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DTSTART;VALUE=DATE:20250627
DTEND;VALUE=DATE:20250802
DTSTAMP:20260525T215512
CREATED:20250611T151357Z
LAST-MODIFIED:20250611T151357Z
UID:113630-1750982400-1754092799@artinamericaguide.com
SUMMARY:Faktura / Tektonika
DESCRIPTION:The exhibition Faktura / Tektonika presents a selection of works that highlight two foundational components of early 20th-century Constructivism: faktura\, the material properties of an object\, and tektonika\, an object’s spatial presence. In the lineage of the Constructivist movement\, the exhibition foregrounds artists who emphasize material and form as active forces in artistic production. Through a range of practices that include the use of industrial media\, alternative photographic processes\, and an exploration of the self-reflexive properties of a chosen material\, the works on view investigate the ways in which surface\, structure\, and perception intersect. Bringing together artists from within and beyond the gallery’s program\, Faktura / Tektonika draws connections between emerging and established artists across multiple generations in the enduring spirit of this revolutionary movement in the history of art. There will be an opening reception on Thursday\, June 26\, from 5:30-7:30pm. \nEmbodying Faktura / Tektonika is the work of pioneering Cuban artist Dolores “Loló” Soldevilla (1901–1971) whose geometric constructions emphasize modularity\, spatial relationships\, and a Constructivist approach to building form through her use of material and exploration of dimensionality. Works on paper by Marco Castillo (b. 1971) are a result of his observations of quotidian materials and bring geometric elements from the historical context of Modernist\, Soviet\, and Cuban design into the present moment. Similarly\, circular forms from throughout art history are graphically employed in the paintings of Jose Dávila (b. 1975). Dávila’s stone and concrete sculptures echo architectural structure and stability\, highlighting the Constructivist emphasis of industrial materials. \nAlso engaging with industrial materials are Ernesto Burgos (b. 1979)\, Harminder Judge (b. 1982)\, Sam Moyer (b. 1983)\, and Hugo McCloud (b. 1980). The works of Ernesto Burgos exist at the intersection of painting and sculpture with substrates composed of cardboard\, fiberglass\, and resin finished with oil and charcoal; these pieces assert themselves into space through their corporeal presence. Harminder Judge layers pigment into wet plaster\, sanding\, polishing\, and oiling his panels to luminous\, sensuous effect. Sam Moyer\, in contrast\, paints plaster-coated canvas to serve as the ground for pieces of salvaged stone embedded into her paintings\, which\, along with her freestanding sculptures\, highlight texture\, composition\, and assemblage. Hugo McCloud’s “stamped” paintings reference industrial construction and material labor with repetitive patterns that have been impressed on malleable tar paper. \nWhile photography is often associated with capturing reality\, Faktura / Tektonika foregrounds artists who challenge this assumption by using alternative photographic processes to construct their images rather than simply capture them. James Casebere (b. 1953) builds intricate architectural models\, which he then lights and photographs\, to create images that reimagine both the context and content of the structures that influence them. Julian Charrière’s (b. 1987) heliographs of California oil fields are created with the raw materials of their depicted sites by incorporating naturally occurring tar into a light-sensitive emulsion on highly polished stainless-steel plates. Wu Chi-Tsung (b. 1981) engages with the Constructivist affinity for photomontage and collage in his Cyano-collage series\, in which the artist layers torn pieces of exposed cyanotype paper on aluminum panels\, blurring the lines between figuration\, abstraction and representation. In a rarely exhibited early work by Anthony McCall (b. 1943)\, the artist carefully burnt documentation photographs of his groundbreaking performance Landscape for Fire\, 1972\, an act that collapses the dichotomy of ephemerality and permanence by utilizing the enduring effects of a temporal element. \nA number of the artists exhibited articulate the intersection of faktura and tektonika by engaging with spatial presence through the material substance of their work. Among them are Brian Rochefort (b. 1985)\, whose sculptures aggregate ceramic and glass across multiple firings. Donna Huanca’s (b. 1980)\, stainless steel freestanding sculptures evoke pierced biomorphic forms\, becoming an extension and reflection of the body and space. Likewise\, the surfaces of Nir Hod’s (b. 1970) paintings\, on which layers of chrome and oil paint are built up and worn away\, transmogrify the relationship between viewer\, space\, and the art object itself. Anthony Olubunmi Akinbola’s (b. 1991) sewn durag “paintings” merge the literal and metaphorical fabric of cultural symbolism with formal construction. \nCanvases by Janaina Tschäpe (b. 1973)\, Lindsay Adams (b. 1990)\, Nour Malas (b. 1995)\, and Ilana Savdie (b. 1986) emphasize the material qualities of paint. Tschäpe and Adams’ bold use of color and gesture creates abstracted landscapes rooted in emotional experience that blur the lines between imagination and reality. Malas’ works feature oil and pastel emerging from the ground of the canvas with a powerful and pulsating palette\, reflecting an ever-fluid and turbulent psychic presence. Savdie’s vibrant compositions suggest the language of collage with layers of stain-like washes of color\, contrasting visible brushwork with smooth applications of paint\, and incorporating highly textural beeswax to create dreamlike works with mutable figuration and meaning. \nTogether\, the artists and works presented in Faktura / Tektonika underscore the dynamic relationship between materiality\, form\, and space\, and challenge conventional perceptions of how art is made and experienced. Through their innovative use of materials\, each artist contributes to a broader dialogue about how both physical and conceptual construction shapes our understanding of the world around us. \nThis exhibition has been curated by Robert Spring. \n\n\n\n\n\n\n\n\nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email info@skny.com
URL:https://artinamericaguide.com/event/faktura-tektonika/
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;VALUE=DATE:20250627
DTEND;VALUE=DATE:20250802
DTSTAMP:20260525T215512
CREATED:20250528T192836Z
LAST-MODIFIED:20250528T204938Z
UID:113501-1750982400-1754092799@artinamericaguide.com
SUMMARY:Sadie Barnette: How to Win
DESCRIPTION:Sean Kelly is delighted to announce How to Win\, a solo exhibition of new work by Sadie Barnette. In this conceptually rigorous presentation\, Barnette offers a poetic visual lexicon for navigating contemporary life. Featuring meticulously rendered drawings\, candid photography\, and text-based sculpture\, the exhibition mines the tension between public and private\, structure and improvisation\, the mundane and the monumental. There will be an opening reception on Thursday\, June 26 from 6-8pm. The artist will be present. \nBarnette’s body of work is an investigation of language and legacy. Her “how-to” manuals—modular compositions that explore how we learn to exist within and in resistance to imposed systems—consider not only what it means to “act normal\,” but who defines the metrics of success\, and how those judgments are internalized. Formally restrained yet conceptually expansive\, Barnette’s drawings eschew gesture in favor of precision and control. Their flat planes of color and detailed linework call attention to the labor of drawing itself. So exacting\, they almost conceal the hand of the artist proffering an anti-preciousness that challenges the conventions of artmaking. \nPresented as polyptychs that combine drawing and photography\, these works create layered narratives that span the micro and the macro\, the personal and the political. The photographs\, ranging in source material from family archives to street scenes and gritty smartphone snapshots\, act as documentary fragments of lived experience. Paired with the drawings\, they become visual anchors in Barnette’s ongoing investigation of the human dilemma: how to be\, how to behave\, how to belong. \nA large text-based wall sculpture fuses the words “winner” and “loser” into a single contranym. Styled like a nameplate necklace\, this bold text piece embraces duality and contradiction\, emphasizing the layered meanings in language and the arbitrary binaries that shape our lives. As Barnette notes\, even in an imagined future where world issues may be resolved\, we remain entangled in the paradoxes of being human. \nThrough her multidimensional approach\, Barnette’s work speaks to both internal reflection and broader societal critique. Drawing on the traditions of conceptualism\, minimalism\, and West Coast vernacular\, she distills complex ideas about identity\, power\, family\, and resistance into deceptively simple forms that leave space for doubt\, multiplicity\, and reinterpretation. \nBorn in Oakland\, CA in 1984\, Barnette received a BFA from CalArts and an MFA from University of California\, San Diego. Her work has been presented in major solo exhibitions at institutions including the ICA Los Angeles; SFMOMA; The Lab and the Museum of the African Diaspora\, San Francisco; MCA San Diego; the Manetti Shrem Museum\, UC Davis; the Benton Museum of Art at Pomona College; and The Kitchen in New York. Barnette’s work has been included in exhibitions at LACMA\, Los Angeles\, CA; the Solomon R. Guggenheim Museum\, New York; Monument Lab\, Philadelphia\, PA. She has been awarded grants and residencies by The Studio Museum in Harlem\, Art Matters\, Artadia\, Eureka Fellowship\, Skowhegan School of Painting and Sculpture\, the Headlands Center for the Arts\, and the Carmago Foundation in France and was an Artist Fellow at UC Berkeley’s Black Studies Collaboratory. Her work is featured in many permanent collections\, including the Whitney Museum\, The Metropolitan Museum of Art\, the Los Angeles County Museum of Art\, the Brooklyn Museum\, the Pérez Art Museum\, the Guggenheim Museum\, the Oakland Museum of California\, the Studio Museum in Harlem\, and the Walker Art Center. She is represented by Jessica Silverman\, San Francisco. Barnette is currently working on a forthcoming permanent\, site-specific commission for the Los Angeles International Airport\, CA. \n\n\n\n\n\n\n\n\nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Lauren Kelly at Lauren@skny.com \n  \nImage: Sadie Barnette\, How to Win\, 2025\, colored pencil on paper\, archival pigment prints\, paper: 30 x 24 inches each. Photo: Philip Maisel © Sadie Barnette Courtesy: the artist\, Sean Kelly\, New York/Los Angeles and Jessica Silverman\, San Francisco.
