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DTSTART;VALUE=DATE:20240518
DTEND;VALUE=DATE:20240728
DTSTAMP:20260620T054739
CREATED:20240429T143413Z
LAST-MODIFIED:20240429T143413Z
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SUMMARY:It Never Entered My Mind
DESCRIPTION:Sean Kelly is delighted to present It Never Entered My Mind\, a group exhibition featuring fifteen artists working in painting and sculpture\, curated by Los Angeles-based collector and producer Michael Sherman. There will be an opening reception on Saturday\, May 18\, from 5-8 pm. \nTitled after Miles Davis’ rendition of the iconic showtune “It Never Entered My Mind\,” each artist in the exhibition takes up the perennial concerns of art making — including place\, personal and cultural history\, and the body — in their own\, distinctive manner\, not unlike a great jazz ensemble. Eschewing an overarching theme\, It Never Entered My Mind presents the singular talents and conceptual concerns of each artist\, many of whom are exhibiting in Los Angeles for the first time. The exhibition brings together artists living and working in disparate parts of the world in a variety of styles and media. In addition to the works on view\, It Never Entered My Mind features music direction by Los Angeles-based musician and record producer MELO-X\, inspired by each artist’s studio practice.
URL:https://artinamericaguide.com/event/it-never-entered-my-mind/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240511
DTEND;VALUE=DATE:20240623
DTSTAMP:20260620T054739
CREATED:20240503T144933Z
LAST-MODIFIED:20240503T144933Z
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SUMMARY:As For Now
DESCRIPTION:Sean Kelly is delighted to announce As For Now\, Hugo McCloud’s fifth solo exhibition with the gallery. Marking a shift in his methodology\, McCloud revisits earlier bodies of work armed with a deeper understanding of the materials he employs and how they interact\, as well as new insights informed by recent life experiences. He reinterrogates these materials and subject matters\, exploring how past events have transformed both him and his artistic process. Occupying the front and main galleries\, the exhibition presents new works from his signature plastic and tar stamped painting series\, highlighting his fluid movement between figuration and abstraction. There will be an opening reception on Friday\, May 10\, 6-8 pm. The artist will be present. \n  \nAt its core\, the exhibition represents a departure from previous presentations which drew inspiration from external experiences and shifts towards a more inward-looking examination of self\, process\, and materiality. McCloud’s abstract stamped paintings combine unconventional industrial materials such as aluminum sheeting\, silver aluminum butane paint\, and black liquid tar on tar paper with traditional pigments and woodblock printing techniques. Transitioning from the elaborate ornamentation of previous works in this series\, McCloud has simplified the design to a single\, minimal repeating shape. Streamlining this process has allowed for a repetitive\, though more nuanced\, intuitive approach. This change reflects a newfound confidence in his artistic vision\, prompting him to question the necessity of each element within the composition. McCloud also embraces a more vibrant palette inspired by his time in Mexico. \n  \nAs McCloud revisits his Burdened Man series\, he finds himself more personally connected to the imagery\, seeing his reflection in carrying the burden of life’s experiences within the works. Despite the meticulous and exacting creative process – using hundreds\, even thousands\, of small cut-out pieces of single use plastic to “paint” the compositions – these new figurative works incorporate abstract elements\, embracing a sense of freedom in his approach to representational imagery. McCloud’s flower series\, on view in the front gallery\, were initially begun as a daily meditative practice during the pandemic to document the passage of time. The works are constructed of single-use plastic with oil paint to accentuate the blossoms. There are also watercolors on the wax paper McCloud uses in the fabrication of his plastic paintings. \n  \nAs with all of McCloud’s oeuvre\, material regeneration is a prevalent connection within his work. His ability to elevate industrial elements into fine art materials is consistent throughout the exhibition\, serving as a linear narrative that underscores his dedication to pushing boundaries and exploring the breadth of his creativity. \n  \nHugo McCloud lives and works in Los Angeles. His work has been the subject of solo exhibitions at The Aldrich Contemporary Art Museum in Ridgefield\, Connecticut\, The Arts Club\, London\, and Fondazione 107\, in Turin\, Italy. He has also been featured in group exhibitions at the Virginia Museum of Contemporary Art\, Virginia\, the Studio Museum in Harlem\, New York\, and The Drawing Center\, New York. His work is in the collections of the National Museum of African American History and Culture in Washington\, D.C.\, the North Carolina Museum of Art\, the Detroit Institute of the Arts\, The Margulies Collection at the Warehouse\, the Nasher Museum of Art at Duke University\, the Brooklyn Museum\, the Mott Warsh Collection\, and The Joyner/Giuffrida Collection. \n  \nFor additional information on Hugo McCloud\, please visit skny.com \n  \nFor press\, please contact Adair Lentini at Adair@skny.com \n  \nFor all other inquiries\, please contact Lauren Kelly at Lauren@skny.com \n  \n 
URL:https://artinamericaguide.com/event/as-for-now/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240316T110000
DTEND;TZID=America/New_York:20240504T180000
DTSTAMP:20260620T054739
CREATED:20240226T154031Z
LAST-MODIFIED:20240226T154031Z
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SUMMARY:Callum Innes: Turn
DESCRIPTION:Sean Kelly is pleased to announce the opening of Turn\, Callum Innes’s first solo exhibition in Los Angeles in over thirty years. The exhibition features a group of his latest Tondo works\, alongside his iconic Exposed Paintings\, Split Paintings\, and Shellac Paintings. There will be an opening reception on Saturday\, March 16\, from 5-7 pm. The artist will be present. At 6pm\, Callum Innes will be in conversation with writer and curator\, Hunter Drohojowska-Philip. The talk will be followed by a signing of Innes’ newest publication produced by Sean Kelly Gallery. \nFrom the onset of his career\, Innes has created lushly painted and subtly nuanced canvases in a rectilinear format. In 2022\, the artist added a striking new format to his repertoire\, the Tondo. The catalyst for this transformative shift occurred when Innes was asked to paint the end of a whisky cask for a charity event. With these works\, the artist mastered an entirely new set of technical and aesthetic challenges\, confronting a format rich with art historical resonances. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different substances in the Shellac Paintings— the Tondos have necessitated a number of important evolutions in the way that Innes makes the work\, both psychologically and formally. The materiality of the plywood panels accelerates Innes’s practice\, providing a quick\, firm surface. He also uses a smaller\, rounded brush which introduces a completely different physicality\, offering more fluidity and enabling a more direct interaction with the work. In contrast\, his previous works on canvas offer a slower\, softer surface\, inviting a more meditative way of working. \nThe exhibition also includes rectangular Exposed and Split Paintings. The rectangle\, with its rational four points and sides\, symbolizes elements\, seasons\, and reason itself\, while the oval\, with its earthier\, sensuous nature\, signifies unity and balance. This exhibition makes evident the expansion of Innes’ language and his mastery of technique\, materiality\, and emotional resonance throughout his acclaimed body of work. \nCallum Innes’s new publication\, extensively illustrated with images from the Tondos series and installation views of key exhibitions\, explores how the artist has challenged traditional perceptions of shape and form to create dynamic and immersive visual experiences. A pivotal essay by art historian Éric de Chassey\, traces Innes’ encounter with the tondo and its progenitors in the history of art\, firmly cementing his breakthrough in the pantheon of important works rendered in this distinctive style. \nCallum Innes lives and works in Edinburgh\, Scotland and Oslo\, Norway. In 1992\, Innes had major exhibitions\, at the ICA\, London\, and the Scottish National Gallery of Modern Art\, Edinburgh. In 1995\, he was short-listed for the Turner Prize and was awarded the Nat West Prize in 1998 and the Jerwood Prize for Painting in 2002. His critically acclaimed museum exhibition\, From Memory\, traveled throughout Europe and Australia from 2006-2008. In 2016\, he was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. In 2018\, his first major solo exhibition in France\, In Position\, took place at Château la Coste in Provence\, with an accompanying publication. Innes will have an exhibition at Kode – Lysverket Museum\, Bergen\, Norway in 2024. His work is included in major public collections worldwide including: the Tate Gallery\, London; the Kunsthalle\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art\, Dublin; The Museum of Fine Arts\, Houston; the Museum of Modern Art\, Fort Worth; The Dallas Museum of Art; The San Francisco Museum of Modern Art; The Philadelphia Museum of Art; the Phillips Collection\, Washington\, D.C.; The National Gallery of Australia\, Canberra; the Museu d’Art Contemporani de Barcelona; the Albright-Knox Art Gallery\, Buffalo\, New York; the Art Gallery of Ontario\, Toronto; the Hilti Art Foundation\, Vaduz\, Lichtenstein; and Deutsche Bank\, London\, and Sydney. \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@seankellyla.com or Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-turn/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240315T110000
DTEND;TZID=America/New_York:20240504T180000
DTSTAMP:20260620T054739
CREATED:20240220T181650Z
LAST-MODIFIED:20240220T181650Z
UID:107122-1710500400-1714845600@artinamericaguide.com
SUMMARY:Idris Khan: After...
