensive monograph will be published in cooperation with Gregory Miller & Co. and distributed by Distributed Art Publishers and will feature text by Sarah Lehrer-Graiwer\, Jenelle Porter\, Philippe Vergne\, and an interview between Heikes and Hamza Walker. \n  \nHeikes is regarded for his varied practice\, wherein he combines and transforms an array of media and materials\, including recent works that center around a preoccupation with the philosophical tradition of alchemy. The title of the exhibition\, Echo in Color\, references the perceptual phenomena of synesthesia\, a blending of the senses in which the stimulation of one modality produces sensation in another. The assembled works in the exhibition evoke a similar awareness\, crossing the senses in ways that are not understood through everyday language. Heikes’ preoccupation with these concepts speaks to his deep considerations of the role that art serves in culture. During a time of economic\, social\, and environmental turbulence\, the artist creates a meditative response to this uncertainty. \n  \n“The sheer vastness of a wide-open space is imbued with feelings of emptiness – only in a cave or canyon can the gesture of a scream be returned\,” said Heikes. “Through the last four years of alienation and the recent time collectively spent in isolation\, I began to see the idea that in retreating to an imagined vastness\, such as through a painting of the sky\, the works become representations that keep us grounded and avoid the total void of the sublime.” \n  \nIn particular\, Heikes is interested in the juxtaposition of the painting and sculpture presented within Echo in Color. In his Mother Sky works\, the artist stains the canvas using a combination of vinegar\, salt\, and powdered pigment. As they react\, these substances generate unpredictable hues\, ranging from rust\, indigo\, copper\, and fluorescent greens. Screen printed and dabbed on the canvases are voluminous shapes of clouds and smoke\, composed from distortions of found and photographed images. The euphoria in the otherworldly and meditative vistas simultaneously cause an underlying unease through the eerie and acidic tones of the tempestuous\, burning skies that layer the canvas. The imagined atmospheres\, at first an escapist opportunity for the viewer\, reflect an inability to create complete control. \n  \nPresented alongside the paintings\, Heikes will feature Minor Planets sculptures. This series of sculptures has been crafted from a range of materials\, including concrete\, pyrite\, salt\, slag\, asphaltum\, quartz\, rope\, and dust collected from the artist’s studio in the forms of modeled orbs and disks – timeless and ancient in appearance. The latest iteration of the Minor Planets on view in Echo in Color has transitioned to center on the material of concrete\, giving the sculptures weight and autonomy in both their scale and composition. In this way\, the juxtaposition of turning to the sky as a means of transcendence alongside the grounding materiality of the sculptures offers refuge in turbulent times. Yet even the Minor Planets serve as a testimony to the unpredictability of the artist’s chosen mediums and form\, as the metals and complementary materials in the sculptures oxidize and mutate over time. In his 2019 text on this body of works\, “I Wavereth\,” Heikes notes\, “At times it feels like I am playing God with these landscapes\, imagining an atmosphere from above that has finally freed itself of all human trivialities. I was supposed to pick up the mantle of activism and help answer the people’s cries but instead I became more distant\, even hidden\, while creating these representational moods of the soul.” \n  \n\nYale graduate and Minneapolis-based artist Jay Heikes (b. 1975) is known for his heterogeneous practice\, which mixes and reinterprets a kaleidoscopic array of media—activating stories\, puns\, and irony in a cyclical meditation. His most recent body of work employs his preoccupation with the philosophical tradition of alchemy. Themes of evolution and regeneration\, stasis and corrosion take form in his artistic actions\, recharging Heikes’ previous narrative pursuits and reaffirming the notion that mutation and change are essential to the creative process. \n  \nFollowing his first solo presentation at Artists Space\, New York in 2003\, Heikes participated in a number of group exhibitions at venues such as the New Museum of Contemporary Art\, New York (2003) and the Renaissance Society at the University of Chicago (2002 and 2005). In 2006\, Heikes was included in the Whitney Biennial: Day for Night\,curated by Chrissie Iles and Philippe Vergne. Since then\, Heikes has been the subject of numerous domestic and international exhibitions\, including shows at The Institute of Contemporary Art\, Philadelphia (2007); the Aspen Art Museum (2012); Grimm Gallery\, Amsterdam (2015); Shane Campbell Gallery\, Chicago (2015); Federica Schiavo Gallery\, Rome (2019); and Joslyn Art Museum\, Omaha\, NE (2019).