URL:https://artinamericaguide.com/event/sadie-barnette-how-to-win/
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/2025/05/2025_0523-JSG-BARNETTE_Press_27-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250502
DTEND;VALUE=DATE:20250615
DTSTAMP:20260525T215512
CREATED:20250513T153140Z
LAST-MODIFIED:20250513T153140Z
UID:113220-1746144000-1749945599@artinamericaguide.com
SUMMARY:Sam Moyer: Subject to change
DESCRIPTION:Sean Kelly is delighted to present Subject to change\, Sam Moyer’s fourth solo exhibition with the gallery. Featuring a dynamic body of new work\, the exhibition features Moyer’s latest stone paintings\, highlighting her distinctive combination of reclaimed stone and painted canvas\, as well as oil on panel paintings and handmade paper works produced as artist in residence at Dieu Donné in the Brooklyn Navy Yard. There will be an opening reception on Thursday\, May 1 from 6-8pm. The artist will be present. \nSam Moyer’s works merge abstraction and materiality\, redefining conventional sculptural forms through her innovative use of natural materials. Inlaying stone into canvas\, she blurs the boundaries between painting and sculpture\, creating wall-mounted works that emphasize variations in surface and light. In these new paintings\, Moyer meditates on the dualities inherent in life—the coexistence of decay and growth\, loss and perspective\, endings and emergent beginnings. Reflecting on what she describes as a “bifurcation in meaning\,” the works are born from trying times\, capturing a moment of balance between extremities. Moyer describes these dualities in the work as\, “The bridge between early life and death\, the transformative period between the decline of outdated systems and the emergence of new paradigms.” \nThe palette of this body of work draws inspiration from Claude Monet’s late paintings. As Monet moved toward a purity of color and light in response to his waning eyesight\, Moyer interprets this evolution as an investigation of the essential\, a filtering that reduces visual language to its core elements. Through her unique approach\, Moyer continues this exploration\, using color and light as the fundamental building blocks of abstraction. \n\n\n\nThe Large Payne series\, an ongoing body of oil-on-panel paintings initiated in 2020\, extends Moyer’s long-standing engagement with the effects of light. Evolving from her earlier Payne works on paper\, which she began in 2017\, these paintings are unified by a restrained palette dominated by Payne’s Gray—a color that captures the fleeting glow of the “magic hour\,” the brief moment between sunset and nightfall when light softens\, and contrast intensifies. Reinforcing the sculptural nature of her work\, Moyer’s tactile application of oil paint\, creates surfaces that shift and transform as the viewer moves. \nIn 2024\, Moyer was selected as the Dieu Donné Lab Grant Resident\, a prestigious year- long program dedicated to advancing the art of handmade paper. Her residency resulted in a series of works composed of multiple layers of paper pulp\, each featuring varying materials and hues. By manipulating the wet pulp through removal and layering techniques\, Moyer constructed intricate compositions that were then pressed and dried\, yielding richly textured and structurally complex works. \nConcurrent with her exhibition at the gallery\, the Hill Art Foundation will present\, Woman with Holes\, a survey exhibition spanning early dyed canvas works\, a monumental stone painting and recent handmade paper works. Presented in dialogue with selections from the Hill Collection\, the exhibition examines Moyer’s engagement with abstraction and places her work alongside artists including Robert Gober\, Liz Glynn\, Jasper Johns\, Brice Marden\, and Isamu Noguchi\, from whose sculpture the title of the show is derived. The exhibition opens on Thursday\, May 1 from 5-7pm and will be on view through August 1\, 2025. We hope you can visit both exhibitions. \nSam Moyer earned her BFA from the Corcoran College of Art and Design\, Washington\, DC\, and her MFA from Yale University\, New Haven\, CT. Her work has been the subject of solo exhibitions at institutions including the Parrish Art Museum\, Water Mill\, NY\, and the Jule Collins Smith Museum of Fine Art at Auburn University\, AL. Moyer’s work has been featured in national and international group exhibitions at MoMA PS1\, New York\, NY; the Drawing Center\, New York\, NY; the Bass Museum\, Miami\, FL; the Wexner Center for the Arts\, Columbus\, OH; the Public Art Fund\, New York\, NY; The FLAG Art Foundation\, New York\, NY; and Tensta Konsthall\, Stockholm\, Sweden\, amongst others. Her work is included in the permanent collections of the Whitney Museum of American Art\, New York; the Museum of Modern Art\, New York; the Morgan Library & Museum\, New York; the Yale University Art Gallery\, New Haven\, CT; and the Louis Vuitton Foundation\, Paris\, among others. Moyer lives and works in Brooklyn\, NY. \nFor additional information on Sam Moyer please visit\, skny.com \nFor press 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/sam-moyer-subject-to-change-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/2025/05/SM-2025_SKNY_Subject-to-change_photo-JSP-Art-Photography_020-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250502
DTEND;VALUE=DATE:20250615
DTSTAMP:20260525T215512
CREATED:20250410T145308Z
LAST-MODIFIED:20250410T145308Z
UID:112885-1746144000-1749945599@artinamericaguide.com
SUMMARY:Sam Moyer: Subject to change
DESCRIPTION:Sean Kelly is delighted to present Subject to change\, Sam Moyer’s fourth solo exhibition with the gallery. Featuring a dynamic body of new work\, the exhibition features Moyer’s latest stone paintings\, highlighting her distinctive combination of reclaimed stone and painted canvas\, as well as oil on panel paintings and handmade paper works produced as artist in residence at Dieu Donné in the Brooklyn Navy Yard. There will be an opening reception on Thursday\, May 1 from 6-8pm. The artist will be present. \nSam Moyer’s works merge abstraction and materiality\, redefining conventional sculptural forms through her innovative use of natural materials. Inlaying stone into canvas\, she blurs the boundaries between painting and sculpture\, creating wall-mounted works that emphasize variations in surface and light. In these new paintings\, Moyer meditates on the dualities inherent in life—the coexistence of decay and growth\, loss and perspective\, endings and emergent beginnings. Reflecting on what she describes as a “bifurcation in meaning\,” the works are born from trying times\, capturing a moment of balance between extremities. Moyer describes these dualities in the work as\, “The bridge between early life and death\, the transformative period between the decline of outdated systems and the emergence of new paradigms.” \nThe palette of this body of work draws inspiration from Claude Monet’s late paintings. As Monet moved toward a purity of color and light in response to his waning eyesight\, Moyer interprets this evolution as an investigation of the essential\, a filtering that reduces visual language to its core elements. Through her unique approach\, Moyer continues this exploration\, using color and light as the fundamental building blocks of abstraction. \nThe Large Payne series\, an ongoing body of oil-on-panel paintings initiated in 2020\, extends Moyer’s long-standing engagement with the effects of light. Evolving from her earlier Payne works on paper\, which she began in 2017\, these paintings are unified by a restrained palette dominated by Payne’s Gray—a color that captures the fleeting glow of the “magic hour\,” the brief moment between sunset and nightfall when light softens\, and contrast intensifies. Reinforcing the sculptural nature of her work\, Moyer’s tactile application of oil paint\, creates surfaces that shift and transform as the viewer moves. \nIn 2024\, Moyer was selected as the Dieu Donné Lab Grant Resident\, a prestigious year-long program dedicated to advancing the art of handmade paper. Her residency resulted in a series of works composed of multiple layers of paper pulp\, each featuring varying materials and hues. By manipulating the wet pulp through removal and layering techniques\, Moyer constructed intricate compositions that were then pressed and dried\, yielding richly textured and structurally complex works. \nConcurrent with her exhibition at the gallery\, the Hill Art Foundation will present\, Woman with Holes\, a survey exhibition spanning early dyed canvas works\, a monumental stone painting and recent handmade paper works. Presented in dialogue with selections from the Hill Collection\, the exhibition examines Moyer’s engagement with abstraction and places her work alongside artists including Robert Gober\, Liz Glynn\, Jasper Johns\, Brice Marden\, and Isamu Noguchi\, from whose sculpture the title of the show is derived. The exhibition opens on Thursday\, May 1 from 5-7pm and will be on view through August 1\, 2025. We hope you can visit both exhibitions. \nSam Moyer earned her BFA from the Corcoran College of Art and Design\, Washington\, DC\, and her MFA from Yale University\, New Haven\, CT. Her work has been the subject of solo exhibitions at institutions including the Parrish Art Museum\, Water Mill\, NY\, and the Jule Collins Museum of Fine Art\, Auburn University\, AL. Moyer’s work has been featured in national and international group exhibitions at MoMA PS1\, New York\, NY; the Drawing Center\, New York\, NY; the Bass Museum\, Miami\, FL; the Wexner Center for the Arts\, Columbus\, OH; the Public Art Fund\, New York\, NY; The FLAG Art Foundation\, New York\, NY; and Tensta Konsthall\, Stockholm\, Sweden\, amongst others. Her work is included in the permanent collections of the Whitney Museum of American Art\, New York; the Museum of Modern Art\, New York; the Morgan Library & Museum\, New York; the Yale University Art Gallery\, New Haven\, CT; and the Louis Vuitton Foundation\, Paris\, among others. Moyer lives and works in Brooklyn\, NY. \n\n\n\n\n\n\n\n\nFor press 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/sam-moyer-subject-to-change/