DESCRIPTION:Sean Kelly is pleased to present After…\, Idris Khan’s fourth solo exhibition with the gallery. There will be an opening reception on Thursday\, March 14\, 6-8 pm. The artist will be present. This presentation coincides with his first major museum exhibition in the US at the Milwaukee Art Museum\, opening to the public on April 5. \nAfter… showcases several exciting developments in Khan’s practice. The exhibition introduces a process whereby the artist deconstructs art historical masterpieces to rich pallets of color referencing the volume and importance of the original painting’s power. \nKhan’s newest explorations focus on color and music\, and their abilities to contain a world of memories\, associations\, and emotions which resonate on a universal level. Utilizing technology as complex as it is sensitive and poetic\, Khan scans photographic reproductions of these artworks into a sound software that reveals their tone and color density. He then creates separate oil and water-based ink works with the dimensions of each color corresponding to the percentage in which it appears in the original painting. Each artwork is comprised of a grid-like structure of individually framed elements denoting the original work’s specific color palette. Khan also assigns musical notations to each hue and transcribes them to create a score for each painting. The panels are repeatedly stamped\, in Khan’s signature style\, with each works distinctive notation and overlaid with collaged sheet music\, carefully selected for its shape and pattern. With this new body of work\, Khan moves from representing a collapse in time to making evident the soundscape of each masterpiece. After… takes as its source iconic paintings so familiar that they now form part of the collective unconscious\, including Leonardo da Vinci’s Mona Lisa\, Johannes Vermeer’s The Milkmaid\, and his Girl Reading a Letter at an Open Window. \nIdris Khan’s oeuvre draws on diverse cultural sources–literature\, history\, art\, and music–to shape a distinctive narrative featuring densely layered images that metaphysically condense time into single moments. After… marks an important evolution in Idris Khan’s artistic practice and pays homage to the twentieth anniversary of Every…\, Khan’s MFA exhibition from the Royal College of Art in London. It signifies a compelling shift in Khan’s artistic paradigm\, inviting viewers to take a nuanced and multi-level approach to how they perceive a work of art. The exhibition includes a selection of new oil and water-based ink works and gesso on aluminum panel paintings\, for which Khan is known\, incorporating into the work a striking new palette. \nIdris Khan’s first US museum solo exhibition\, Repeat After Me\, opens at the Milwaukee Art Museum on April 5\, 2024. Featuring major works covering every facet of Khan’s career\, the exhibition includes new works that respond directly to paintings in the museum’s permanent collection. The exhibition will be on view through August 11\, 2024. \nIdris Khan lives and works in London\, United Kingdom. His work has been the subject of major solo exhibitions at international institutions\, including Chateau la Coste\, France; The New Art Gallery Walsall\, Walsall\, UK; the Whitworth Gallery\, the University of Manchester\, UK; Gothenburg Konsthall\, Sweden; the Museum of Contemporary Canadian Art\, Toronto\, Canada; Kunsthaus Murz\, Mürzzuschlag\, Austria\, and K20\, Dusseldorf\, Germany. Khan’s design for Abu Dhabi’s memorial park\, Wahat Al Karama\, was awarded the 2017 American Architecture Prize\, and he was appointed an OBE for services to Art in the 2017 Queen’s Birthday Honors List. His work is in the permanent collections of many institutions worldwide\, including the Los Angeles County Museum of Art; the Albright-Knox Museum\, New York; The British Museum\, London; the National Gallery of Art\, Washington\, D.C.; the San Francisco Museum of Modern Art; the Solomon R. Guggenheim Museum\, New York; the Norton Museum of Art\, Palm Beach\, FL; the Tel Aviv Museum of Art\, Israel; the Art Gallery of New South Wales\, Sydney\, Australia; the Philadelphia Museum of Art; the de Young Museum\, San Francisco; and the Centre Georges Pompidou\, Paris\, France. \nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Janine Cirincione at Janine@skny.com
URL:https://artinamericaguide.com/event/idris-khan-after/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/02/image_123650291-1-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240315
DTEND;VALUE=DATE:20240505
DTSTAMP:20260620T054739
CREATED:20240308T151933Z
LAST-MODIFIED:20240308T151933Z
UID:107386-1710460800-1714867199@artinamericaguide.com
SUMMARY:273 Days
DESCRIPTION:Sean Kelly is delighted to announce 273 Days\, Natasza Niedziółka’s first exhibition with the gallery. Niedziółka’s formally vigorous and sensual works occupy a space between drawing\, painting\, and textile. Her repetitive patterns of multi-colored threads are hand-stitched onto various fabrics\, often accentuated with colored pencil or ink. Presented in the front gallery\, the exhibition features a selection of new works from her Zero and At One series and debuts a new series by the artist titled\, Protest Song. There will be an opening reception on Thursday\, March 14\, from 6-8pm. The artist will be present. \nOver the past decade\, Natasza Niedziółka’s practice has featured hand-stitched thread on supports made from different materials including linen\, cotton duck\, and silk\, highlighting the interplay between irregular manual embroidery and uniform structure. In her works\, Niedziółka employs techniques of hatching and flat chromatic gradations. With each puncture of the needle\, Niedziółka integrates modernist traditions into her interpretations\, calling to mind artists such as Agnes Martin or Marcia Hafif. Her distinct materiality\, use of subtle color\, and intricate textures distinguishes Niedziółka’s work from more orthodox techniques\, and offers the viewer meditative\, visual experiences. \nNiedziółka’s series Zero draws inspiration from the 1950s-60s German artist collective of the same name\, whose radical postwar modernism was characterized by their intrinsic use of common materials\, monochromatic colors\, and repetition. Incorporating subdued variations in fields of color and repeating minimalistic patterns\, Niedziółka’s compositions employ similar aesthetics to demonstrate her relationship with time. Abstract forms and color shifts create an optical illusion that give a fluidity to the work. Reflecting on the series\, Niedziółka stated\, “The work is about committing\, allowing\, and letting go.” \nWhereas the series Zero is a personal examination of time\, At One encompasses a state of unity wherein the artist searches to create equilibrium. Often planned and designed before its execution\, the work is composed of panels of color in her signature embroidery technique. \nIn response to political unrest brought on by current events worldwide\, Niedziółka’s newest series\, Protest Song considers how language is used as an act of protest. Writing in English\, Polish and Ukrainian\, the artist is inspired by the lyrics of songs that have come to represent a resistance to the abuses of power\, empowerment\, or glimpses of hope. From Stephan Czarnecki’s 1914 Ukrainian folk song Czerwona Kalina (Red Viburnum) to Lil Baby’s 2020 song of solidarity The Bigger Picture\, the series spans a vast range of history defining moments. With careful precision\, Niedziółka embroiders each word using reclaimed Italian silk in various hues. The verses weave across the canvas\, occasionally leaving behind loose ends of thread\, obscuring other words\, evoking a sensual haptic quality. \nArmed with a needle and thread\, Niedziółka’s intricate and laborious stitching offers a nuanced reflection on time\, collective consciousness\, and resistance. Blurring the lines between the personal and the political\, the artworks in 273 Days are a visual representation of the interwoven connections between self\, one another\, and society. \nNatasza Niedziółka lives and works in Berlin\, Germany. In 2020\, Niedziółka received a grant from the Pollock-Krasner Foundation\, and she was an artist in residence at the Gyeongju Art Centre in South Korea in 2018. \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Jeffrey Grove at Jeffrey@skny.com
URL:https://artinamericaguide.com/event/273-days/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240120T110000
DTEND;TZID=America/New_York:20240309T180000
DTSTAMP:20260620T054739
CREATED:20231222T195540Z
LAST-MODIFIED:20231222T195540Z
UID:106357-1705748400-1710007200@artinamericaguide.com
SUMMARY:Jose Dávila: Photographic Memory
DESCRIPTION:Opening reception: Saturday\, January 20\, 5 – 7pm \nSean Kelly is delighted to announce Photographic Memory\, Jose Dávila’s first exhibition at the Los Angeles gallery. Photographic Memory is comprised of a series of Dávila’s signature cut-out works\, which reference Richard Prince’s solo exhibition at LACMA in 2018. The exhibition features large-scale photographic works in which Dávila has removed the main figure of Prince’s influential Untitled (cowboy) series. Challenging conventional connotations and limitations of photography in today’s image driven society\, Dávila’s cut-outs interrogate originality\, appropriation\, and the truth behind an image. There will be an opening reception on Saturday\, January 20\, from 5-7pm. The artist will be present. \nDávila began making cut-outs in 2008\, an ongoing series in which he simultaneously pays homage to and critiques icons of 20th century art and architecture through acts of excision\, physically removing the central subject from photographic reproductions of original works of art. With these works\, Dávila investigates whether an artwork can be produced through a reductive rather than additive process. This technique is inspired by the Mexican folk-art tradition of papel picado or Cut-Paper\, which Dávila applies to contemporary art to explore the importance of negative space. \nDávila revisits Richard Prince’s series in which he photographed and enlarged widely recognized advertisements for Marlboro cigarettes featuring imagery of cowboys on horseback in iconographic American Western landscapes. Prince cropped the advertisements to remove any text and left the torn edges and tape as a reminder of their original context in mass-market magazines. This controversial practice raises questions about what constitutes an original work of art. Dávila’s photographs\, similarly scaled at up to six feet high by eight feet wide\, include the uneven edges and tape to pay homage to\, and keep the conceptual and theoretical congruency of\, the works referenced. Dávila takes the conversation a step further by removing the focal point of the image\, transforming the scenes into a poetic discourse about the power of negative space. “By subtracting the main subject\, I intend to compel the viewer to perform a creative act\, because they have to somehow fill in that central image from their memory and imagination\,” states Dávila. “Even if it’s an image you’ve seen many times\, whatever you might recall might not be the same thing that I recall.” \nIn Photographic Memory\, Jose Dávila explores the boundaries of artistic influence\, skillfully intertwining homage and critique. He simultaneously challenges authorship through the alteration of iconic images to create new artworks and a distinctive oeuvre all his own. \nJose Dávila has presented solo exhibitions at the Museum Haus Konstruktiv\, Zürich\, Switzerland; Dallas Contemporary\, Texas; JUMEX Museum\, Mexico City; Hamburg Kunsthalle\, Hamburg and the Museo del Novecento\, Florence\, amongst others. His work is in the permanent collection of numerous institutions including the Museo Universitario Arte Contemporáneo (MUAC)\, Mexico City\, Mexico; Museo Nacional Centro de Arte Reina Sofía\, Madrid\, Spain; Inhotim\, Brumadinho\, Brazil; the Perez Art Museum\, Miami\, Florida; the Buffalo AKG Art Museum\, Buffalo\, New York; the San Antonio Museum of Art\, San Antonio\, Texas\, the Solomon R. Guggenheim Museum\, New York; the Centre Pompidou\, Paris; Hamburg Kunsthalle\, Hamburg; and the Museum of Modern Art\, Luxembourg. Dávila was the winner of the 2016 BALTIC Centre for Contemporary Art’s New Annual Artists’ Award\, Artists honoree of the Hirshhorn Museum in Washington DC in 2016\, the 2014 EFG ArtNexus Latin America Art Award\, and has been the recipient of support from the Andy Warhol Foundation\, a Kunstwerke residency in Berlin\, and the National Grant for young artists by the Mexican Arts Council (FONCA) in 2000. In 2022\, Hatje Cantz published a major monograph illustrating the past twenty years of Davila’s practice.