URL:https://artinamericaguide.com/event/jay-heikes-echo-in-color/
LOCATION:Marianne Boesky Gallery\, 601 East Hyman Ave\, 2nd Floor\, Aspen\, CO\, 81611\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20210107
DTEND;VALUE=DATE:20210207
DTSTAMP:20260613T145650
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SUMMARY:In Situ
DESCRIPTION:Marianne Boesky Gallery is pleased to present In Situ\, a group exhibition featuring new and recent paintings by thirteen artists: Cecily Brown\, Olivia Erlanger\, Barnaby Furnas\, Jammie Holmes\, Forrest Kirk\, YoYo Lander\, Maud Madsen\, Chidinma Nnoli\, Collins Obijiaku\, Celeste Rapone\, Lorna Robertson\, Eleanor Swordy and Michaela Yearwood-Dan. Using Charlotte Perkins Gilman’s seminal 1892 text “The Yellow Wallpaper” as a point of departure\, In Situ brings together paintings created throughout 2020 that offer reflections of life in isolation as necessitated by the current health crisis – private and still\, yet restless and resolute. \n  \nIn Situ will be shown in two parts: works by the twelve included artists will be on view January 7\, 2021 – February 6\, 2021 at the gallery’s 507 West 24th Street in New York\, and an additional selection of paintings will be highlighted at the gallery’s Aspen location from January 22\, 2021 – February 28\, 2021. \n  \nIn “The Yellow Wallpaper\,” the unnamed narrator is confined to a room in her house as part of a rest cure\, a nineteenth century medical treatment that strictly enforced a regimen of bed rest and social isolation. During her weeks in confinement\, the narrator’s thoughts are slowly monopolized by the yellow wallpaper that surrounds her. \n  \nGrounded by experiences of quarantine due to the pandemic\, many of the artists utilized their surroundings to capture extended moments of stillness. Yet the range of paintings in In Situ are more than strict representations \n  \nof the past year. While some of the work is figurative and depicts creature comforts of domestic spaces\, or figures interacting or alone\, others portray an occupant’s recurring perspective. The subjects and scenes of the works are not confined by the architecture of their interiors\, but rather expand on imagination and the passage of time\, offering meaningful depictions of isolation. \n  \nIn Gilman’s text\, the narrator exclaims: “I never saw so much expression in an inanimate thing before\, and we all know how much expression they have!” In Situ responds to this sentiment as the presented artists aptly pull inspiration from their own surroundings\, embodying the tension between the safety of physical isolation and an urgency in the present moment to act and connect.
URL:https://artinamericaguide.com/event/in-situ/
LOCATION:Marianne Boesky Gallery – 507 West 24th\, 507 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20201127
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SUMMARY:Donald Moffett | The Hollow
DESCRIPTION:Marianne Boesky Gallery is pleased to present The Hollow\, a solo exhibition of new works by Donald Moffett. The exhibition marks his ninth solo show with the gallery and will be on view November 27\, 2020 – January 18\, 2021 at the gallery’s space in Aspen\, Colorado. \nThe Hollow continues the artist’s interest in minimalist\, abstract forms that simultaneously carry personal and metaphorical meaning. As art historian Kate Nesin recently wrote\, “Moffett tends to work in series\, and often in rhythmic alternation\, oscillating not only between formal positions but also between conceptual modes\, micro- and macro- points of view—considerations of the particular body…and of the body politic.” 1 The works on view in the exhibition include a grouping of Moffett’s extruded and resin techniques from the glory hole series. In his extruded paintings\, the artist methodically extends individual tendrils of oil paint to stand perpendicular to the canvas\, creating a bristling three-dimensional surface. In contrast\, Moffett’s resin works on view achieve a luminous appearance by pouring pigmented resin on the painting’s surface. The structural planes of these works are disrupted with circular and organically shaped cutouts that the artist drills through the paintings. The resulting works\, through the thick application of paint and resin\, border between painting and three-dimensional object. \nMoffett subverts traditional notions of painting and abstraction\, employing innovative technique and methodology to disrupt the surface in his process of extruding paint\, resin-pouring\, and routing his monochromatic works. Throughout Moffett’s practice\, this diversity and complication of technique presents itself in numerous forms\, including works that feature projected light or film on canvas\, or the hand-sewn holes and zippers seen in his Fleisch works. The line\, however\, between figuration and abstraction is further blurred in the glory hole works by way of the artist’s likening of the canvas to the body and nature and sex. The subtle coding of the painting’s orifice-like holes and lush textures splits across multiple concerns: formal\, metaphorical\, structural. \nDonald Moffett notes: “I regard this fact: the size and shape of a hollow depends on the age of the tree.”
URL:https://artinamericaguide.com/event/donald-moffett-the-hollow/
LOCATION:Marianne Boesky Gallery\, 509 West 24th Street\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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