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/2025/04/SM-P.24.1664_photo-JSP-Art-Photography_001-copy-1-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250307
DTEND;VALUE=DATE:20250419
DTSTAMP:20260525T215512
CREATED:20250227T200126Z
LAST-MODIFIED:20250313T183934Z
UID:112350-1741305600-1745020799@artinamericaguide.com
SUMMARY:Joseph Kosuth: Future Memory
DESCRIPTION:“A work of art is a kind of proposition presented within the context of art as a comment on art.” – Joseph Kosuth\, 1969 \nSean Kelly is honored to present Future Memory\, a landmark exhibition celebrating the 80th birthday of Joseph Kosuth\, one of the most influential and pioneering figures in conceptual art. This unique exhibition\, his seventh with the gallery\, distinguishes itself as a presentation about the work of Joseph Kosuth\, rather than one conceived by him and features works from every decade of his career. Future Memory encapsulates Kosuth’s lifelong engagement with the fundamental questions of art\, meaning\, and language. There will be an opening reception on Thursday\, March 6\, from 6-8pm. \nBeginning with ‘One and Three Mirrors’ (1965) Kosuth established his lifelong commitment to investigating the production and role of language and meaning within art. Meaning is embodied in the relationship between the three parts that make up ‘One and Three Mirrors’\, image\, object and text. By placing a commonplace object\, such as a mirror alongside its image and definition within an art context\, two of Kosuth’s abiding influences\, Ludwig Wittgenstein and Marcel Duchamp are strikingly clear. Wittgenstein’s contention that meaning is use is an abiding concern throughout Kosuth’s career as he continues to question the function of art; a question first posed by Marcel Duchamp. In the most recent work in the exhibition ’The Question (G.S.)’ (2025) Kosuth continues his personal and philosophical reflection on time. Here he both begins and ends with a question positioned on a clock whose hands mechanically carry on\, oblivious to the human lives and narratives beyond their measure. \nJoseph Kosuth’s practice redefined the role of the artist\, challenging traditional notions of art as object\, artist as curator\, language as art\, and elevating the importance of ideas and critical thought. Future Memory highlights the continuity within his oeuvre and the profound impact of his inquiries into perception\, memory\, and the processes of thought. By employing language as both medium and message\, Kosuth’s work continues to defy artistic boundaries\, inviting viewers to rethink art’s place in culture and society. \nJoseph Kosuth has influenced generations of artists\, philosophers\, and cultural thinkers. His work is featured in major private and public collections worldwide including the Museum of Modern Art\, NYC; the Tate Gallery\, London; the Solomon R. Guggenheim Museum\, NYC; the Whitney Museum of American Art\, NYC; the Van Abbemuseum\, Eindhoven; the Stedelijk Museum\, Amsterdam; the Louvre Museum\, Paris; the National Gallery of Victoria\, Melbourne; the Museum of Contemporary Art\, Sydney; the Centre Pompidou\, Paris; and the Galleria Nazionale d’Arte Moderna\, Rome amongst many others worldwide. His work has been the subject of solo exhibitions at institutions including the Louvre Museum\, Paris\, France; the Multimedia Art Museum\, Moscow\, Russia; the Kunstmuseum\, Thurgau\, Wrath\, Switzerland; Haus Konstruktiv\, Zurich\, Switzerland; and the Australian Centre for Contemporary Art\, Melbourne\, Australia amongst others. He has also been invited to participate in numerous installations\, museum exhibitions\, and public commissions\, including Documenta and the Venice Biennale on multiple occasions. In 2019 Kosuth installed a permanent public installation at the Miami Beach Convention Center\, Miami\, FL and the Bill Graham Civic Auditorium\, San Francisco\, CA. \nTo honor this milestone anniversary\, Sean Kelly\, New York\, Sprüth Magers\, London and Lia Rumma\, Naples\, are dedicating three unique solo exhibitions to Joseph Kosuth in 2025: Sprüth Magers\, ‘The Question’\, January 24–March 15\, 2025; Sean Kelly\, Future Memory\, March 7 – April 18; and Lia Rumma\, ‘The Question’\, April 10 – May. These exhibitions collectively reaffirm Kosuth’s enduring international importance and the ongoing influence of his work worldwide. \n\n\n\n\n\n\n\n\nFor press\, 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/joseph-kosuth-future-memory/
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/2025/02/JK-2025-Future-Memory_install_photo-Jason-Wyche-New-York_003-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250307
DTEND;VALUE=DATE:20250419
DTSTAMP:20260525T215512
CREATED:20250227T200126Z
LAST-MODIFIED:20250313T183835Z
UID:112317-1741305600-1745020799@artinamericaguide.com
SUMMARY:Alec Soth Advice for Young Artists
DESCRIPTION:Sean Kelly is delighted to announce Alec Soth’s fifth exhibition with the gallery\, Advice for Young Artists which presents a curated selection of images from Soth’s recently completed body of work of the same name. Photographed during visits he made to twenty-five undergraduate art programs across the country from 2022 to 2024\, the resulting pictures\, interior studies\, still-lives\, and self-portraits depict Soth engaging with his subject while also reflecting\, obliquely\, on his life as an artist. There will be a reception on Thursday\, March 6\, from 6-8 pm. The artist will be present. \nAlthough the title might suggest otherwise\, Soth’s project is less about imparting his ideas to a younger generation and more about engaging with and learning from their creative energy. Instead of providing wisdom or guidance\, he presents a fragmented and open-ended meditation on artmaking across different life stages\, as well as the connections between photography\, time\, and aging. “I was just trying to be in the proximity of their energy\,” Soth reflects. The photographs that emerged out of his visits are deeply empathetic. In his portraits of students at work or in their studios\, he not only captures them as subjects but also positions them as artists in their own right. There is an implicit connection between the artist in front of the camera and the artist behind it. This is demonstrated by the ruminative and playful self-portraits that occur throughout the project: Soth situates himself not as an outside observer\, but amongst his subjects. \nDrawing inspiration from iconic American photographer Walker Evans’s late Polaroids\, Alec Soth’s Advice for Young Artists marks a significant evolution in his practice\, offering a fresh perspective two decades after the publication of his first book\, Sleeping by the Mississippi\, in 2004. Much like Evans\, who visited universities in the 1970s and photographed extensively with a Polaroid camera\, Soth embraces his encounters with students as a way to understand his work from a new perspective. As he describes it\, “When I was at a school and totally focused on my work\, I had the experience of age falling away.” Embedded in the environment of an art school\, Soth taps into the zeitgeist and rediscovers his practice anew. In Advice for Young Artists Soth allows an easy humor to enter his photographs and finds surprising juxtapositions\, he adapts and reinvents his visual language in response to the dynamic energy of his subjects. In this way\, the series marks a moment of innovation in the career of one America’s foremost contemporary photographers. \nAlec Soth lives and works in Minneapolis\, Minnesota. His work is the subject of over twenty-five books and including his publications NIAGARA (2006)\, Broken Manual (2010)\, Songbook (2015)\, I Know How Furiously Your Heart Is Beating (2019)\, A Pound of Pictures (2022)\, and most recently Advice for Young Artists (2024). In 2008 Soth started his own publishing company\, Little Brown Mushroom\, which is based in Minnesota. Soth’s work has been the subject of solo exhibitions at international museums including the Deichtorhallen Internationale Kunst und Fotografie\, Hamburg; the National Media Museum\, Bradford\, UK; The Finnish Museum\, Helsinki; the Detroit Institute of Arts\, Michigan; El museo de Bogotá\, Colombia; the Fotomuseum Winterthur\, Switzerland; the Jeu de Paume\, Paris; and the Walker Art Center\, Minneapolis. His work is in the permanent collections of institutions including the Museum of Modern Art\, New York; the Brooklyn Museum of Art; the Los Angeles County Museum of Art; the Museum of Contemporary Art\, Chicago; the Museum of Fine Arts\, Houston; the San Francisco Museum of Modern Art; the Walker Art Center\, Minneapolis; and the Whitney Museum of American Art\, New York\, amongst many others. \n\n\n\n\n\n\n\n\nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Thomas Kelly at Thomas@seankellyla.com