URL:https://artinamericaguide.com/event/jose-davila-photographic-memory/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/JDa-23.98-Untitled-Cowboy-2023_Photo-Agustin-Arce_001-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240120T110000
DTEND;TZID=America/New_York:20240309T180000
DTSTAMP:20260620T054739
CREATED:20231222T195524Z
LAST-MODIFIED:20231222T195524Z
UID:106359-1705748400-1710007200@artinamericaguide.com
SUMMARY:Ana González: VERDES
DESCRIPTION:Sean Kelly is delighted to present VERDES\, Ana González’s first solo exhibition in Los Angeles. Through her artistic practice González captures the duality of the natural world – its fragile state due to humanity’s extraction of natural resources and the political and spiritual power inherent to it. Drawing upon the landscapes of her native Colombia\, and her collaborations with the indigenous communities that protect them\, González’s work serves as both a warning of the gradual disappearance of a vital\, historic ecosystem and a celebration of its sensual power. Occupying Sean Kelly\, Los Angeles’ third-floor space\, the exhibition features paintings\, textiles\, works on paper\, and sculptures. There will be an opening reception on Saturday\, January 20\, from 5 – 7pm. The artist will be present. \nThe title of the exhibition\, VERDES\, simultaneously references the verdant green González captures in her landscape paintings and textiles\, as well as the dull green color of the US dollar. González juxtaposes these two motifs\, the ancient\, mutualist ecosystems of Colombia\, and the unsustainable\, capitalistic consumption of natural resources. In her Devastations series\, González prints photographs of South American landscapes onto woven textiles which she then partially unravels by hand. González manipulates the surfaces of her images to reflect the precariousness of these spaces; the jungles surrounding the Amazon River\, revered by some as the heart of the world\, are threatened by the mining\, ranching\, and logging industries. González’s unraveling represents the slow\, but consequential\, disappearance of an ancient ecosystem. Her textiles preserve the potential of these spaces as sites of power\, abundance\, and renewal. As the artist states\, “When I think of the green of the tropics\, I think about the damp soil\, the hot land\, the waterfalls\, the mountains\, the jungles… all that remains on this planet which allows us to breathe.” González’s works are a call to rejuvenate the landscapes she depicts\, an invitation towards stillness and reflection. She argues for a reorientation of our principles – from the monetary to the sacred values of the natural world. \nAlso on view are González’s sculptural works\, including a series depicting the Cattleya\, an orchid native to South America. Executed in Limoges porcelain\, a technique González’s learned while studying in Paris\, the Cattleya sculptures and related works render\, in vivid detail\, the soft and sensual surfaces of the plants. As with the Devastations textiles\, the fragility of the porcelain underscores the precarious nature of the environment they represent. Some of the flowers are enclosed in bell jars\, as though they are preserved specimens of a lost environment. Other sculptures depict detailed renderings of birds\, which reappear in the artists’ Sacred Bird drawings. To the artist\, birds serve as doors to the spiritual world. In VERDES\, their presence invites the viewer to access the transcendent qualities of the earthly scenes on view. \nAn architecture graduate from Universidad de Los Andes in Bogotá\, Colombia\, Ana González specialized in Art and Gender at Trinity College in Dublin\, Ireland and completed a Master’s Degree in Arts and Media (Photography-Printing-Publishing) at École Nationale Supérieure des Beaux-Arts and École Supérieure de Commerce de Paris in Paris\, France. Her work is included in several private and public collections\, including The Patricia Phelps de Cisneros Collection\, the Havremagasinet Länskonsthall Museum in Sweden\, the National Museum of Colombia and the Bogotá Museum of Modern Art (MAMBO). In addition\, González has developed several social projects with the Colombian indigenous communities of Sierra Nevada de Santa Marta and humanitarian projects with the Nukak community in Guaviare and the Misak women in Cauca. She is currently working on the construction of a traditional house with the Tikuna women of the Colombian Amazon. \nOn the occasion of her exhibition at Sean Kelly\, Los Angeles\, González has collaborated with the Misak community of Cauca\, Colombia to produce an edition of woven bags made using traditional weaving techniques of the Misak. The bags\, with an engraving by the artist\, will be available for purchase at Sean Kelly\, Los Angeles. All proceeds will go directly to the Misak women artisans of Cauca. \nFor additional information on the exhibition please visit skny.com \nFor additional information on Ana González\, please visit anagonzalezrojas.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/ana-gonzalez-verdes/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/AnGo-293-AMAZONAS-2023-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260620T054739
CREATED:20240119T150547Z
LAST-MODIFIED:20240119T150547Z
UID:106734-1705017600-1709423999@artinamericaguide.com
SUMMARY:John Guzman Drowning in Harmony
DESCRIPTION:Sean Kelly Gallery is delighted to present John Guzman’s solo exhibition Drowning in Harmony. Guzman’s visceral artworks deconstruct the body to navigate the unpredictable\, unusual\, and at times\, unbearable moments of life. Featuring a compelling series of new large and small oil paintings and works on paper\, the exhibition delves into the complexities of the human experience. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nDrowning in Harmony presents Guzman’s distinctive style and thought-provoking narrative to explore his unique visual language. His innovative approach to painting serves as a form of documentation\, revealing the transformative nature of the body by reducing it to textured lines and muted colors. Drawing from lived experiences in the Southside of San Antonio\, Texas\, Guzman’s paintings abstract the human figure to reflect the unrecognizable transformations of the body resulting from stress. Guzman’s mastery of form\, color\, and conceptual depth is evident in this new series of works which demonstrate his ability to push artistic boundaries. The works on paper further highlight Guzman’s versatility\, translating intricate concepts into a more intimate medium. \n\n\n\n\nPositioning his figures within domestic architecture\, Guzman intricately weaves links between the environment and its inhabitants. In his paintings\, Guzman assembles distorted\, tangled figures confined in cramped domestic spaces\, creating a visual language for the condition of existence at the edge of survival. The exhibition creates a link between the environment and its inhabitants as Guzman explores space\, style\, subject matter\, and line\, addressing the fragility of the psyche and altered landscapes. \nJohn Guzman received formal training from the Southwest School of Art\, San Antonio\, TX. In June 2022\, he had his first museum solo exhibition\, John Guzman: Flesh and Bone at Blaffer Art Museum\, Houston\, TX. He is a graduate of NXTHVN’s Fellowship Program in New Haven\, CT\, which had its culminating exhibition\, Undercurrents at Sean Kelly\, New York in June 2022. He currently lives and works in New Haven\, CT. \n\n\n\n\nFor additional information on John Guzman\, please visit skny.com  \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com
URL:https://artinamericaguide.com/event/john-guzman-drowning-in-harmony/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/x.-JGu-2024_SKNY_Drowning-in-Harmony_photo-Jason-Wyche-New-York_005-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260620T054739
CREATED:20240119T150547Z
LAST-MODIFIED:20240119T150547Z
UID:106731-1705017600-1709423999@artinamericaguide.com
SUMMARY:Julian Charrière: Buried Sunshine
DESCRIPTION:Sean Kelly is delighted to present Julian Charrière’s Buried Sunshine\, the artist’s third solo exhibition with the gallery in New York. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs to unearth the ‘fossilized sunshine’ upon which the mythos of Los Angeles was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perceptions of reality. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nIn his new photographic series Buried Sunshines Burn\, Charrière reveals the City of Angels as a spatial anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5\,000 active oil wells beneath the second largest city in the United States. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensitive emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in California to create photographic imprints of local oil fields. Shot from a bird’s eye perspective\, the images— printed on highly polished stainless-steel plates—survey some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joaquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of the city. \n\n\n\n\nCharrière’s film Controlled Burn invites viewers on a cosmic journey\, soaring through an aerial landscape of imploding fireworks. Filmed using a drone\, this disorienting voyage takes place in open pit coal mines\, decommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial ferns and fluttering moths—beings that evolved during the carboniferous geological period. Charrière cites these organisms as spirit guides and living tokens for the vitality of fossil fuels\, and markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \n\n\n\n\nAlso featured in the exhibition are two obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of polished volcanic glass–cooled magma which has erupted from the Earth’s core. Charrière draws on this material as an ancient means of divination. A readily available resource in Mesoamerica\, both Mayan and Aztec civilizations believed obsidian to unlock doors to other times and realms; the hardness of the glass also made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands upon Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines a unique industrial history with a historic form of image-making\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates sense of place through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel come to inform how we perceive the world around us. \nJulian Charrière’s work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, in 2022 Charrière received the 14th SAM Prize for Contemporary Art.
URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine-3/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/z.-JCh-2024_SKNY-Buried-Sunshine_Photo-Jason-Wyche-New-York_007-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260620T054739
CREATED:20240103T214212Z
LAST-MODIFIED:20240103T214212Z
UID:106426-1705017600-1709423999@artinamericaguide.com
SUMMARY:Drowning in Harmony
DESCRIPTION:Sean Kelly Gallery is delighted to present John Guzman’s solo exhibition Drowning in Harmony. Guzman’s visceral artworks deconstruct the body to navigate the unpredictable\, unusual\, and at times\, unbearable moments of life. Featuring a compelling series of new large and small oil paintings and works on paper\, the exhibition delves into the complexities of the human experience. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nDrowning in Harmony presents Guzman’s distinctive style and thought-provoking narrative to explore his unique visual language. His innovative approach to painting serves as a form of documentation\, revealing the transformative nature of the body by reducing it to textured lines and muted colors. Drawing from lived experiences in the Southside of San Antonio\, Texas\, Guzman’s paintings abstract the human figure to reflect the unrecognizable transformations of the body resulting from stress. Guzman’s mastery of form\, color\, and conceptual depth is evident in this new series of works which demonstrate his ability to push artistic boundaries. The works on paper further highlight Guzman’s versatility\, translating intricate concepts into a more intimate medium. \nPositioning his figures within domestic architecture\, Guzman intricately weaves links between the environment and its inhabitants. In his paintings\, Guzman assembles distorted\, tangled figures confined in cramped domestic spaces\, creating a visual language for the condition of existence at the edge of survival. The exhibition creates a link between the environment and its inhabitants as Guzman explores space\, style\, subject matter\, and line\, addressing the fragility of the psyche and altered landscapes. \nJohn Guzman received formal training from the Southwest School of Art\, San Antonio\, TX. In June 2022\, he had his first museum solo exhibition\, John Guzman: Flesh and Bone at Blaffer Art Museum\, Houston\, TX. He is a graduate of NXTHVN’s Fellowship Program in New Haven\, CT\, which had its culminating exhibition\, Undercurrents at Sean Kelly\, New York in June 2022. He currently lives and works in New Haven\, CT. \nFor additional information on John Guzman\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com \n  \nImage: John Guzman\, Secret hide away\, 2023\, oil on linen\, 20 x 16 inches © John Guzman Photography Adam Reich Courtesy: the artist and Sean Kelly\, New York/Los Angeles
URL:https://artinamericaguide.com/event/drowning-in-harmony/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/01/JG-2024.01-Drowning-in-Harmony-SKNY-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260620T054739
CREATED:20231212T195453Z
LAST-MODIFIED:20231212T195453Z
UID:106223-1705017600-1709423999@artinamericaguide.com
SUMMARY:Julian Charrière: Buried Sunshine
DESCRIPTION:Sean Kelly is delighted to present Julian Charrière’s Buried Sunshine\, the artist’s third solo exhibition with the gallery in New York. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs to unearth the ‘fossilized sunshine’ upon which the mythos of Los Angeles was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perception of reality. There will be an opening reception on Thursday\, January 11\, from 6-8pm. The artist will be present. \nIn his new photographic series Buried Sunshines Burn\, Charrière reveals the City of Angels as a special anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5\,000 active oil wells beneath the second largest city in the United States. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensative emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in California to create photographic imprints of local oil fields. Shot from a bird’s eye perspective\, the images–printed on highly polished stainless-steel plates–survey some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joanquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of the city. \nCharrière’s film Controlled Burn invites viewers on a cosmic journey\, soaring through an aerial landscape of imploding fireworks. Filmes using a drone\, this disorienting voyage takes place in open pit coal mines\, discommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial ferns and fluttering moths–beings that evolved during the carboniferous geological period. Charrière cites these organisms as spirit guides and living tokens for the vitality of fossil fuels\, and markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \nAlso featured in the exhibition are two obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of polished volcanic glass–colled magma which has erupted from the Earth’s core. Charrière draws on this material as an ancient means of divination. A readily available resource in Mesoamerica\, both Mayan and Aztec civilizations believed obsidian to unlock doors to other times and realms; the hardness of the glass made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands upon Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines a unique industrial history with a historic form of image-making\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates sense of place through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel comes to inform how we perceive the world around us. \nJulian Charrière’s work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, in 2022 Charrière received the 14th SAM Prize for Contemporary Art. \nFor additional information on Julian Charrière\, please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com
URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine-2/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/12/09_JulianCharriere_ControlledBurn_2022_FilmStill_CopyrightTheArtist_VGBildKunstBonnGermany-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231111
DTEND;VALUE=DATE:20240114
DTSTAMP:20260620T054739
CREATED:20231025T143439Z
LAST-MODIFIED:20231025T143439Z
UID:105786-1699660800-1705190399@artinamericaguide.com
SUMMARY:Ilse D'Hollander: A Harmony
DESCRIPTION:Sean Kelly is delighted to present A Harmony Parallel to Nature\, the first solo exhibition of Ilse D’Hollander at Sean Kelly\, Los Angeles\, and her first exhibition on the West Coast. Spanning the entirety of her career 1989–1997\, the exhibition presents a survey of paintings and works on paper drawn from the artist’s estate including To Goethe\, 1991\, one of only three known serial bodies of work made by the artist. This remarkable selection of paintings emphasizes the lyrical and metamorphic character of D’Hollander’s oeuvre ­— qualities inherent to the processes found in nature that influenced her approach as a painter. There will be an opening reception on Saturday\, November 11\, from 5-7pm. \nA Harmony Parallel to Nature\, takes its name from an excerpt found in a letter Paul Cézanne wrote to one of his dear friends in the 1890s. In it\, Cezanne proclaimed that art should be a “harmony parallel to nature\,” as opposed to an imitation of nature. In his estimation\, the artist was not to be bound by notions of representing reality\, but rather\, to consider the ways in which the viewer can develop their own interpretations. As a painter\, D’Hollander’s intuition led her to arrive at a practice which combined total abstraction with discernable elements of the natural world. The subject matter of her paintings encompasses bursts of thick pigments suggesting the nuances of the everchanging landscapes of the Flemish countryside to the geometric configurations of the interior of her studio. Ilse D’Hollander’s highly poignant body of work demonstrates a profoundly developed sense of linear compositions\, intense shifts in color\, and richly textured surfaces. Through the use of a sophisticated palette in her pared down compositions\, D’Hollander’s paintings highlight the rich dialogue between representation and abstraction. Her canvasses invite viewers to become immersed in the work\, in which layers of paint bring out the subtle changes of hue\, visible brushstrokes\, and trembling lines of color with a humanistic touch revealing D’Hollander’s tangible and sensual exploration of the medium. \nIn the only extant text D’Hollander is known to have written about her work\, she observed\, “a painting comes into being when ideas and the act of painting coincide. When referring to ideas\, it implies that as a painter\, I am not facing my canvas as a neutral being but as an acting being who is investing into the act of painting.” It is through this investment that the artist was able to expertly cross back and forth between the subtly representational and the purely abstract\, between her interior and exterior realms. Her work provokes extended contemplation and exists as a remarkable testament to the fundamental and generative act of painting. \nBorn in Belgium in 1968\, Ilse D’Hollander graduated from the Hoger Instituut voor Schone Kunsten\, Antwerp\, in 1988\, and the Hoger Instituut voor Beelende Kunsten\, St. Lucas\, Ghent in 1991. Her work has been the subject of solo exhibitions at institutions including The Arts Club\, London; FRAC Auvergne\, Clermont-Ferrand\, France; and M Museum\, Leuven\, Belgium. She has also been featured in group exhibitions at the Museum Dhondt-Dhaenens\, Sint-Martens-Latem\, Belgium; the Provinciaal Cultuurcentrum Caermersklooster\, Ghent\, Belgium; and the Center for Contemporary Non-Objective Art\, Brussels\, Belgium amongst others. \nFor additional information on Ilse D’Hollander\, please visit skny.com \nFor media inquiries\, please email Brandon Tho Harris at Brandon@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com or Janine Cirincione at Janine@skny.com
URL:https://artinamericaguide.com/event/ilse-dhollander-a-harmony/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/10/IdH-PR-Image-scaled.jpeg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231109
DTEND;VALUE=DATE:20231229
DTSTAMP:20260620T054739
CREATED:20231101T181948Z
LAST-MODIFIED:20231101T181948Z
UID:105847-1699488000-1703807999@artinamericaguide.com
SUMMARY:VENAS DEL CAPULLO
DESCRIPTION:Sean Kelly is delighted to present VENAS DEL CAPULLO\, the highly anticipated\, inaugural exhibition by Donna Huanca at Sean Kelly\, New York. This multi-sensory exhibition expands upon Huanca’s continuing exploration of themes including the body\, the cycles of life\, and the chaos of the natural world. This site-specific installation\, in which the gallery space is enveloped in a recyclable membrane\, includes large-scale paintings on canvas and sculptures in stainless steel and mixed media\, as well as sound and scent. There will be an opening reception on Thursday\, November 9\, from 6–8 pm. The artist will be present. \nDonna Huanca (b. Chicago\, 1980) is a multidisciplinary artist whose practice explores the human body and the natural world through mark-making\, raw materials\, immersive environments\, and singular structures. Encompassing painting\, sculpture\, and live performance\, Huanca’s installations are characteristically created for\, and integrated with\, the architectural spaces in which they are presented. \nHer art is deeply invested in communal practice\, exploring ritual at large as a means for transcendence\, meditation\, and transformation. Since 2012\, Huanca has collaborated with performers\, inviting them to improvise and interact with her surrounding sculptures and installations as their painted skin becomes a major element in the composition. \nEach of Huanca’s installations is a new and experimental environment\, drawing on previous bodies of work\, but responsive to its specific context and site. With the exhibition’s title\, VENAS DEL CAPULLO\, Huanca references a state of both waiting and construction inherent to the creative process. She states\, “With the installation and title\, I wanted to respond to the art gallery being a place of commercial transaction and transform this space into a lab: a place that honors the creative process rather than the finished product.” \nFor this exhibition\, Huanca envelops the walls of the gallery with a translucent\, biodegradable membrane\, which she likens to a “womb space that functions like a petri dish in which primal sensory signals proliferate.” The gallery is punctuated throughout with large-scale paintings and various sculptures. Each of them unites natural and synthetic materials and carries traces of the human body that reflect the interactive nature of her performances. \nHuanca’s sinuous\, abstract paintings extend the life cycle of her performances by merging the transience of performance art with the permanence of painting. The surfaces of her paintings are built upon images of bodies photographed during these performances\, printed onto canvas and overpainted. Camouflaged by oil paint of vibrantly colored hues and tantalizing textural dimension\, Huanca’s hallucinatory kaleidoscopes are distinguished by the intermixing of oil pigments with sand and other natural materials. \nInstalled throughout the main gallery\, the exhibition also features chrome and metal sculptures\, ranging from highly reflective pierced mirror silhouettes to totemic aluminum castings alluding to the constant metamorphosis of the human body. The organic shapes\, contours\, and impressions of these sculptural works take on an anthropomorphic quality\, both welcoming visitors into the space and standing as totems for those absent. Embracing her Bolivian heritage rooted in Indigenous rituals\, Huanca adorns her sculptures with ornamental piercings and braids\, the latter referencing the quipu\, a knot-based record-keeping device of the ancient Incan civilization’s system of communication\, bringing traditional practices into a contemporary framework. \nConcurrent with her inaugural exhibition at Sean Kelly\, Huanca is the subject of a major exhibition\, titled SCAR TISSUE (BLURRED EARTH)\, at the Faurschou Foundation\, Brooklyn\, New York\, October 21\, 2023–July 14\, 2024.
URL:https://artinamericaguide.com/event/venas-del-capullo/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/10/Press-release-photo-dyptich-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230914
DTEND;VALUE=DATE:20231105
DTSTAMP:20260620T054739
CREATED:20230811T174810Z
LAST-MODIFIED:20230811T174810Z
UID:104747-1694649600-1699142399@artinamericaguide.com
SUMMARY:Julian Charrière: Buried Sunshine
DESCRIPTION:Sean Kelly is delighted to present Buried Sunshine\, Julian Charrière’s highly anticipated first solo exhibition at Sean Kelly\, Los Angeles. Buried Sunshine explores the entangled histories of Los Angeles and the discovery of petroleum there in the late 19th century\, a catalyst which industrialized the region and transformed LA into the second largest city in the United States. Capturing the delirium of the petroleum industry and the burning of lithic landscapes\, focused through the lens of Los Angeles—the world’s largest urban oil field—Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs\, to unearth the ‘fossilized sunshine’ upon which the mythos of the city was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide\, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels\, both of which exert gravitational forces that bend our perceptions of reality. There will be an opening reception on Thursday\, September 14\, from 6-8pm. The artist will be present. \nIn his new series Buried Sunshines Burn\, Charrière reveals Los Angeles as a spatial anomaly: a place built not only by hydrocarbons\, but on top of them\, with 5000 active oil wells hidden throughout the city. Employing heliography\, one of photography’s oldest techniques\, first developed by French inventor Nicéphore Niépce in 1822\, Charrière uses a light-sensitive emulsion incorporating naturally occurring tar collected from the La Brea\, McKittrick\, and Carpinteria Tar Pits in Califorina to create photographic imprints on highly polished stainless-steel plates of local oil fields\, shot from a bird’s eye perspective. The series surveys some of the state’s largest reserves\, including the immense Kern River Oil Field in the San Joaquin Valley\, the Placerita and Aliso Canyon Oil Fields in Santa Clarita\, and the giant Inglewood Oil Field situated in the heart of LA. \nCharrière’s film Controlled Burn invites viewers on a cosmic journey through deep time\, soaring through an aerial landscape of imploding fireworks. Shot with a first-person drone\, this disorienting voyage takes place in open pit coal mines\, decommissioned oil rigs\, and rusting cooling towers. Amid whirling smoke and fire\, implosions are intercut by flashing images of primordial unfurling ferns and fluttering moths—beings that evolved during the carboniferous geological period. Appearing at subliminal speed\, Charrière offers these organisms as both spirit guides and living tokens for the vitality of fossil fuels and as markers for how the agency of coal\, oil\, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction\, explosive momentum\, and technological obsolescence\, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. \nAlso featured in the exhibition are two monumental obsidian sculptures\, Thickens\, pools\, flows\, rushes\, slows. Made from large pieces of volcanic glass–cooled magma which has erupted from the Earth’s core–the works are punctuated by polished concave disks. Charrière draws on this material as an ancient means of divination\, believed by both Mayan and Aztec civilizations to unlock doors to other times and realms. With obsidian being a readily available resource in Mesoamerica\, the hardness of the glass also made it one of the earliest materials to be traded across vast distances. In the present\, the dark vitality of the obsidian is eerily reminiscent of our technological black mirrors\, themselves questionable portals beyond the present. \nAs an exhibition\, Buried Sunshine expands on Julian Charrière’s ongoing inquiry into how our species inhabits the world\, and how it in turn inhabits us. Charrière combines Los Angeles’s unique industrial history with the iconic image-making for which the city is famous\, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography\, film and sculpture\, Buried Sunshine investigates Los Angeles through the lens of geological time\, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel come to inform how we perceive the world around us. \n  \nJulian Charrière was born in Morges\, Switzerland\, in 1987 and currently lives and works in Berlin. His work has been the subject of solo presentations at major international institutions\, including SFMOMA\, San Francisco; Langen Foundation\, Neuss; Dallas Museum of Art\, Dallas; MAMbo\, Bologna; Berlinische Galerie\, Berlin; Parasol Unit Foundation\, London; Musée des Beaux-Arts\, Lausanne; and Centre Culturel Suisse\, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou\, Paris; Sprengel Museum\, Hannover; Aarhus Kunstmuseum\, Aarhus; SCHIRN Kunsthalle\, Frankfurt; Hayward Gallery\, Southbank Centre\, London; and Palais de Tokyo\, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments\, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021\, Charrière in 2022 received the 14th SAM Prize for Contemporary Art. \nThe publication Julian Charrière: Controlled Burn documents his solo exhibition curated by Dehlia Hannah and Nadim Samman\, which was on view at the Langen Foundation in Neuss\, Germany from September 4\, 2022 – August 6\, 2023. A meditation on the flame as a figure of excess\, containment\, and renewal for our warming planet\, it features essays by Emanuele Coccia\, Dehlia Hannah\, and Nadim Samman. It is published by Mousse Publishing. \n  \nFor additional information on Julian Charrière\, please visit skny.com and julian-charriere.net \nFor media inquiries\, please email Brandon Tho Harris at Brandon@skny.com  \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com or Lauren Kelly at Lauren@skny.com \nImage: Julian Charrière – Controlled Burn\, 2022\, film still (copyright the artist; VG Bild-Kunst\, Bonn\, Germany)
URL:https://artinamericaguide.com/event/julian-charriere-buried-sunshine/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230908
DTEND;VALUE=DATE:20231029
DTSTAMP:20260620T054739
CREATED:20230811T174810Z
LAST-MODIFIED:20231014T152256Z
UID:104731-1694131200-1698537599@artinamericaguide.com
SUMMARY:Awol Erizku: Delirium of Agony
