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TheArtMarket.NYC
a consortium showcasing art exhibitions for global and local collectors
highlighting galleries in New York City.
EXHIBITIONS ROTATE WEEKLY, SHOWCASING GALLERIES AN AVERAGE OF 6 TIMES PER YEAR,
CONTRIBUTING TO A RELEASE OF 8-12 GALLERY SHOWS EVERY WEEK.
[Based upon individual gallery programming]
RECEIVE UPDATES BEFORE THE GENERAL PUBLIC + GET EXCLUSIVE CONTENT.
JOIN VIP LIST Processing...
December 25, 2020 – January 7, 2021
ONGOING THIS WEEK
VIEW SHOWS
MASSEY KLEIN
BODEGA
GEORGE ADAMS GALLERY
KATHRYN MARKEL
FRIEDRICH PETZEL GALLERY
KARMA
BERRY CAMPBELL
CHEIM & READ
VENUS OVER MANHATTAN
MARGARET THATCHER
MARGARET THATCHER PROJECTSViewing Room
Massey KleinViewing Room
BodegaViewing Room
George Adams GalleryViewing Room
Kathryn Markel Fine ArtsViewing Room
Friedrich Petzel GalleryViewing Room
KarmaViewing Room
Berry CampbellViewing Room
CHEIM & READViewing Room
Venus Over ManhattanViewing Room
MARGARET THATCHER PROJECTSViewing Room
Massey KleinViewing Room
MASSEY KLEIN
Massey Klein is a contemporary art gallery located in the Lower East Side of
NYC.The gallery supports both local and international mid-career and emerging
artists.Husband and wife team, Garrett Klein and Ryan Massey, believe in the
collaborative partnership between artist, gallery, and collector. The gallery
functions as a meeting place where collectors and the general public can
experience carefully curated exhibitions and foster meaningful relationships
with art.
"AN ECHO'S GLYPH"
ARTIST: CATHERINE HAGGARTY
Massey Klein Gallery is pleased to present An Echo's Glyph, a solo exhibition
featuring new paintings by Catherine Haggarty. The gallery is also pleased to
announce, TOAST, a solo exhibition of new work by Leigh Suggs hosted in Massey
Klein’s intimate east gallery room.
Both exhibitions will be on view by appointment from Friday, December 18th until
Saturday, January 30th, 2021. The gallery will host an opening reception day
from 1-6pm on Sunday, December 20th. Please email info@masseyklein.com to
schedule an in-person viewing or visit the gallery’s website to experience a
virtual walk-through of both exhibitions.
* GALLERYMassey Klein
* LOCATION124 Forsyth St. New York, NY 10002
* PHONE1-917-261-4657
* EMAILinfo@masseyklein.com
* WEBSITEwww.masseyklein.com
* SOCIAL@masseykleingallery
Catherine Haggarty, 3 Dolphins , 2020
Oil stick and airbrush on canvas
54 x 38 inches
INQUIRE
Catherine Haggarty, 3 Dolphins , 2020
Oil stick and airbrush on canvas
54 x 38 inches
INQUIRE
Catherine Haggarty , Mime in a Merry-Go-Round, 2020
Oil stick and airbrush on canvas
20 x 16 inches
INQUIRE
Catherine Haggarty , Mime in a Merry-Go-Round, 2020
Oil stick and airbrush on canvas
20 x 16 inches
INQUIRE
CATHERINE HAGGARTY'S PRACTICE EXPLORES THE AMBIGUOUS RELATIONSHIP OF LANGUAGE,
TIME, CONTEXT, AND FORM. USING AIR BRUSH, OIL STICK AND FLUID ACRYLIC, FORMS
REFERENCE ANIMAL PATTERNS, IMPRINTS, AND ANCIENT SYMBOLS THAT CREATE A FICTIONAL
SPACE FOR VIEWERS TO NAVIGATE. SHE IS INTERESTED IN HOW LINES CAN HAVE BOTH
CLEAR AGENCY AND WAVERING AMBIGUITY WHILE BUILDING AN IMAGE - PUSHING BLURRY
IMAGERY AND SATURATED FORMS TOGETHER. HER ARTWORK EXPLORES HOW IMAGES
COMMUNICATE; HOW OUR AUTOMATIC, SUBCONSCIOUS AND STEADFAST ATTENTION CAN COLLIDE
TO CONJURE NEW FORMS, NEW IMAGES AND PERHAPS, NEW UNDERSTANDINGS OF OURSELVES.