URL:https://artinamericaguide.com/event/alec-soth-advice-for-young-artists/
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/2025/02/AS-2025_Advice-for-Young-Artists_install_photo-Jason-Wyche-New-York_007-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250110
DTEND;VALUE=DATE:20250223
DTSTAMP:20260525T215512
CREATED:20241217T153510Z
LAST-MODIFIED:20241217T153510Z
UID:111169-1736467200-1740268799@artinamericaguide.com
SUMMARY:Dawoud Bey: Stony the Road
DESCRIPTION:Sean Kelly is delighted to announce the exhibition\, Dawoud Bey: Stony the Road\, the gallery’s third exhibition with the artist. The exhibition will feature the artist’s newest photographic series\, Stony the Road\, (2023)\, and his related film\, 350\,000\, (2023) which center on Richmond\, Virginia\, as the historical terrain where African captives first arrived in the United States and were marched into enslavement. \nCommissioned and first exhibited by the Virginia Museum of Fine Arts in 2023\, Bey’s Stony the Road series is the third chapter in the artist’s ongoing exploration of the deep connections between African American history\, the American landscape and the traumas embedded in those landscapes. Dawoud Bey: Stony the Road marks the series New York debut\, opening at Sean Kelly with a reception for the artist on Thursday\, January 9\, from 6-8pm. \nBey’s landscape trilogy began with Night Coming Tenderly\, Black\, (2017) a series which depicted both real and imagined locations in northeast Ohio tied to the Underground Railroad. Bey’s exploration continued with In This Here Place\, (2019) which documented the landscapes of plantations in Louisiana. With Stony the Road\, Bey turns his lens to the beginning of the African American experience in America: the arrival of enslaved Africans and their first steps on an unfamiliar and unforgiving land. \nIn an intimate\, visual dialogue with the past\, Bey’s series captures the historical and emotional texture of the Richmond Slave Trail—a well-trodden path of leaves\, branches\, and waterways that reveal the lingering imprints of the history of enslavement in America. “The ground is still holding its memory and its shape\,” describes Bey\, emphasizing the spirit and tangible presence of the past. “This is ancestor work. Stepping outside the art context\, the project context\, this is the work of keeping our ancestors present in the contemporary conversation.” \nCentral to the photographic series\, the exhibition also features the artist’s film 350\,000\, which recalls the estimated 350\,000 men\, women\, and children sold from Richmond’s auction blocks between 1830 and 1860. Projected on two large\, back-to-back screens\, the film takes the viewer on a journey along the Richmond Slave Trail\, imagining that landscape as if through the eyes of the 350\,000 enslaved Africans. Shot in black-and-white by cinematographer Bron Moyi\, the film’s visual intensity is amplified by a soundtrack featuring staccato breaths and body percussion\, created in collaboration with choreographer and Virginia Commonwealth University Professor E. Gaynell Sherrod. The subtle\, rhythmic soundscape\, echoes the weight of the journey\, resulting in a psychologically poignant sonic landscape that resonates with the sense of history and memory. \nTogether\, Bey’s film and photographic works offer a reflection into the psychic and physical landscapes of enslavement in America\, and the enduring legacies these sites hold within the American consciousness and social fabric. Through this work\, Bey contributes essential Black perspectives and experiences into contemporary discourse about landscape. Bey’s ability to re-envision key historical sites through photography and film offers viewers space for reflection and remembrance. \nGroundbreaking artist and MacArthur Fellow Dawoud Bey examines the Black past and present. His photographs and film installations have been exhibited in museums and galleries throughout the United States and Europe. Bey’s work has been the subject of numerous solo museum exhibitions\, including Dawoud Bey: Street Portraits (2024-2025) at the Denver Art Museum\, Dawoud Bey: An American Project organized by the San Francisco Museum of Modern Art and the Whitney Museum of American Art (2020-2022)\, and Elegy at the Virginia Museum of Fine Arts (2023-2024) and New Orleans Museum of Art (2026). He has been the subject of several monographs\, including Elegy (Aperture/VMFA\, 2023)\, which chronicles Bey’s history projects and landscape-based work. Bey is the recipient of numerous awards including five honorary doctorates\, and in 2024\, the artist was inducted into the American Academy of Arts and Sciences. His forthcoming solo exhibition\, Dawoud Bey: Street Portraits\, opens at the Denver Art Museum in November 2024. \nBey lives and works in Chicago and New York. He is currently a Critic at Yale University\, where he received his Masters in Fine Arts\, and is Professor Emeritus at Columbia College\, Chicago. \nFor additional information about Dawoud Bey\, please visit skny.com \nFor press inquiries\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Lauren Kelly at Lauren@skny.com \nImage: Dawoud Bey\, Untitled (Crooked Trees)\, 2022\, gelatin silver print mounted to Dibond\, framed: 48 5/16 x 59 5/16 x 2 inches\, edition
URL:https://artinamericaguide.com/event/dawoud-bey-stony-the-road/
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;VALUE=DATE:20250110
DTEND;VALUE=DATE:20250223
DTSTAMP:20260525T215512
CREATED:20241217T153444Z
LAST-MODIFIED:20241217T153444Z
UID:111173-1736467200-1740268799@artinamericaguide.com
SUMMARY:Ana González: Bruma
DESCRIPTION:Sean Kelly\, New York is delighted to present Bruma\, Ana González’s first solo exhibition in New York. The paintings and prints on fabric in Bruma depict the flora and fauna of González’s native Colombia and represent the ecosystems under threat from industries seeking to exploit them for their natural resources. González’s practice opposes the disappearance of these habitats\, not only warning us of what will be lost in their destruction but proposing new ways to relate to the natural world. Bruma engages with the vast ecological and human history of these landscapes encouraging the viewer to see our environment in a new way. There will be an opening from 6 to 8 pm. The artist will be present. \nThe works on view in Bruma were developed in response to González’s travels through the cloud forests of Colombia\, an isolated region in the Andes Mountains which is both incredibly biodiverse – only an estimated ten percent of its species have been cataloged – and endangered by deforestation and climate change. In González’s paintings\, the wax palms and other plants native to the Andes Mountains emerge from washes of white paint\, referencing the mist that gives the forests and the exhibition their name. These landscapes reappear in the artist’s Devastations series\, textiles onto which the artist prints photographs of Colombia’s vulnerable ecosystems. The monumental five-part work\, QUIMBAYA offers a panoramic view of the cloud forest\, capturing in monochromatic green the verdant abundance of the forest at an immersive scale. Here\, as in all her Devastations works\, González has partially unraveled the work\, disrupting the coherence of the image and physically representing the ravaging of these sites. \nIn her work González reflects upon the writings of 18th century German geographer and naturalist\, Alexander von Humboldt\, who revolutionized the way we understand nature by presenting it as an interconnected web of life. Humboldt observed\, “If one thread is pulled\, the whole tapestry may unravel\,” a metaphor that resonates powerfully with González’s work. Her unraveled Devastation series poignantly embody this concept\, suggesting that the destruction of even the smallest part of an ecosystem can threaten the stability of the whole. Devastations presents two possible futures for the ecosystems they depict: preservation and destruction. González asks viewers to see both possibilities at once – that while the abundance of life contained within these images is in immediate danger of being lost\, there remains the potential for conservation if humanity reprioritizes its relationship with nature. \nAs much as González’s practice is concerned with the future\, it is equally attentive