DESCRIPTION:Sean Kelly is delighted to present Delirium of Agony\, Awol Erizku’s first solo exhibition at Sean Kelly\, New York. With this exhibition\, Erizku examines the construction of cultural iconography through the lens of contemporary hip-hop\, street culture\, art history\, sports\, and entertainment. Occupying the entire gallery\, the exhibition features paintings\, neon installations\, photographs\, sculptures\, and works on paper. A series of basketball hoops are transformed into a pan-African flag; a coffin into a human-sized mouse trap; and an ancient Egyptian bust into a gleaming disco ball. There will be an opening reception on Friday\, September 8\, from 6-8pm. The artist will be present. \nErizku transforms the linguistic conventions surrounding music\, popular culture\, and sports symbolism into images and sculptures that offer an alternative to the Western gaze. By remixing cultural signifiers\, he weaves together different narratives that interrogate the canons of art history\, philosophy\, and linguistics\, creating unexpected connections that highlight the artist’s interest in contranyms found within the hip-hop vernacular. A recurrent theme throughout Erizku’s practice is the questioning of Eurocentric standards of beauty and art historical tradition\, to create work that represents a uniquely Afrocentric aesthetic\, one the artist refers to as “Afro-Esotericism.” \nRiffing on forbears as varied as Marcel Duchamp and David Hammons\, Erizku uses a postcard of Leonardo da Vinci’s Mona Lisa\, 1503 as his point of reference. Informed by Duchamp’s infamous readymade\, L.H.O.O.Q.\, 1919—comprised of a similar postcard upon which the artist drew a mustache and beard on the Mona Lisa—Erizku in his work depicts the infamous subject with a zipper adhered to her face\, also a knowing reference to artist David Hammons’ iconic Fly Jar\, 1996. Appropriating the presentation of Leonardo da Vinci’s painting of the Mona Lisa in the Louvre\, Paris\, Erizku similarly encases his work behind thick bulletproof glass\, drawing attention to the value placed upon the original within the canon of Western art history\, while simultaneously addressing issues of race\, representation\, and value in the arts. \nThe exhibition also includes a series of large-scale paintings featuring the insignia of popular sports teams. Erizku’s paintings are derived from the addition\, removal\, and obfuscation of logos associated with individuals found within street culture. Again\, mixing visual emblems\, tropes and metaphors from disparate cultures\, such as ancient Egyptian manuscripts in which the original writing is removed\, yet traces are left behind\, in these works Erizku borrows his aesthetic from Los Angeles’ urban culture. As acclaimed writer\, Doreen St. Félix\, has observed\, “as much as Erizku is drawn to creation\, he is also thinking about obliteration as a means of reflection.” By creating a palimpsest of urban history and youth culture\, he informs and shapes local identity. \nInspired by the fantastical coffin culture of Ghana and the duality of hip-hop language\, the exhibition also features two traditional fantasy coffins and a sculptural installation created in collaboration with celebrated Ghanaian coffin maker\, Paa Joe. The coffins take the form of a bottle of promethazine cough syrup (otherwise known as “Lean”) and a mouse trap. In these hand-carved and painted works\, Erizku remixes and expands the implications and connotations of words beyond their initial meanings. Each of the sculptures acts as a catalyst that plays on slang language and the underpinnings of grim realities that infiltrate the hip-hop industry. \nIncorporating symbols\, imagery\, and references\, Erizku portrays stories\, emotions\, and subjects prevalent in the music genre\, making them visually accessible and relatable to audiences. In doing so\, he highlights the rich histories and nuances of these communities\, creating a medium that blends the auditory and visual\, while also acknowledging and preserving vernacular heritage drawn from African and African American diasporas. \nAwol Erizku’s newly released first monograph\, Mystic Parallax was recently published by Aperture. This comprehensive monograph spans Erizku’s career\, examining his studio practice in tandem with his work as a highly in-demand editorial photographer and cultural commentator. The publication features essays by critically acclaimed writers Ishmael Reed and Doreen St. Félix\, curator Ashley James\, and interviews with artist Urs Fischer and critic\, curator\, and writer Antwaun Sargent. \nThere will be a book signing of Mystic Parallax with the artist at the gallery on Saturday\, September 9\, from 2-3pm. \n  \nBorn in Gondar\, Ethiopia\, in 1988\, Erizku attended The Cooper Union before receiving his MFA from Yale University. He has had solo exhibitions with the Public Art Fund\, New York\, and The FLAG Art Foundation\, New York. His work has been exhibited at prominent institutions\, including the Museum of Modern Art\, NY; the Studio Museum Harlem\, NY; the Crystal Bridges Museum of Art\, Bentonville\, AR; the Irish Museum of Modern Art\, Dublin; the Museum of Contemporary Art\, Toronto; the Museum of the African Diaspora\, San Francisco; and the FLAG Art Foundation\, NY\, amongst others. His work is in the permanent collection of many institutions worldwide\, including the Museum of Fine Arts\, Boston\, MA; the Norton Museum of Art\, Palm Beach\, FL; The FLAG Art Foundation\, NY; the Santa Barbara Museum of Art\, CA; LACMA\, Los Angeles\, CA; The Metropolitan Museum of Art\, NY\, and The Whitney Museum of American Art\, NY. \nErizku will be the subject of forthcoming solo exhibitions at The Momentary at Crystal Bridges Museum of American Art and at Savannah College of Art and Design. \n  \nFor additional information on Awol Erizku\, please visit skny.com \nFor media inquiries\, please email Brandon Tho Harris at Brandon@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com or Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/awol-erizku-delirium-of-agony/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/08/AE-2023_SKNY_Delirium-of-Agony_install_photo-Adam-Reich_009-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230714
DTEND;VALUE=DATE:20230826
DTSTAMP:20260620T054739
CREATED:20230620T133433Z
LAST-MODIFIED:20230620T133433Z
UID:103989-1689292800-1693007999@artinamericaguide.com
SUMMARY:New Solid Light Works and Early Drawings
DESCRIPTION:Sean Kelly is delighted to present New Solid Light Works and Early Drawings\, Anthony McCall’s first solo exhibition in Los Angeles. Occupying the entire gallery\, the exhibition features two new ‘solid-light’ installations on the first floor\, and a survey of black and white photographs\, works on paper and preparatory drawings that span McCall’s career on the third floor. There will be an opening reception on Thursday\, July 13\, 6-8pm. The artist will be present.
URL:https://artinamericaguide.com/event/new-solid-light-works-and-early-drawings/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/AMC-252-image-1.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230630T100000
DTEND;TZID=America/New_York:20230811T170000
DTSTAMP:20260620T054739
CREATED:20230706T181103Z
LAST-MODIFIED:20230707T181826Z
UID:104316-1688119200-1691773200@artinamericaguide.com
SUMMARY:NXTHVN: RECLAMATION
DESCRIPTION:Sean Kelly and NXTHVN are proud to present RECLAMATION\, a group exhibition featuring works that embody the multiplicities of human experience through painting\, drawing\, collage\, sculpture\, installation\, and performance. This culminating exhibition presents artists from NXTHVN’s Cohort 04 Fellowship Program; Anindita Dutta\, Donald Guevara\, Ashanté Kindle\, Athena Quispe\, Edgar Serrano\, and Capt. James Stovall V\, it is curated by Curatorial Fellows Cornelia Stokes and Kiara Cristina Ventura. These artists have created forms that contradict the viewer’s expectation of recognizable materials and icons\, as a means to challenge the perceptible limits of our social conditioning and humanity. Throughout RECLAMATION\, each artist interrogates and reclaims the power of Western consumption as it relates to notions of beauty\, art history\, religion\, spirituality\, and sexuality. \nEdgar Serrano’s paintings critically confront the canon of traditional Western art and artistic portraiture by critiquing European art’s misappropriation of indigenous artistic and cultural traditions in Africa and Latin America. Serrano’s works deceive the eye with loose expressionistic brushstrokes and tightly woven embroidery-like patterns that call attention to the surface of the canvas. Through his methodical style and play with optical appearances\, his paintings incite reactions of amusement\, trickery\, and wonder as they slowly reveal meaning. \nAthena Quispe ​​re-indigenizes the discourse of painting. Rooting her work in Peruvian pre-Hispanic painting and artistic production\, Quispe creates sculptural paintings to honor her ancestral bloodline through blood memory and inherited knowledge. This act intrinsically deconstructs European interdictions of pre-columbian art and traditions. \nAshanté Kindle utilizes the textures\, curl patterns\, and styling of Black hair to envision new realities of personal existence that defy standards of conformity. Through her abstract paintings and video work\, she challenges easily digestible ideas of Black femininity. By magnifying the hair strand on canvas\, accentuated by stylish adornments\, the cellular properties of the hair follicle begin to symbolize the infinite space of the cosmos. \nDonald Guevara constructs vignettes of AFK (away from keyboard) glitch spaces\, where images of cultural and religious icons\, bodily forms\, team sports\, magazine ads\, and trading cards are twisted\, wrapped\, layered\, and superimposed into complex and\, at times\, contradictory composites. Guevara utilizes collage\, drawing\, and painting as visual methods of interrogation into the glitch to explore how dissonant matters can forge a cyborg amalgamation where culture\, race\, and gender openly coalesce together. \nCapt. James Stovall V creates a relatable image of Christ and other biblical figures to comment on the relevancy of these idols’ appearance to the spiritual experience. By masking the figure\, Stovall V intervenes in the correlation between whiteness and divinity\, employing images that contradict the traditional physical appearance of these figures. His compositions also challenge convention as the tag-like drawing style and partially rendered figures refute religious iconographic historical paintings. \nAnindita Dutta’s sculptural and performance practice centers around reclaiming silenced voices\, untold stories\, and concealed horrors. Through her new series\, “Sex\, Sexuality\, and Society: Chapter Two\,” she retrieves the memories of objects that remain silent witnesses to sexual trauma. Utilizing sensuous materials such as used clothes\, boots\, shoes\, rawhide\, horns\, silk\, and velvet\, Dutta gives voice and power to these mutated materials in the pursuit of truth and justice for millions of victims around the world. \nThe works included in RECLAMATION remind viewers to be critical of the things we covet as a means of unearthing the systems that prescribe our longing. These artists show us the potential to liberate desire and image from corrupted ideologies that inform our understanding of art\, history\, beauty\, religion\, and sexuality. The new forms they create demonstrate to the viewer the necessity for reclaiming power structures to break through into new realms of human experience beyond simple classifications.
URL:https://artinamericaguide.com/event/nxthvn-reclamation/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/07/NXTHVN-2023_SKNY_RECLAMATION_install_photo-Jason-Wyche_021.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230630
DTEND;VALUE=DATE:20230812
DTSTAMP:20260620T054739
CREATED:20230608T185429Z
LAST-MODIFIED:20230608T185429Z
UID:103877-1688083200-1691798399@artinamericaguide.com
SUMMARY:RECLAMATION
DESCRIPTION:Sean Kelly and NXTHVN are proud to present RECLAMATION\, a group exhibition featuring works that embody the multiplicities of human experience through painting\, drawing\, collage\, sculpture\, installation\, and performance. This culminating exhibition presents artists from NXTHVN’s Cohort 04 Fellowship Program; Anindita Dutta\, Donald Guevara\, Ashanté Kindle\, Athena Quispe\, Edgar Serrano\, and Capt. James Stovall V\, it is curated by Curatorial Fellows Cornelia Stokes and Kiara Cristina Ventura. These artists have created forms that contradict the viewer’s expectation of recognizable materials and icons\, as a means to challenge the perceptible limits of our social conditioning and humanity. Throughout RECLAMATION\, each artist interrogates and reclaims the power of Western consumption as it relates to notions of beauty\, art history\, religion\, spirituality\, and sexuality. \nEdgar Serrano‘s paintings critically confront the canon of traditional Western art and artistic portraiture by critiquing European art’s misappropriation of indigenous artistic and cultural traditions in Africa and Latin America. Serrano’s works deceive the eye with loose expressionistic brushstrokes and tightly woven embroidery-like patterns that call attention to the surface of the canvas. Through his methodical style and play with optical appearances\, his paintings incite reactions of amusement\, trickery\, and wonder as they slowly reveal meaning. \nAthena Quispe ​​re-indigenizes the discourse of painting. Rooting her work in Peruvian pre-Hispanic painting and artistic production\, Quispe creates sculptural paintings to honor her ancestral bloodline through blood memory and inherited knowledge. This act intrinsically deconstructs European interdictions of pre-columbian art and traditions. \nAshanté Kindle utilizes the textures\, curl patterns\, and styling of Black hair to envision new realities of personal existence that defy standards of conformity. Through her abstract paintings and video work\, she challenges easily digestible ideas of Black femininity. By magnifying the hair strand on canvas\, accentuated by stylish adornments\, the cellular properties of the hair follicle begin to symbolize the infinite space of the cosmos. \nDonald Guevara constructs vignettes of AFK (away from keyboard) glitch spaces\, where images of cultural and religious icons\, bodily forms\, team sports\, magazine ads\, and trading cards are twisted\, wrapped\, layered\, and superimposed into complex and\, at times\, contradictory composites. Guevara utilizes collage\, drawing\, and painting as visual methods of interrogation into the glitch to explore how dissonant matters can forge a cyborg amalgamation where culture\, race\, and gender openly coalesce together. \nCapt. James Stovall V creates a relatable image of Christ and other biblical figures to comment on the relevancy of these idols’ appearance to the spiritual experience. By masking the figure\, Stovall V intervenes in the correlation between whiteness and divinity\, employing images that contradict the traditional physical appearance of these figures. His compositions also challenge convention as the tag-like drawing style and partially rendered figures refute religious iconographic historical paintings. \nAnindita Dutta’s sculptural and performance practice centers around reclaiming silenced voices\, untold stories\, and concealed horrors. Through her new series\, “Sex\, Sexuality\, and Society: Chapter Two\,” she retrieves the memories of objects that remain silent witnesses to sexual trauma. Utilizing sensuous materials such as used clothes\, boots\, shoes\, rawhide\, horns\, silk\, and velvet\, Dutta gives voice and power to these mutated materials in the pursuit of truth and justice for millions of victims around the world. \nThe works included in RECLAMATION remind viewers to be critical of the things we covet as a means of unearthing the systems that prescribe our longing. These artists show us the potential to liberate desire and image from corrupted ideologies that inform our understanding of art\, history\, beauty\, religion\, and sexuality. The new forms they create demonstrate to the viewer the necessity for reclaiming power structures to break through into new realms of human experience beyond simple classifications.