Catherine Haggarty , Fermina In Forest, 2020
Oil stick,fluid acrylic and airbrush on canvas
48 x 36 inches
INQUIRE
Catherine Haggarty , Fermina In Forest, 2020
Oil stick,fluid acrylic and airbrush on canvas
48 x 36 inches
INQUIRE
Catherine Haggarty , For Mary Oliver, 2020
Oil stick and airbrush on canvas
48 x 36 inches
INQUIRE
Catherine Haggarty , For Mary Oliver, 2020
Oil stick and airbrush on canvas
48 x 36 inches
INQUIRE
HAGGARTY’S NEWEST BODY OF WORK INCLUDED IN AN ECHO’S GLYPH IS INFORMED BY EARLY
CAVE PAINTINGS IN FRANCE THAT SHE VISITED IN 2019. INSPIRED BY THE ATMOSPHERE
WITHIN THE CAVES AND THE VISCERAL EXPERIENCE OF VIEWING THE PAINTINGS, HER WORK
SEEKS TO CAPTURE THE ESSENCE OF HER SUBJECT MATTER, RATHER THAN PRESENT A CLEAR,
FORMAL OBJECT. ATMOSPHERIC AND ABSTRACT LAYERS BUILD, ORGANICALLY SHIFTING TO
REVEAL GLIMPSES OF AN ANIMAL AND ITS SIGNIFIERS. HAGGARTY INCORPORATES A
VARIATION OF FOOTPRINTS, PATTERNS, AND ANIMAL COATS TO PORTRAY THEMES OF
MOVEMENT AND MIGRATION AS WELL AS ANIMAL CHATTER AND COMMUNICATION. THE
MYSTERIOUS NATURE OF THE ARTIST’S ENVIRONMENTS ENCOURAGE THE VIEWER TO REFLECT
ON THE HUMAN EXPERIENCE AND TIMELESSNESS OF PAINTING.
Catherine Haggarty, Catherine Haggarty, 2020
Oil stick and airbrush on canvas
16 x 20 inches
INQUIRE
Catherine Haggarty, Catherine Haggarty, 2020
Oil stick and airbrush on canvas
16 x 20 inches
INQUIRE
Catherine Haggarty , Fox Mountain, 2020
Oil stick and airbrush on canvas
20 x 16 inches
INQUIRE
Catherine Haggarty , Fox Mountain, 2020
Oil stick and airbrush on canvas
20 x 16 inches
INQUIRE
Catherine Haggarty , Mockingbird, 2020
Oil stick and airbrush on canvas
20 x 16 inches
INQUIRE
Catherine Haggarty , Mockingbird, 2020
Oil stick and airbrush on canvas
20 x 16 inches
INQUIRE
Catherine Haggarty, The History of Cats, 2020
Oil stick and airbrush on canvas
16 x 20 inches
INQUIRE
Catherine Haggarty, The History of Cats, 2020
Oil stick and airbrush on canvas
16 x 20 inches
INQUIRE
CATHERINE HAGGARTY EARNED HER MFA FROM MASON GROSS, RUTGERS UNIVERSITY IN 2011.
CURRENTLY, HAGGARTY IS AN ADJUNCT PROFESSOR AT THE SCHOOL OF VISUAL ARTS AND
ALSO CO-DIRECTS NYC CRIT CLUB. HAGGARTY HAS BEEN A VISITING ARTIST AND LECTURER
AT SUNY PURCHASE, MFA; HUNTER MFA; DENISON UNIVERSITY; BROOKLYN COLLEGE MFA; AND
IN 2018 HAGGARTY WAS THE ANDERSON ENDOWED LECTURER AT PENN STATE UNIVERSITY. THE
ARTIST’S PAINTINGS AND CURATORIAL WORK HAVE BEEN REVIEWED BY AND FEATURED IN
HYPERALLERGIC, TWO COATS OF PAINT, BROOKLYN MAGAZINE, THE NEW YORK TIMES, MAAKE
MAGAZINE, ART MAZE MAGAZINE, ART SPIEL, SOUND AND VISION PODCAST, AMONG OTHERS.
BODEGA
Bodega opened on the Lower East Side of New York in 2014. Its founders and
directors are Elyse Derosia and Eric Veit. The gallery grew out of an earlier
project of the same name which ran from 2010–2013 in Philadelphia.
"ADD SHOT"
ARTIST: WHITNEY CLAFLIN
Fabric paint on a former skirt, various paints and magazine clippings on linen,
a found patch on found fabric, Nat Sherman’s MCDs and ash with ink on enamel on
fabric, oil on linen with sequins and glitter on an older sanded down painting
from 2015.