to history. This is most apparent in González’s decision to title the works in Bruma in the language of the Muisca\, the indigenous civilization that inhabited the Colombian Andes from 600–1600 CE. Referencing a pre-colonial past\, the titles invoke the spiritual importance that the Muisca placed on the environment\, implicitly contrasting them with our contemporary culture of accumulation and consumption. The large-scale work ANGAPACCHA (“Powerful Waterfall\,” in the language of the Muisca) spills off the wall and into the gallery space. According to Muisca specialist\, anthropologist and ethnobotanist Wade Davis\, “Waterfalls were seen as places of origin\, liminal places\, doorways to the divine.” ANGAPACCHA performs a similar function within the exhibition\, inviting viewers to engage with the natural world as a sacred space. \nGonzález’s works in Bruma are at once a return to the past and a reimagining of the future\, reactivating ancient ways of interacting with the environment at a moment when they are urgently needed. \nAna González is a graduate in architecture from Universidad de Los Andes in Bogotá\, Colombia. She pursued advanced studies in Art and Gender at Trinity College in Dublin\, Ireland\, and completed a Master’s in Arts and Media\, focusing on Photography\, Printing\, and Publishing\, at both the École Nationale Supérieure des Beaux-Arts and the École Supérieure de Commerce de Paris in France. Her work is part of significant private and public collections\, including the Patricia Phelps de Cisneros Collection\, the Havremagasinet Länskonsthall Museum in Sweden\, the National Museum of Colombia\, the Bogotá Museum of Modern Art (MAMBO)\, the Santa Barbara Museum of Art\, CA\, the JP Morgan Chase Art Collection\, NY\, the Bancolombia Art Collection and the Museo de la Universidad de Antioquia\, Medellín\, Colombia. González has engaged extensively with Colombian Indigenous communities\, implementing social and humanitarian projects with the Sierra Nevada de Santa Marta communities\, the Nukak people of Guaviare\, and Misak women in Cauca. She is currently collaborating with the Amazon Conservation Team and Cartier to build a traditional healthcare house located in the Colombian Amazon. \nFor additional information on the exhibition please visit skny.com \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Thomas Kelly at Thomas@seankellyla.com  \nImage caption: Ana González\, QUIMBAYA
URL:https://artinamericaguide.com/event/ana-gonzalez-bruma/
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;VALUE=DATE:20241025
DTEND;VALUE=DATE:20241222
DTSTAMP:20260525T215512
CREATED:20241001T145949Z
LAST-MODIFIED:20241030T144747Z
UID:110195-1729814400-1734825599@artinamericaguide.com
SUMMARY:Laurent Grasso: Artificialis
DESCRIPTION:Sean Kelly is delighted to announce Artificialis\, Laurent Grasso’s sixth solo exhibition with the gallery. Grasso’s oeuvre blurs the line between temporalities\, combining historical references and futuristic anticipations to create new\, ambiguous\, realities. The exhibition features the US premiere of Grasso’s films\, ARTIFICIALIS and Orchid Island\, along with two groups of new paintings related to each film. One of the series draws inspiration from the prominent 19th century American artist Frederic Edwin Church’s evocative landscape paintings of the Hudson River Valley. The exhibition confronts the rapid changes and existential challenges of our world where human cultural impact on nature is now indelible; it places viewers in a realm where distinguishing between the real and the artificial is questioned. There will be an opening reception on Thursday\, October 24\, 6-8pm. The artist will be present. \n  \nThe film ARTIFICIALIS originated from an invitation from the Musée d’Orsay\, in Paris\, France\, asking Grasso to produce a large-scale work in response to the museum’s exhibition centered around Darwin’s legacy and the perception of nature. Both exhibitions were on view at the museum simultaneously in 2021\, creating a dialogue between the historical and contemporary perspectives on exploration and our understanding of the natural world. Grasso’s film examines how 21st-century explorers document the world using modern tools\, merging real and virtual worlds to envision a post-Anthropocene future. Produced with advanced vision instruments like LIDAR scanners and hyperspectral cameras\, ARTIFICIALIS generates images that blur reality\, nature\, and artifice. The film challenges the possibility of exploration in a hyperconnected world\, mapped by satellites and compressed in space and time\, questioning traditional notions of exoticism. Described by Grasso as a “film-machine\,” it evolves like a code\, drawing information from the world as a database to spotlight areas where nature has mutated due to human impact. Musician Warren Ellis composed the soundtrack while watching the film in real-time\, adding a dynamic layer to the film\, while graphic creations by M/M lend a futuristic dimension. \n  \nPart of Grasso’s process involves creating films that serve as the basis for other art forms\, such as paintings and sculptures\, resulting in a cohesive yet multifaceted oeuvre. New works from his Future Herbarium series\, paintings of double-headed flowers\, draw upon imagery from ARTIFICIALIS which are reproduced in oil and palladium leaf on wood. The mutations are transformations from a future that exists only in the artist’s imagination\, creating “a sense of strangeness where beauty and anxiety intertwine\,” states Grasso. \n  \nOrchid Island\, 2023\, examines the idealization of nature in art history juxtaposed with contemporary climate issues. Set against Taiwan’s seemingly pristine landscapes\, the film introduces a mysterious\, levitating black rectangle\, which casts its shadow on the area over which it flies. The film questions Western representations of exotic\, imaginary settings\, oscillating between archive footage and futuristic projections. With this work Grasso seeks to “activate an altered state of consciousness similar to that of hypnosis.” The music\, composed by Nicolas Godin\, blends an ethereal melody with the subtle pulse of a synthesizer\, casting a surreal and otherworldly tone over the film. \n  \nThe accompanying paintings\, part of Grasso’s series Studies into the Past\, incorporate natural or supernatural phenomena – most often borrowed from his own films – into apparently historical canvases\, creating an uncanny feeling of déjà-vu. Inspired by one of the most widely recognized painters of the Hudson River school\, Frederic Edwin Church\, Grasso’s paintings closely recall his idyllic nineteenth-century landscape paintings. Church was significantly influenced by the Prussian explorer and scientist Alexander von Humboldt\, whose seminal work Cosmos articulated the interconnectedness of science\, the natural world\, and spiritual concerns. Humboldt’s dedication to landscape painting and his belief in the artist’s role in scientifically portraying nature\, deeply impacted Church. This historical context aligns with Grasso’s interest in the sciences and his artistic exploration. By introducing a discordant element such as a large black rectangle into these idyllic landscapes\, Grasso disrupts the traditional perception of nature. Without delivering a direct message\, he invites the viewer to engage in a space for projection and reflection on our current fears. Grasso’s new Studies into the Past paintings also continue his long-established exploration of time travel and the viewer’s perception of reality. \n  \nLaurent Grasso is the recipient of the Meru Art*Science Award in Bergamo\, Italy\, the Chevalier de l’ordre des Arts et des Lettres\, and the Marcel Duchamp Prize. Grasso’s work has been the subject of solo exhibitions at international institutions\, including the Abbaye of Jumièges\, in France\, Tao Art in Taiwan\, the Collège des Bernardins and the Musée d’Orsay in Paris\, the Centre Pompidou x West Bund Museum in Shanghai\, the Jeonnam Museum of Art in Gwangyang\, South Korea\, the Palais Fesch\, Musée des Beaux-Arts in Ajaccio\, France\, the Hermès Foundation in Tokyo\, the Kunsthaus Baselland in Switzerland\, the Musée d’Art Contemporain in Montréal\, the Jeu de Paume and Palais de Tokyo in Paris\, the Bass Museum of Art in Miami\, and the Hirshhorn Museum and Sculpture Garden in Washington D.C. amongst others. He has also participated in several international biennials\, such as the 21st Sydney Biennale\, Australia; EVA International\, Ireland; the Kochi Biennale\, India; the Gwangju and Busan Biennales\, South Korea; Manifesta 8 Cartagena/Murcia\, Spain; the Sharjah Biennial\, UAE; and the Moscow Biennale\, Russia. Laurent Grasso has recently created several permanent installations in public spaces including Solar Wind on the Paris ring road\, and a group of sculptures entitled Roots of the Future\, which was installed for the 2024 Paris Olympic Village. Grasso was also commissioned to create a permanent site-specific installation for the ceiling of the new train station in Châtillon-Montrouge\, as part of the Grand Paris project.