URL:https://artinamericaguide.com/event/reclamation/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/06/Cohort04_Grid_0606-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230429
DTEND;VALUE=DATE:20230701
DTSTAMP:20260620T054739
CREATED:20230406T201952Z
LAST-MODIFIED:20230406T201952Z
UID:102787-1682726400-1688169599@artinamericaguide.com
SUMMARY:Dawoud Bey: Pictures 1976-2019
DESCRIPTION:Sean Kelly is delighted to announce Dawoud Bey: Pictures 1976 – 2019\, the artist’s first solo exhibition in Los Angeles. Surveying five decades of work through the lens of five iconic series—Harlem\, U.S.A. (1975-1979) Street Portraits (1988-1991)\, Harlem Redux (2014–2017)\, Night Coming Tenderly\, Black (2017)\, and In This Here Place (2019)—this presentation illuminates Bey’s foundational importance to the development of photography as fine art\, historical documentation\, and social practice in the United States. The exhibition coincides with Dawoud Bey & Carrie Mae Weems: In Dialogue\, on view at the Getty\, April 4–July 9\, 2023. On Saturday\, April 29\, the gallery will be open from 10am-7pm. The artist will be present for a reception and artist’s talk from 5-7pm.
URL:https://artinamericaguide.com/event/dawoud-bey-pictures-1976-2019/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/04/DB-HR.16.0131-West-124th-Street-and-Lenox-Avenue-2016-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230428
DTEND;VALUE=DATE:20230618
DTSTAMP:20260620T054739
CREATED:20230420T161159Z
LAST-MODIFIED:20230420T161159Z
UID:102953-1682640000-1687046399@artinamericaguide.com
SUMMARY:HAVANA
DESCRIPTION:Sean Kelly is delighted to present HAVANA\, Kehinde Wiley’s highly anticipated new exhibition at the gallery. Featuring new paintings\, works on paper and a three-channel film\, this body of work is informed by Wiley’s focus on the evolution of Black culture globally. Inspired by two visits Wiley made to Cuba\, this new body of work explores the phenomenon of the carnivalesque in Western culture. Referencing artists as diverse as Toulouse-Lautrec\, Picasso\, Calder\, and Western European depictions of the carnivalesque\, the circus\, and the power of street performance and dance\, the HAVANA paintings focus on the circus as a site of disruption for the rational mind and circus performers who embrace a dynamic and vibrant way of living and being in the world. There will be an opening reception on Thursday\, April 27 from 6-8pm. The artist will be present.
URL:https://artinamericaguide.com/event/havana/
LOCATION:Sean Kelly\, New York\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/04/KW-PA-23-012_Framed-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230311
DTEND;VALUE=DATE:20230423
DTSTAMP:20260620T054739
CREATED:20230320T150258Z
LAST-MODIFIED:20230320T150258Z
UID:102545-1678492800-1682207999@artinamericaguide.com
SUMMARY:Rebecca Horn: Labyrinth of the Soul: Drawings 1965-2015
DESCRIPTION:Sean Kelly is delighted to announce Labyrinth of the Soul: Drawings 1965-2015\, a major exhibition featuring fifty years of drawing by Rebecca Horn. This historical presentation\, which includes rarely seen works on paper\, will open at Sean Kelly\, Los Angeles in March following its presentation in the New York gallery in January\, two cities in which Horn lived and for which she has a strong affinity. This will be the most significant presentation of Horn’s work on the West Coast since her 1990 exhibition at MOCA\, Los Angeles\, entitled Driving through Buster’s Bedroom. This significant survey will be the first opportunity for visitors to see many of these critically important works\, most of which have never been shown in the United States. The occasion also marks the thirty-four-year professional relationship between Rebecca Horn and Sean Kelly.
URL:https://artinamericaguide.com/event/rebecca-horn-labyrinth-of-the-soul-drawings-1965-2015-2/
LOCATION:Sean Kelly LA\, 1357 N Highland Ave\, Los Angeles\, CA\, 90028\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/03/RH-BL-3042-Goyas-Feuer-2014_photo-Adam-Reich-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20221119T110000
DTEND;TZID=America/Los_Angeles:20230107T180000
DTSTAMP:20260620T054739
CREATED:20221201T212924Z
LAST-MODIFIED:20221201T212924Z
UID:100761-1668855600-1673114400@artinamericaguide.com
SUMMARY:Shahzia Sikander: Radiant Dissonance
DESCRIPTION:Sean Kelly is delighted to announce the second exhibition in our Los Angeles gallery\, Shahzia Sikander’s Radiant Dissonance\, which also marks the artist’s first solo exhibition in Los Angeles. This exhibition includes Sikander’s work in multiple mediums\, including mosaic\, sculpture\, animated film\, drawing\, and a large-scale work on paper installation. The gallery will be open from 10am – 7pm on Saturday\, November 19. The artist will be present for the reception from 5-7pm and a conversation with Ilene Chaiken at 6pm. \nDrawing is central to Sikander’s practice and integral to all aspects of the work in the exhibition. For the artist\, drawing implies movement both in time and across various forms. It is a means of imagining and bringing form to life\, an armature of research to clarify ideas and connect thinking to gesture\, action\, and practice. There are connections\, both literal and symbolic\, in all of the works in the exhibition\, such as the dialogues between representation and abstraction\, text and image\, glass and light\, digital and hand\, mosaic and animation\, geometry and bodies\, male and female; there are no binaries. It is the in-between space that is fecund\, suggesting the unknown and untranslatable. As Sikander notes\, “For me this idea of mystery is a guiding principle – a generative project. I see it as a resistance to the expected. It slows down the consumption of each work\, keeping it open ended while being precise\, making the viewer search for what can’t be found.” \nSuch a search is visualized in the opening of Sikander’s animated film Reckoning\, 2020\, in which two forms\, mimicking warriors\, are entangled in joust. The film\, made from multiple drawings\, reveals the cyclical theme of struggle through kinetic forms. Reflecting upon relationships that embody a moment of reckoning\, such as between migrant and citizen\, woman and power\, human and nature\, Sikander culls out a dramatic sequence of events in her restaging of an imaginary historical Indo-Persian-Turkish miniature painting. As art historian\, Dorothy Price has observed\, “In the unfolding of one short 4 minute and 16 second sequence\, themes of creation\, conflict\, tension\, colonialism\, ecology\, fertility\, dark matter\, and void across time and space are held in tension. The viewer is never allowed to rest over one or another but of necessity holds them all in the cyclical rhythm of Sikander’s expansive and mobile vision.” \nIn 2015\, Sikander began creating mosaics\, a direction motivated by the vibrant pixelization in her animated films. Touchstone\, 2021\, a captivating work by Sikander\, depicts an Indian woman shown holding a chalawa (a type of ghost or spirit in Punjabi)\, which escapes her grasp and cannot be confined. The petals\, branches\, and tendrils that dance together at the ending of Reckoning are seen again in this work surrounding the figure. The chalawa\, a recurring image throughout Sikander’s body of work\, reaffirms the artist’s long-standing interest in challenging the conventions of Indian manuscript painting. With her mosaics\, Sikander further dismantles the conventional scale of miniature painting as she changes the medium from ink to glass. \nSikander explores a wide range of iconographic symbolism with indeterminate possibilities and richly associative visual language to create her own visual narratives. The Infinite Woman series\, 2021\, and Gold & Diamond\, 2021\, are large drawings that hint at the redeeming potential of women’s bodies\, juxtaposed against the extractive logic of global capitalism. Sikander’s first sculpture in bronze\, Promiscuous Intimacies explores the intersection of multiple times\, spaces\, art historical traditions\, bodies\, desires\, and subjectivities. The two female protagonists reference the goddess in Bronzino’s An Allegory with Venus and Cupid\, and an Indian Devata figure in the collection of the Metropolitan Museum of Art. \nAnother key work in the exhibition\, Epistrophe\, 2021/2022 further anchors the centrality of drawing in Sikander’s practice. A large-scale work composed using fluid\, spontaneous gestures\, producing it involved Sikander’s entire body to amplify motifs that require a different kind of labor\, skill\, and pace than her smaller\, intricate compositions. Regardless of scale\, Sikander sees this work as very much in dialogue with classical drawing traditions. She notes\, “There is no intention to hide anything… Everything is very visible; the paper is very transparent. It flows\, it moves. All marks\, including any flaws\, become a part of the piece\, which has no borders and can expand in any direction\, marking a site that is unstable and multivalent.” \nIn January 2023\, Shahzia Sikander will present two major new sculptures on the theme of justice in the exhibition\, Havah… to breathe\, air\, life\, in Madison Square Park\, New York\, and on the Courthouse of the Appellate Division\, First Department of the Supreme Court of the State of New York.  The exhibition focuses on Sikander’s exploration of female representation in public sculptures and is her first major\, site-specific outdoor sculptural exhibition. \nA MacArthur Foundation award winner\, Shahzia Sikander lives and works in New York City.  She became a Fukuoka Laureate in 2022 as a recipient of the Arts and Culture Prize from Fukuoka\, Japan. Sikander’s work was recently the subject of a traveling exhibition titled Shahzia Sikander: Extraordinary Realities\, which opened at The Morgan Library\, New York in June 2021 followed by the RISD Museum\, Rhode Island in November 2021\, and MFA Houston\, Texas in March 2022. \nSikander’s innovative artistic practice led to her meteoric rise internationally in the mid-nineties with important survey exhibitions in 1998 at both the Renaissance Society at the University of Chicago\, and the Kemper Museum of Contemporary Art\, followed by solo exhibitions at the Hirshhorn Museum and Sculpture Garden in 1999\, and the Whitney Museum of American Art in 2000. She has had major solo exhibitions throughout the world\, including the Asian Art Museum\, San Francisco; the Aga Khan Museum\, Toronto; MAXXI | Museo nazionale delle arti del XXI secolo\, Rome; the Asia Society Hong Kong Center\, Hong Kong; the Guggenheim Museum\, Bilbao; the Smithsonian American Art Museum\, Washington D.C.; the Museum of Contemporary Art\, Tokyo; the Irish Museum of Modern Art\, Dublin; the Museum of Contemporary Art\, Sydney; the Pérez Art Museum\, Miami; and the San Diego Museum of Art\, California\, amongst others. Sikander has been included in international biennials such as the Lahore Biennale 01\, Pakistan; the Karachi Biennale 17\, Pakistan; the 6th Moscow Biennale of Contemporary Art\, Manege\, Russia; the 8th and 13th Istanbul Biennials\, Turkey; the 5th Auckland Triennial\, New Zealand; the Sharjah Biennale 11\, Sharjah Art Foundation\, UAE; the 51st and 54th International Art Exhibition of La Biennale di Venezia\, Italy; and The Whitney Biennial\, New York amongst others. \nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@seankellyla.com or Janine Cirincione at Janine@skny.com
URL:https://artinamericaguide.com/event/shahzia-sikander-radiant-dissonance/
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DTSTART;TZID=America/Halifax:20221104T100000
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DTSTAMP:20260620T054739
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SUMMARY:Callum Innes - Tondos