URL:https://artinamericaguide.com/event/laurent-grasso-artificialis/
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/2024/10/LG-Installations-04.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240906
DTEND;VALUE=DATE:20241020
DTSTAMP:20260525T215512
CREATED:20240805T185714Z
LAST-MODIFIED:20240805T185714Z
UID:109528-1725580800-1729382399@artinamericaguide.com
SUMMARY:a sky filled with clouds and the smell of blood oranges
DESCRIPTION:Sean Kelly is delighted to announce a sky filled with clouds and the smell of blood oranges\, Janaina Tschäpe’s fourth solo exhibition with the gallery. This exhibition marks an exciting evolution in Tschäpe’s artistic journey\, emphasizing a profound personal exploration\, with a focus on the scale and fluidity of mark-making that characterize the artist’s vigorous abstractions. Coinciding with the exhibition\, a major new monograph on Janaina Tschäpe’s work\, featuring an erudite and informative essay by distinguished art historian Joachim Pissarro\, is being published by Hatje Cantz and Sean Kelly. There will be an opening reception on Friday\, September 6\, 6-8pm. The artist will be present. \nTschäpe’s latest body of work underscores the artist’s fascination with the emotional and poetic potential of art. In this exhibition\, she explores the interplay between scale and intimacy\, featuring works in oil and oil stick on canvas and works on paper in various scales\, including multi-paneled paintings. In the diptych\, Lion colored hills\, 2024 and triptych\, Walking through fields (Passeando no tempo)\, 2024\, each painting functions both independently and as part of a unified narrative. Tschäpe’s artistic expression intertwines the sublime vastness of German landscapes with the vibrant essence of Brazilian culture\, blending philosophical tenets from polymath Friedrich Schiller\, the inspiring poetry of Octavio Paz\, and the concept of observing and celebrating nature advocated by geographer Alexander Von Humbolt. \nTschäpe’s works become sites of intense emotional and intellectual inquiry—the space between passion and reason—where the act of painting is both a meditation on and a resistance to its constraints. The paintings in this exhibition compose an environment in which each work converses with the next\, fostering a continuous and evolving narrative. They showcase Tschäpe’s mastery harnessing the fluid dynamics of painting to depict a landscape that is both internal and external\, mirroring the complexities of human emotion and perception. As Joachim Pissarro states in his essay\, “Tschäpe’s canvases serve as arenas wherein the visible intermingles with the visceral\, inviting us to traverse conceptual depths through layers of paint and memory that subtly insinuate rather than explicitly reveal.” Her paintings transform nature’s experiences into abstract movements\, where air and light become extensions of her gestures. Each piece\, rooted in layered memories of landscape\, uncovers new connections and energies across the canvas. \na sky filled with clouds and the smell of blood oranges highlights the different types of mark-making and media Tschäpe has incorporated throughout her work\, spanning bold and dynamic brushwork to fine\, drawing-like strokes and expansive\, gestural applications of oil paint and oil stick. The exhibition also features her delicate watercolors and pastel works\, creating a dialogue between different media and enhancing the interplay amongst her works. Inspired by the evocative\, dreamlike qualities of August Strindberg’s landscapes\, Tschäpe titled some of the new works with names influenced by the Swedish playwright and painter\, such as flowers by the shore (after Strindberg)\, 2024. Strindberg’s ability to evoke the ethereal and the mystical in his depictions of the natural world resonates deeply with Tschäpe’s vision. Blending elements of lyrical abstraction with themes drawn from the natural world\, Tschäpe’s use of color and form creates a visual language that is both deeply personal and universally resonant. \nJanaina Tschäpe’s work has been the subject of solo exhibitions at the Den Frie Center of Contemporary Art\, Copenhagen\, Denmark; the Sarasota Art Museum\, Florida; the Musée L’Orangerie\, Paris\, France; the Museum of Contemporary Art\, Tucson\, AZ; Kasama Nichido Museum of Art\, Kasama\, Japan; the Irish Museum of Modern Art\, Dublin\, Ireland\, and the Contemporary Museum of Art\, St. Louis\, MO. She has been featured in numerous group exhibitions at venues including NCA Taipei\, Taiwan; Whitechapel Gallery\, London; TBA21-Augarten\, Austria; CCBB\, Rio de Janeiro\, Brazil; Centre D’Art Contemporain de Normandie\, France; 21st Century Museum of Contemporary Art\, Kanazawa\, Japan; Instituto Tomie Ohtake\, São Paulo; National Museum of Women in the Arts\, Washington D.C.; Ronnebaeksholm\, Denmark; Museum of Fine Arts Boston\, MA; and Museum of Contemporary Art Taipei\, Taiwan. Her work is found in important public collections including the Centre Pompidou\, Paris\, France; Museo Nacional Centro de Arte Reina Sofía\, Madrid\, Spain; Harvard Art Museum\, MA; Museu de Arte Moderna do Rio de Janeiro\, Brazil; Moderna Museet\, Stockholm\, Sweden; Thyssen-Bornemisza Art Contemporary\, Vienna\, Austria; and the Solomon R. Guggenheim Museum\, New York\, amongst others. \nPublished in conjunction with the exhibition\, a major new monograph\, Janaina Tschäpe\, extensively documents Tschäpe’s work over the past seven years\, alongside installation images of her museum and gallery exhibitions worldwide. This publication documents a prolific period of creativity and boundary-pushing use of media. \n  \nFor additional information on Janaina Tschäpe\, please visit skny.com \nFor press inquiries\, please email Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Cecile Panzieri at Cecile@skny.com \nImage caption: Janaina Tschäpe\, Walking through fields (Passeando no tempo)\, 2023\, Oil and oil stick on linen\, overall: 92 x 222 x 1 1/2 inches Each panel: 92 x 70 x 1 1/2 inches © Janaina Tschäpe Courtesy: the artist and Sean Kelly\, New York/Los Angeles
URL:https://artinamericaguide.com/event/a-sky-filled-with-clouds-and-the-smell-of-blood-oranges/
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/2024/08/JTs-P.23.2970.ABC-2023_photo-Brad-Farwell_001-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240627
DTEND;VALUE=DATE:20240803
DTSTAMP:20260525T215512
CREATED:20240710T144847Z
LAST-MODIFIED:20240710T144847Z
UID:109212-1719446400-1722643199@artinamericaguide.com
SUMMARY:Ilse D'Hollander: The Color of Shadows
DESCRIPTION:Sean Kelly is delighted to announce The Color of Shadows\, the fifth solo exhibition of Ilse D’Hollander with the gallery. Spanning the latter half of her career\, the exhibition includes a selection of oil paintings from the artist’s estate\, including To Goethe\, 1991\, one of only three known serial bodies of work made by the artist. This exquisite curation of intimate paintings emphasizes the harmonious and transformative essence 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 Wednesday\, June 26\, from 5-7pm.  \n  \nDrawing inspiration from Johann Wolfgang von Goethe’s “Theory of Colours\,” 1810\, D’Hollander’s suite of four oil paintings titled To Goethe anchors the exhibition. In his research\, Goethe theorized the complexity of color and how human perception and psychological experience influence its interpretation. In her series\, D’Hollander’s color associations exude a poetic and sensitive quality that invites the viewer to be an active participant by completing the work with their own interpretations. “The viewer who turns [their] gaze on my paintings remains even more fundamental\,” stated D’Hollander. It is with a skillful hand and delicate approach that D’Hollander’s masterful interplay of hues evokes profound connections far beyond the spectrum of color. \n  \nAs a painter\, D’Hollander’s intuition led her to arrive at a practice that combined total abstraction with discernable elements of the natural world. Found within her paintings are the flourishing landscapes of the Flemish countryside rendered with bursts of thick pigments\, resulting in a geometric precision that documents her quaint studio life. D’Hollander’s canvases offer an immersive experience\, where each layer of brushstroke reveals nuanced shifts in hue and delicate lines of color\, illustrating a deep engagement with the dialogue between representation and abstraction. Her refined palette and minimalist compositions underscore a tangible and sensual exploration of the medium\, imbuing each piece with a profound humanistic touch. \n  \nIn her sole written reflection\, D’Hollander 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.” This philosophical approach enabled D’Hollander to traverse seamlessly between subtle representation and pure abstraction\, harmonizing her internal and external artistic realms. Her work invites deep contemplation\, serving as a remarkable testament to the fundamental and generative nature of painting. D’Hollander’s legacy continues to captivate and inspire\, offering a poignant exploration of the interplay between form\, color\, and emotion. \n  \nBorn in Belgium in 1968\, Ilse D’Hollander graduated from the Hoger Instituut voor SchoneKunsten\, 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. \n  \nFor additional information on Ilse D’Hollander\, please visit skny.com \n  \nFor media inquiries\, please email Adair Lentini at Adair@skny.com \n  \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com
URL:https://artinamericaguide.com/event/ilse-dhollander-the-color-of-shadows-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/2024/07/IDH-2024_SKNY_The-Color-of-Shadows_photo-Adam-Reich_003-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240627
DTEND;VALUE=DATE:20240803
DTSTAMP:20260525T215512
CREATED:20240710T144847Z
LAST-MODIFIED:20240710T144847Z
UID:109210-1719446400-1722643199@artinamericaguide.com
SUMMARY:James Casebere: Seeds of Time
DESCRIPTION:Sean Kelly is delighted to announce Seeds of Time\, James Casebere’s ninth solo exhibition with the gallery. Continuing Casebere’s ever-evolving exploration of form at the intersection of architecture\, sculpture\, and photography\, this new body of work celebrates three fundamental principles: biomorphic design\, social responsibility\, and environmental sustainability. Through a meticulous process of artistic reinterpretation\, Casebere transforms architectural designs into striking two-dimensional images. There will be an opening reception on Wednesday\, June 26\, 5-7 pm. The artist will be present. \n  \nThe exhibition delves into contemporary architectural trends\, using water as a central theme to evoke an awareness of climate change. Each structure in Seeds of Time is surrounded by water\, often a symbol in Casebere’s work for the unconscious\, the passage of time\, and memory. These new works internalize the urgency and emotional context of the climate crisis and celebrate human ingenuity.  \n  \nDrawing inspiration from Indian-born Pritzker Prize-winning architect Balkrishna Doshi(1927-2023)\, the photographs Balconies and Stairs\, are based on Doshi’s vibrant color drawings of his low-cost housing development\, The Aranya\, in Indore\, India. Unlike many public or low-income housing projects in India\, which were often bleak\, Doshi’s designs were lively and intended for modification by their inhabitants. Casebere intensified the colors in his works to echo the transformations made by residents. \n  \nBoth Cavern with Skylights images reference Amdavad ni Gufa\, an underground art gallery designed by Doshi. The concept was to create an open building that blurs the boundaries between formal and informal spaces while increasing interaction with nature. These images emphasize the natural geological forms to highlight the biomorphic qualities of the architecture. \n  \nCasebere further explores biomorphic forms in Patio with Blue Sky and School to create works that focus on the integration of natural and synthetic elements\, in an interpretation of Burkinabé-German architect Francis Kéré’s (b. 1965) “Startup Lions Campus” in Kenya. Greenhouse\, extends the bio-morphic design language by merging sculptural forms with natural foliage\, creating a living sculpture set within a pond. Beach Huts (Day)and Beach Huts (Night)\, draw on Kéré’s innovative complex in Burkina Faso. These photographs depict colorful huts that explore themes of community and the needs of marginalized populations\, a testament to the dynamic relationship between individual creativity and social group dynamics. Likewise\, Chulah Cookstove is inspired by Pakistani architect Yasmeen Lari’s (b. 1941) innovative design\, which highlights the need for elevated outdoor stoves designed to mitigate flooding and improve health in impoverished areas. \n  \nThe exhibition showcases James Casebere’s unique ability to intertwine artistic vision with pressing contemporary issues. In Seeds of Time\, Casebere reflects on the potential of architecture to foster sustainable and socially responsible solutions. His use of water\, both as a symbol and a material\, underscores the delicate balance between human innovation and environmental stewardship. This body of work not only celebrates architectural ingenuity but also challenges us to consider our role in shaping a sustainable future. \n  \nJames Casebere was the winner of the American Academy in Rome Abigail Cohen Rome Prize Fellowship for 2019-20 and has been the recipient of numerous fellowships\, including three from the National Endowment for the Arts\, three from the New York Foundation for the Arts and one from the John Simon Guggenheim Memorial Foundation. His work is permanent collections of institutions including the Whitney Museum of American Art\, New York; the Solomon R. Guggenheim Museum\, New York; the Metropolitan Museum of Art\, New York; the Walker Art Center\, Minneapolis; the Los Angeles Museum of Contemporary Art; the Los Angeles County Museum of Art; and the Victoria and Albert Museum\, London\, England\, among many others. In 2016\, Casebere was a New York Foundation for the Arts Hall of Fame Honoree and the subject of important survey exhibitions: Fugitive at the Haus der Kunst in Munich\, curated by OkwuiEnwezor; Immersion at Espace Images Vevey in Switzerland; and After Scale Model: Dwelling in the Work of James Casebere\, at the BOZAR/Centre for Fine Arts in Brussels\, Belgium. James Casebere lives and works in New York.  \n  \nShou Sugi Ban A Series of Sculptural Work by James Casebere will open at ‘T’ Space in Rhinebeck\, NY\, during Upstate Art Weekend\, July 20 – 21. The exhibition will present a new series of large-scale wooden geometric sculptures that engage notions of synthetic nature: bio-design—or self-generating forms that suggest organic or inorganic growth. The exhibition will be on view until October 13\, 2024. \n  \nFor additional information on James Casebere\, please visit skny.com \nFor press\, 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/james-casebere-seeds-of-time-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/2024/07/JC-2024_SKNY_Seeds-of-Time_photo-Adam-Reich_003-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240627
DTEND;VALUE=DATE:20240803
DTSTAMP:20260525T215512
CREATED:20240628T154332Z
LAST-MODIFIED:20240628T154332Z
UID:109159-1719446400-1722643199@artinamericaguide.com
SUMMARY:James Casebere: Seeds of Time
DESCRIPTION:Sean Kelly is delighted to announce Seeds of Time\, James Casebere’s ninth solo exhibition with the gallery. Continuing Casebere’s ever-evolving exploration of form at the intersection of architecture\, sculpture\, and photography\, this new body of work celebrates three fundamental principles: biomorphic design\, social responsibility\, and environmental sustainability. Through a meticulous process of artistic reinterpretation\, Casebere transforms architectural designs into striking two-dimensional images. There will be an opening reception on Wednesday\, June 26\, 5-7 pm. The artist will be present. \nThe exhibition delves into contemporary architectural trends\, using water as a central theme to evoke an awareness of climate change. Each structure in Seeds of Time is surrounded by water\, often a symbol in Casebere’s work for the unconscious\, the passage of time\, and memory. These new works internalize the urgency and emotional context of the climate crisis and celebrate human ingenuity. \nDrawing inspiration from Indian-born Pritzker Prize-winning architect Balkrishna Doshi (1927-2023)\, the photographs Balconies and Stairs\, are based on Doshi’s vibrant color drawings of his low-cost housing development\, The Aranya\, in Indore\, India. Unlike many public or low-income housing projects in India\, which were often bleak\, Doshi’s designs were lively and intended for modification by their inhabitants. Casebere intensified the colors in his works to echo the transformations made by residents. \nBoth Cavern with Skylights images reference Amdavad ni Gufa\, an underground art gallery designed by Doshi. The concept was to create an open building that blurs the boundaries between formal and informal spaces while increasing interaction with nature. These images emphasize the natural geological forms to highlight the biomorphic qualities of the architecture. \nCasebere further explores biomorphic forms in Patio with Blue Sky and School to create works that focus on the integration of natural and synthetic elements\, in an interpretation of Burkinabé-German architect Francis Kéré’s (b.1965) “Startup Lions Campus” in Kenya. Greenhouse\, extends the bio-morphic design language by merging sculptural forms with natural foliage\, creating