DESCRIPTION:Sean Kelly is pleased to announce Callum Innes’s exhibition Tondos\, his eighth solo exhibition with the gallery\, which introduces a remarkable new development in his oeuvre. The exhibition presents Innes’s iconic Exposed Paintings\, Split Paintings and Shellac Paintings in an entirely new format. Made on plywood panels\, these circular and oval paintings mark a dramatic departure from the artist’s rectangular format and invite a range of new interpretations\, both psychologically and formally. The tondos\, presented in the main gallery\, will be accompanied by a group of new works on paper in the front gallery. The opening reception will take place on Thursday\, November 3\, from 6-8 pm. The artist will be present. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different materials in the Shellac Paintings— these new paintings have necessitated a number of important evolutions in the way that Innes makes the work. Using a smaller\, rounded brush the physicality of these paintings is completely different\, allowing for more fluidity and enabling him to have more direct contact with the work. In particular\, the oval Split Paintings emphasize the materiality of the work as the natural grain of the wood comes through on the exposed side of the painting\, adding yet more layering and depth. Each of the works has a beveled edge\, which returns from the surface at about a forty-five-degree angle. This plane gives the illusion that the exposed portions of the paintings are larger\, changing our perceptions of light and space and emphasizing their circular shape\, making for a very physical\, object like presence. \nAs is the case with all of his paintings\, in these new works Innes explores the boundaries between control and chaos. He has observed\, “Chance is involved\, but… it’s organized chance\, because I’m controlling it the whole way\,” remarking elsewhere that “the paintings are all about mark making; about human contact; about the physicality of standing in front of a painting.” This sensibility is also present in Innes’s works on paper\, in the front gallery. Comprised of ethereal squares of complexly layered color painted with the dexterity and sensitivity for which the artist is known\, the work’s visually charged edges reveal glimpses of the individual colors in their pure form\, giving the viewer an understanding of how these layers of color interact to create the finished work. \nInnes is as one of the most significant abstract painters of his generation\, achieving widespread recognition in major solo and group shows worldwide. Innes was awarded the Jerwood Prize for Painting in 2002\, and the Nat West Prize in 1998. In 1995 he was short listed for the Turner Prize. His work is included in significant public collections worldwide including: the Tate Gallery\, London; the Kunstmuseum\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art; the Museum of Modern Art\, Fort Worth; The San Francisco Museum of Modern Art; The National Gallery of Australia\, Canberra; the Albright-Knox Art Gallery\, Buffalo; and the Art Gallery of Ontario\, Toronto\, Canada\, amongst many others. In 2016\, Innes was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. \nFor additional information about Callum Innes\, please visit skny.com \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-tondos/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20221104
DTEND;VALUE=DATE:20221218
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CREATED:20221103T194125Z
LAST-MODIFIED:20221103T194125Z
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SUMMARY:Callum Innes - Tondos
DESCRIPTION:Sean Kelly is pleased to announce Callum Innes’s exhibition Tondos\, his eighth solo exhibition with the gallery\, which introduces a remarkable new development in his oeuvre. The exhibition presents Innes’s iconic Exposed Paintings\, Split Paintings and Shellac Paintings in an entirely new format. Made on plywood panels\, these circular and oval paintings mark a dramatic departure from the artist’s rectangular format and invite a range of new interpretations\, both psychologically and formally. The tondos\, presented in the main gallery\, will be accompanied by a group of new works on paper in the front gallery. The opening reception will take place on Thursday\, November 3\, from 6-8 pm. The artist will be present. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different materials in the Shellac Paintings— these new paintings have necessitated a number of important evolutions in the way that Innes makes the work. Using a smaller\, rounded brush the physicality of these paintings is completely different\, allowing for more fluidity and enabling him to have more direct contact with the work. In particular\, the oval Split Paintings emphasize the materiality of the work as the natural grain of the wood comes through on the exposed side of the painting\, adding yet more layering and depth. Each of the works has a beveled edge\, which returns from the surface at about a forty-five-degree angle. This plane gives the illusion that the exposed portions of the paintings are larger\, changing our perceptions of light and space and emphasizing their circular shape\, making for a very physical\, object like presence. \nAs is the case with all of his paintings\, in these new works Innes explores the boundaries between control and chaos. He has observed\, “Chance is involved\, but… it’s organized chance\, because I’m controlling it the whole way\,” remarking elsewhere that “the paintings are all about mark making; about human contact; about the physicality of standing in front of a painting.” This sensibility is also present in Innes’s works on paper\, in the front gallery. Comprised of ethereal squares of complexly layered color painted with the dexterity and sensitivity for which the artist is known\, the work’s visually charged edges reveal glimpses of the individual colors in their pure form\, giving the viewer an understanding of how these layers of color interact to create the finished work. \nInnes is as one of the most significant abstract painters of his generation\, achieving widespread recognition in major solo and group shows worldwide. Innes was awarded the Jerwood Prize for Painting in 2002\, and the Nat West Prize in 1998. In 1995 he was short listed for the Turner Prize. His work is included in significant public collections worldwide including: the Tate Gallery\, London; the Kunstmuseum\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art; the Museum of Modern Art\, Fort Worth; The San Francisco Museum of Modern Art; The National Gallery of Australia\, Canberra; the Albright-Knox Art Gallery\, Buffalo; and the Art Gallery of Ontario\, Toronto\, Canada\, amongst many others. In 2016\, Innes was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. \nFor additional information about Callum Innes\, please visit skny.com \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-tondos-2/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20221104
DTEND;VALUE=DATE:20221218
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CREATED:20221103T194125Z
LAST-MODIFIED:20221103T194125Z
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SUMMARY:Callum Innes - Tondos
DESCRIPTION:Sean Kelly is pleased to announce Callum Innes’s exhibition Tondos\, his eighth solo exhibition with the gallery\, which introduces a remarkable new development in his oeuvre. The exhibition presents Innes’s iconic Exposed Paintings\, Split Paintings and Shellac Paintings in an entirely new format. Made on plywood panels\, these circular and oval paintings mark a dramatic departure from the artist’s rectangular format and invite a range of new interpretations\, both psychologically and formally. The tondos\, presented in the main gallery\, will be accompanied by a group of new works on paper in the front gallery. The opening reception will take place on Thursday\, November 3\, from 6-8 pm. The artist will be present. \nWhile his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different materials in the Shellac Paintings— these new paintings have necessitated a number of important evolutions in the way that Innes makes the work. Using a smaller\, rounded brush the physicality of these paintings is completely different\, allowing for more fluidity and enabling him to have more direct contact with the work. In particular\, the oval Split Paintings emphasize the materiality of the work as the natural grain of the wood comes through on the exposed side of the painting\, adding yet more layering and depth. Each of the works has a beveled edge\, which returns from the surface at about a forty-five-degree angle. This plane gives the illusion that the exposed portions of the paintings are larger\, changing our perceptions of light and space and emphasizing their circular shape\, making for a very physical\, object like presence. \nAs is the case with all of his paintings\, in these new works Innes explores the boundaries between control and chaos. He has observed\, “Chance is involved\, but… it’s organized chance\, because I’m controlling it the whole way\,” remarking elsewhere that “the paintings are all about mark making; about human contact; about the physicality of standing in front of a painting.” This sensibility is also present in Innes’s works on paper\, in the front gallery. Comprised of ethereal squares of complexly layered color painted with the dexterity and sensitivity for which the artist is known\, the work’s visually charged edges reveal glimpses of the individual colors in their pure form\, giving the viewer an understanding of how these layers of color interact to create the finished work. \nInnes is as one of the most significant abstract painters of his generation\, achieving widespread recognition in major solo and group shows worldwide. Innes was awarded the Jerwood Prize for Painting in 2002\, and the Nat West Prize in 1998. In 1995 he was short listed for the Turner Prize. His work is included in significant public collections worldwide including: the Tate Gallery\, London; the Kunstmuseum\, Bern\, Switzerland; the National Galleries of Scotland\, Edinburgh; the Solomon R. Guggenheim Museum\, New York; the Centre George Pompidou\, Paris; The Irish Museum of Modern Art; the Museum of Modern Art\, Fort Worth; The San Francisco Museum of Modern Art; The National Gallery of Australia\, Canberra; the Albright-Knox Art Gallery\, Buffalo; and the Art Gallery of Ontario\, Toronto\, Canada\, amongst many others. In 2016\, Innes was the subject of a major retrospective survey exhibition and accompanying monograph\, I’ll Close My Eyes\, at the De Pont Museum in Tilburg\, Netherlands. \nFor additional information about Callum Innes\, please visit skny.com \nFor media inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com
URL:https://artinamericaguide.com/event/callum-innes-tondos-3/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
GEO:40.7562495;-73.9982025
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220908
DTEND;VALUE=DATE:20221023
DTSTAMP:20260620T054739
CREATED:20220906T174709Z
LAST-MODIFIED:20220906T174709Z
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SUMMARY:Anthony Akinbola - Natural Beauty
DESCRIPTION:Sean Kelly is delighted to announce Natural Beauty\, a solo-exhibition of new work by Nigerian- American\, Brooklyn-based artist Anthony Akinbola. This presentation\, occupying the front and lower galleries\, includes the artist’s signature Camouflage paintings\, single and multi-panel works that utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context\, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. The opening reception will take place on Wednesday\, September 7\, from 6-8 pm. The artist will be present. \nBorn in Columbia\, Missouri\, Anthony Akinbola\, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered\, richly colored compositions celebrate and signify the distinct cultures that shape his identity. In the front gallery\, an array of Camouflage paintings explore the du-rag as both a material for art-making and as commentary on larger issues of identity\, respectability\, and commodification of African American culture. The subtle variations in color throughout the works were often subject to supply chain availability. Individual canvasses range from subtle variations on a single\, subtle tone\, to richly contrasting fields of color\, evoking artists as varied as Morris Louis and Ad Reinhardt. \nIn the lower gallery\, Akinbola will install a single\, multi-panel work positioned in dialogue with a taxidermized goat\, an action that both pays homage to Robert Rauschenberg’s revolutionary Combine\, Monogram\, 1955-59—which featured a stuffed Angora goat\, engulfed in a rubber tire\, standing on a painting—and functions for the artist as a conceptual self-portrait. In Nigeria\, goats hold a significant place in the culture and are commonly used for their hides\, meat and in religious festivals for ritual sacrifice. There is a ubiquitous fetish associated with goats and their totemic significance. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America\, addressing the power of fetishization around cultural objects. \nAnthony Akinbola was selected for the Anderson Ranch Art Center Residency in 2017 and created a monumental wall collage for The Queens Museum in 2018. In 2019\, Akinbola was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow\, which resulted in a solo exhibition at the museum. Akinbola will be featured in forthcoming group exhibitions at the Kalamazoo Institute of Arts in September 2022 and the Baltimore Museum of Art in March 2023. His work has been featured in exhibitions at The Queens Museum\, NY; the Bronx River Art Center\, NY; The Zuckerman Museum of Art\, GA; and The Verbeke Foundation\, Belgium\, amongst others. Following his exhibition at the Museum of Art and Design\, NY in 2020\, Akinbola mounted a significant solo exhibition in early 2021 at the Kohler Arts Center\, WI. Akinbola received a BA in communications and media from SUNY Purchase College. His work is included in the Pizzuti Collection\, Columbus\, OH\, the Beth Rudin DeWoody Collection\, and The Everson Museum of Art\, Syracuse\, NY amongst others. \nFor additional information please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.comFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com
URL:https://artinamericaguide.com/event/anthony-akinbola-natural-beauty/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220908
DTEND;VALUE=DATE:20221023
DTSTAMP:20260620T054739
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LAST-MODIFIED:20220906T174709Z