a living sculpture set within a pond. Beach Huts (Day) and Beach Huts (Night)\, draw on Kéré’s innovative complex in Burkina Faso. These photographs depict colorful huts that explore themes of community and the needs of marginalized populations\, a testament to the dynamic relationship between individual creativity and social group dynamics. Likewise\, Chulah Cookstove is inspired by Pakistani architect Yasmeen Lari’s (b.1941) innovative design\, which highlights the need for elevated outdoor stoves designed to mitigate flooding and improve health in impoverished areas. \nThe exhibition showcases James Casebere’s unique ability to intertwine artistic vision with pressing contemporary issues. In Seeds of Time\, Casebere reflects on the potential of architecture to foster sustainable and socially responsible solutions. His use of water\, both as a symbol and a material\, underscores the delicate balance between human innovation and environmental stewardship. This body of work not only celebrates architectural ingenuity but also challenges us to consider our role in shaping a sustainable future. \nJames Casebere was the winner of the American Academy in Rome Abigail Cohen Rome Prize Fellowship for 2019-20 and has been the recipient of numerous fellowships\, including three from the National Endowment for the Arts\, three from the New York Foundation for the Arts and one from the John Simon Guggenheim Memorial Foundation. His work is permanent collections of institutions including the Whitney Museum of American Art\, New York; the Solomon R. Guggenheim Museum\, New York; the Metropolitan Museum of Art\, New York; the Walker Art Center\, Minneapolis; the Los Angeles Museum of Contemporary Art; the Los Angeles County Museum of Art; and the Victoria and Albert Museum\, London\, England\, among many others. In 2016\, Casebere was a New York Foundation for the Arts Hall of Fame Honoree and the subject of important survey exhibitions: Fugitive at the Haus der Kunst in Munich\, curated by Okwui Enwezor; Immersion at Espace Images Vevey in Switzerland; and After Scale Model: Dwelling in the Work of James Casebere\, at the BOZAR/Centre for Fine Arts in Brussels\, Belgium. James Casebere lives and works in New York. \nShou Sugi Ban A Series of Sculptural Work by James Casebere will open at ‘T’ Space in Rhinebeck\, NY\, during Upstate Art Weekend (July 20 – 21). The exhibition will present a new series of large-scale wooden geometric sculptures that engage notions of synthetic nature: bio-design—or self-generating forms that suggest organic or inorganic growth. The exhibition will be on view until October 13\, 2024. \n  \nFor press\, please contact Adair Lentini at Adair@skny.com \nFor all other inquiries\, please contact Cecile Panzieri at Cecile@skny.com \nImage caption: James Casebere\, Patio with Blue Sky\, 2024\, framed archival pigment print mounted to Dibond\, paper: 57 3/4 x 46 3/4 inches\, framed: 60 9/16 x 49 9/16 x 2 1/4 inches\, edition of 5 with 2 APs © James Casebere Courtesy: the artist and Sean Kelly\, New York/Los Angeles
URL:https://artinamericaguide.com/event/james-casebere-seeds-of-time/
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/2024/06/JC-293-Patio-with-Blue-Sky-2024-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240627
DTEND;VALUE=DATE:20240803
DTSTAMP:20260525T215512
CREATED:20240628T154332Z
LAST-MODIFIED:20240628T154332Z
UID:109161-1719446400-1722643199@artinamericaguide.com
SUMMARY:Ilse D'Hollander: The Color of Shadows
DESCRIPTION:Sean Kelly is delighted to announce The Color of Shadows\, the fifth solo exhibition of Ilse D’Hollander with the gallery. Spanning the latter half of her career\, the exhibition includes a selection of oil paintings from the artist’s estate\, including To Goethe\, 1991\, one of only three known serial bodies of work made by the artist. This exquisite curation of intimate paintings emphasizes the harmonious and transformative essence 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 Wednesday\, June 26\, from 5-7pm. \nDrawing inspiration from Johann Wolfgang von Goethe’s “Theory of Colours\,” 1810\, D’Hollander’s suite of four oil paintings titled To Goethe anchors the exhibition. In his research\, Goethe theorized the complexity of color and how human perception and psychological experience influence its interpretation. In her series\, D’Hollander’s color associations exude a poetic and sensitive quality that invites the viewer to be an active participant by completing the work with their own interpretations. “The viewer who turns [their] gaze on my paintings remains even more fundamental\,” stated D’Hollander. It is with a skillful hand and delicate approach that D’Hollander’s masterful interplay of hues evokes profound connections far beyond the spectrum of color. \nAs a painter\, D’Hollander’s intuition led her to arrive at a practice that combined total abstraction with discernable elements of the natural world. Found within her paintings are the flourishing landscapes of the Flemish countryside rendered with bursts of thick pigments\, resulting in a geometric precision that documents her quaint studio life. D’Hollander’s canvases offer an immersive experience\, where each layer of brushstroke reveals nuanced shifts in hue and delicate lines of color\, illustrating a deep engagement with the dialogue between representation and abstraction. Her refined palette and minimalist compositions underscore a tangible and sensual exploration of the medium\, imbuing each piece with a profound humanistic touch. \nIn her sole written reflection\, D’Hollander 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.” This philosophical approach enabled D’Hollander to traverse seamlessly between subtle representation and pure abstraction\, harmonizing her internal and external artistic realms. Her work invites deep contemplation\, serving as a remarkable testament to the fundamental and generative nature of painting. D’Hollander’s legacy continues to captivate and inspire\, offering a poignant exploration of the interplay between form\, color\, and emotion. \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 Adair Lentini at Adair@skny.com \nFor all other inquiries\, please email Janine Cirincione at Janine@skny.com
URL:https://artinamericaguide.com/event/ilse-dhollander-the-color-of-shadows/
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/2024/06/8081b0bf8d2e6cfa518dacc6890bcb37-2.jpeg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240511
DTEND;VALUE=DATE:20240623
DTSTAMP:20260525T215512
CREATED:20240503T144933Z
LAST-MODIFIED:20240503T144933Z
UID:108088-1715385600-1719100799@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/05/preview1-scaled.jpg
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:20260525T215512
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:20260525T215512
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2024/03/NN-7_Zero258-2023_photo-Bernd-Borchardt_004-scaled.jpg
ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240112
DTEND;VALUE=DATE:20240303
DTSTAMP:20260525T215512
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:20260525T215512
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:20260525T215512
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:20260525T215512
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231109
DTEND;VALUE=DATE:20231229
DTSTAMP:20260525T215512
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:20230908
DTEND;VALUE=DATE:20231029
DTSTAMP:20260525T215512
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;TZID=America/New_York:20230630T100000
DTEND;TZID=America/New_York:20230811T170000
DTSTAMP:20260525T215512
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:20260525T215512
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
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ORGANIZER;CN="Sean Kelly":MAILTO:info@skny.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230428
DTEND;VALUE=DATE:20230618
DTSTAMP:20260525T215512
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230225
DTEND;VALUE=DATE:20230416
DTSTAMP:20260525T215512
CREATED:20230301T180946Z
LAST-MODIFIED:20230301T181017Z
UID:102007-1677283200-1681603199@artinamericaguide.com
SUMMARY:Candida Höfer Heaven on Earth – Curated by Toshiko Mori
DESCRIPTION:Sean Kelly is delighted to present Heaven on Earth\, an exhibition of work by Candida Höfer curated by award-winning architect Toshiko Mori. Spanning nearly thirty years of Höfer’s practice\, Mori has selected images that exemplify the range of spaces Höfer has photographed throughout her career from libraries and museums to public theatres and churches.
URL:https://artinamericaguide.com/event/candida-hofer-heaven-on-earth-curated-by-toshiko-mori/
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/2023/03/CH-08879-Mock-Up-Frame-scaled.jpg
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