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SUMMARY:Landon Metz - A Different Kind of Paradise
DESCRIPTION:Sean Kelly is pleased to announce Landon Metz’s second solo exhibition at the gallery. This new body of work reflects Metz’s ongoing enquiry into the relationship between form and its absence. Paintings are the primary vehicle through which Metz invites a heightened awareness of presence\, one mirrored in both the execution of his work and the viewing experience itself. His visual language is a mediation on the relativity of experience\, emphasizing the connection between polarities: subject to object\, figure to ground\, and materiality to immateriality. The opening reception will take place on Wednesday\, September 7\, from 6-8 pm. The artist will be present. \nMetz’s works both inhabit space and address the construction of space. His process\, how the dye he uses responds to the conditions of its pour\, the surface tension of the canvas\, and the pigment’s absorption into the fibers of the canvas to produce an image\, are as intimately considered as the installation of the works in the space itself. A Different Kind of Paradise is as much a ritual space as it is a contemplative one. Visitors are greeted by a two-panel work flanking the entrance to the main gallery. Taking inspiration from a nijiriguchi\, the small\, square portal through which guests enter a traditional Japanese tea ceremony room\, Metz has created an environment\, without physically altering the gallery’s architecture. His installation centers on the relationship between the viewer and their surroundings\, embodiment and opticality. \n  \nThe largest work on display\, is comprised of eight panels and a multi-colored palette. Metz has discussed this work’s format in relation to Monet’s Water Lilies\, referencing their historical legacy and panoramic presentation which engulfs the viewer in the work. This painting immerses the viewer within pictorial space\, whereas the more intimate entry diptych incorporates the empty volume of the gallery’s passage into its composition. Within the matrix of the show\, the smallest panels\, of which there are three\, are counterpoised by their scale and material density. \nWith these spatial and optical compositional strategies\, Metz extends ideas that have long driven his practice. A Different Kind of Paradise offers viewers an intimate experience\, providing moments of meditative respite and contemplation from the otherwise frenetic landscape of daily life. \nLandon Metz was born in Phoenix\, Arizona\, and currently lives and works in New York. His work has appeared in solo exhibitions in Norway\, Italy\, Denmark\, and Canada. In 2014\, he was the artist in residence at the ADN Collection in Bolzano\, Italy\, and in 2018\, Metz was the subject of a solo exhibition at Museo Pietro Canonica in Rome. Metz was recently featured in group exhibitions at The Nassau County Museum of Art\, Roslyn\, New York\, and the Villa Medici in Rome\, Italy. \nFor additional information on Landon Metz\, please visit skny.com \nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@skny.com
URL:https://artinamericaguide.com/event/landon-metz-a-different-kind-of-paradise/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20201105
DTEND;VALUE=DATE:20201220
DTSTAMP:20260620T054739
CREATED:20201104T161119Z
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SUMMARY:Shahzia Sikander: Weeping Willows\, Liquid Tongues
DESCRIPTION:SHAHZIA SIKANDER\n\n\n\n\n\n\n\nWeeping Willows\, Liquid Tongues \nNOVEMBER 5 – DECEMBER 19\, 2020 \nSean Kelly is delighted to announce Shahzia Sikander’s inaugural exhibition with the gallery and her first exhibition in New York City in nine years. Weeping Willows\, Liquid Tongues is an expansive\, in-depth look into Sikander’s recent work\, featuring the artist’s dynamic large-and-intimately-scaled drawings\, a captivating new single channel video-animation\, luminous\, intricate mosaics and her first ever free-standing sculpture. \nShahzia Sikander takes classical Indo-Persian miniature painting as the point of departure for her work. From premodern beginnings to contemporary influences\, it is precisely this historical continuum and its continuous capacity for reinvention that has sparked Sikander’s visually rich engagement in multiple media. The works in the exhibition explore tensions between power and powerlessness to present transformative ideas. Sikander’s interest in sociology\, psychoanalysis\, and the examination of how culture and society shape the imagination is all fodder for her work. The ways in which violence\, systemic racism\, class and cultural fears are deeply entrenched in media and political representations\, be it the fear of the unknown\, the migrant\, the immigrant\, the Muslim\, the LGBTQ community\, the ‘other’ and the various fault lines of race\, class and gender also intersect within her work. In this tangled web\, the extractive nature of capitalism appears to promise liberty and happiness\, but too often bestows debt and despair. These ideas are all explored in her new series of paintings The Shroud\, 2020 and Oil and Poppies\, 2020\, which emerged whilst the artist was researching symbols of extraction. \nSikander’s first major sculptural work\, Promiscuous Intimacies\, borrows its title from Gayatri Gopinath’s forthcoming essay on Sikander’s practice. This bronze sculpture\, with its sinuous entanglement of a Greco-Roman Venus and an Indian Devata\, explores in Gopinath’s words\, “the promiscuous intimacies of multiple times\, spaces\, art historical traditions\, bodies\, desires\, and subjectivities.” In their suggestive embrace\, the intertwined female bodies bear the symbolic weight of communal identities from multiple geographic terrains. They evoke non-heteronormative desires that are often cast as foreign and inauthentic\, and instead challenge the viewer to imagine a different present and future. The backward glance of the lower figure “demands that we understand ‘tradition\,’ ‘culture\,’ and ‘identity’ as impure\, heterogenous\, unstable\, and always in process\,” disrupting “taken-for-granted national\, temporal\, and art historical boundaries.” \nPresenting a comprehensive overview of Sikander’s films\, the exhibition will feature three animations: Parallax\, 2013\, Disruption as Rapture\, 2016\, and her most recent film\, Reckoning\, 2020. The new film\, made from multiple drawings\, reveals the cyclical theme of struggle through kinetic forms. In it\, Sikander considers the relationships between migrant-citizen\, conflict-erosion\, memory-myth\, warfare-fatality\, father-son\, and human – nature. The musical score accompanying Reckoning is written by the inimitable composer Du Yun\, awarded the Pulitzer in Music in 2017\, and features the Pakistani singer Zeb Bangash. Du Yun and Sikander’s decade-long collaborations (including Parallax and Disruption as Rapture) span Shanghai\, New York\, Sharjah\, Istanbul\, Hong Kong and Pakistan and speak to their ‘creative intimacy\,’ female agency and shared passion for finding common ground through multiple languages. \nWhile questioning the very concept of national culture\, Sikander provides deep aesthetic reflections on the history of colonialism\, capitalism and the formation of racialized identities in the present. Our ecological condition is a mirror of social conditions: erosion of climate\, borders\, rising waters\, rising heat\, and displacement of bodies amongst others. All resources are gathered in the rubric of monetization: language\, labor\, human intelligence and human attention. Sikander reimagines the United States’ foundational claims of freedom and liberty\, that were never applicable to all\, by presenting overlapping diasporas and using art to imagine the possibilities of a more just and livable future. Sikander’s work is not about hybridity. It is not fusing cultures or aesthetics. The multiple juxtapositions reflecting gender\, race\, class\, and language differences are arranged and rearranged to imagine visual forms that challenge fixed narratives and break binary thinking in all its forms. Sikander’s work is the antithesis of the fictions of purity and authentic national culture. \nSikander lives and works in New York City. Her innovative artistic practice led to her meteoric rise internationally in the mid-nineties with survey exhibitions at the Renaissance Society at the University of Chicago\, 1998\, the Kemper Museum of Contemporary Art 1998\, the Hirshhorn Museum and Sculpture Garden 1999\, and the Whitney Museum of American Art 2000. Sikander has had major solo exhibitions throughout the world\, including most recently at the Asian Art Museum\, San Francisco\, 2017; the Aga Khan Museum\, Toronto\, 2017; MAXXI | Museo nazionale delle arti del XXI secolo\, Rome 2016; the Asia Society Hong Kong Center\, Hong Kong\, 2016; the Guggenheim Museum\, Bilbao 2015; the Smithsonian American Art Museum\, Washington D.C. 2012; the Museum of Contemporary Art\, Tokyo\, 2010; the Irish Museum of Modern Art\, Dublin\, 2007; the Museum of Contemporary Art\, Sydney\, 2007; the Pérez Art Museum Miami\, 2005; and at the San Diego Museum of Art\, California\, 2004 amongst others. Sikander has been invited to participate in significant international biennials such as the Lahore Biennale 01\, Pakistan; the Karachi Biennale 17\, Pakistan; the 6th Moscow Biennale of Contemporary Art\, Manege\, Russia; the 8th and 13th Istanbul Biennial\, Turkey;  the 5th Auckland Triennial\, New Zealand; the Sharjah Biennale 11\, Sharjah Art Foundation\, UAE; the 54th and 51st International Art Exhibition of La Biennale di Venezia\, Italy; and The Whitney Biennial\, New York amongst others. In addition\, she has been included in notable group exhibitions at institutions such as the National Museum of Modern and Contemporary Art\, Seoul; Martin-Gropius-Bau\, Berlin; the Museum of Modern Art\, New York. Amongst the numerous awards\, grants\, and fellowships Sikander has received are the KB17 Karachi Biennale Shahneela and Farhan Faruqui Popular Choice Art Prize\, 2017; the Religion and the Arts Award\, 2016; the Asia Society Award for Significant Contribution to Contemporary Art\, 2015; the National Medal of Arts Award presented by U.S. Secretary of State\, Hillary Rodham Clinton\, 2012; the John D. and Catherine T MacArthur Foundation Achievement ‘Genius’ award\, 2006; and Tamgha-e-Imtiaz\, the National Pride of Honor Award presented by the Pakistani Government. \nShahzia Sikander will be the subject of a traveling retrospective titled Shahzia Sikander: Extraordinary Realities. The exhibition will open at The Morgan Library\, New York in June 2021 followed by the RISD Museum\, Rhode Island in November 2021\, and MFA Houston\, Texas in Spring 2022. On the occasion of these exhibitions\, there will be a major new monograph printed. Extraordinary Realities\, is an exhaustive examination of Sikander’s work from 1987 to 2003\, charting her early development as an artist in Lahore and the United States\, and foregrounding her critical role in bringing miniature painting into dialogue with contemporary art. Edited by Jan Howard and Sadia Abbas\, with contributions by Gayatri Gopinath\, Faisal Devji\, Kishwar Rizvi\, Sadia Abbas\, Jan Howard\, Vasif Kortun\, Dennis Congdon\, Bashir Ahmed\, Rick Lowe and Julie Mehretu. \nFor additional information on Shahzia Sikander please visit skny.com \nFor press\, please contact Adair Lentini at the gallery\, 212.239.1181 or via email at Adair@skny.com \nFor all other inquiries\, please contact Janine Cirincione at the gallery\, 212239.1181 or via email at Janine@skny.com
URL:https://artinamericaguide.com/event/shahzia-sikander-weeping-willows-liquid-tongues/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
GEO:40.7562495;-73.9982025
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Sean Kelly 475 Tenth Avenue New York NY 10018 United States;X-APPLE-RADIUS=500;X-TITLE=475 Tenth Avenue:geo:-73.9982025,40.7562495
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200529
DTEND;VALUE=DATE:20200902
DTSTAMP:20260620T054739
CREATED:20200610T160000Z
LAST-MODIFIED:20200610T160000Z
UID:68597-1590710400-1599004799@artinamericaguide.com
SUMMARY:The Exhibition - Collect Wisely
DESCRIPTION:The Exhibition – Collect Wisely\, is a virtual presentation. Like the Collect Wisely podcasts\, the exhibition exists outside the aegis of the gallery and the artists it represents. Instead\, it is centered around artworks from the collections of our podcast participants\, among them Marieluise Hessel Artzt\, J. Tomilson Hill\, Rodney Miller\, Howard Rachofsky\, Gary Yeh\, and Tiffany Zabludowicz. The online exhibition includes images of work selected by each collector accompanied by comments explaining their choices. 
URL:https://artinamericaguide.com/event/the-exhibition-collect-wisely/
LOCATION:Sean Kelly\, 475 Tenth Avenue\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
GEO:40.7562495;-73.9982025
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Sean Kelly 475 Tenth Avenue New York NY 10018 United States;X-APPLE-RADIUS=500;X-TITLE=475 Tenth Avenue:geo:-73.9982025,40.7562495
END:VEVENT
END:VCALENDAR