Through all the material oscillations in Whitney’s work, it’s often useful to
think of the work as “mostly painting.” Similarly, the gallery in ADD SHOT is
“mostly a gallery,” but the Whitney-esque avatar listening to a 20 minute mix of
club, folk punk, pop, and hardcore wearing a custom printed vintage polo that
says “LOVE” on the back also turns the gallery into a Barneys-meets-thrift store
retail space.
* GALLERYBodega
* LOCATION167 Rivington St.Lower Level East,New York, NY 10002
* PHONE1-212-928-0252
* EMAILinfo@bodega-us.org
* WEBSITEwww.bodega-us.org
* SOCIAL@bodega__
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
75 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
75 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
76 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
76 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
NEARBY, A PAINTED FRAME ON A SMALL LANDSCAPE PAINTING CENTERED OVER THE RADIATOR
IS A CUTE NOD TO UPPER EAST SIDE DOMESTICITY AND A PHOTOCOPY WHEAT PASTED TO THE
WALL SLIGHTLY BELOW THE CENTER HANGING LINE OF THE REST OF THE GALLERY (A $5
EACH EDITION OF 100) RECALLS THE EARNEST MORALISM OF A DIY MUSIC SCENE.
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
77 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
77 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
78 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
78 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
79 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
Whitney Claflin, Mime in a Merry-Go-Round, 2020
Custom shirt, skirt, bra, underwear, bag, mannequin, plinth, 20:18 audio mix,
headphones
79 x 59 x 53 in
(190.5 x 149.9 x 134.6 cm)
INQUIRE
THE POWER OF WHITNEY’S WORK AND THE SHAPE OF THIS EXHIBITION IS THAT THE WORK
FUNCTIONS LIKE A GUIDE, A MIX TAPE OF ITS OWN SORT, ASKING YOU TO CONSIDER ONE
THING AND THEN THE NEXT WHILE YOU STILL HAVE THE LAST THING STUCK IN YOUR HEAD.
THERE’S A OMINOUS BEAUTY IN VAMP U.S.A., A PAINTING OF DRIPPY RED AND NEEDLEY
BLUE LINES OVER A WHITE SPIRAL THAT STAYS IN YOUR HEAD IF YOU THEN TURN TO THE
HAPPY YELLOW PAINTING OF A BEAUTIFULLY RENDERED KITTY LICKING ITS PAW, A
PAINTING IMBUED WITH OPTIMISTIC LOVE. IT’S THESE TENSIONS THAT POINT US BACK AND
FORTH THROUGH THE GALLERY AND THROUGHOUT THE WORK.
Whitney Claflin, All signal, no noise (!!!), 2020
Fabric paint on former skirt
11 x 16 in
(27.9 x 40.6 cm)
INQUIRE
Whitney Claflin, All signal, no noise (!!!), 2020
Fabric paint on former skirt
11 x 16 in
(27.9 x 40.6 cm)
INQUIRE
Whitney Claflin, All signal, no noise (!!!), 2020
Fabric paint on former skirt
11 x 16 in
(27.9 x 40.6 cm)
INQUIRE
Whitney Claflin, All signal, no noise (!!!), 2020
Fabric paint on former skirt
11 x 16 in
(27.9 x 40.6 cm)
INQUIRE
Whitney Claflin, Life (‘s like this), 2020
Nat Sherman’s MCDs, ash, alcohol ink, enamel on found fabric
20 x 30 in
(50.8 x 76.2 cm)
INQUIRE
Whitney Claflin, Life (‘s like this), 2020
Nat Sherman’s MCDs, ash, alcohol ink, enamel on found fabric
20 x 30 in
(50.8 x 76.2 cm)
INQUIRE
Whitney Claflin, I prefer walking (Veeza), 2020
Oil, ink, enamel, eye shadow, glitter, sequins on linen
48 x 36 in
(121.9 x 91.4 cm)
INQUIRE
Whitney Claflin, I prefer walking (Veeza), 2020
Oil, ink, enamel, eye shadow, glitter, sequins on linen
48 x 36 in
(121.9 x 91.4 cm)
INQUIRE
WHITNEY GIVES BODY TO CONFLICT, AMPLIFIES SUBJECTIVITY, AND HIGHLIGHTS THE
FEEDBACK-LOOPING MAXIMALLISMS OF THE MOMENT. PERHAPS NOW IS THE TIME TO ADD A
SHOT, WHETHER IT’S ESPRESSO TO YOUR LATTE, OR TEQUILA TO YOUR TEXAS SIZE FAMOUS
FROZEN RASPBERRY MARGARITA.
Whitney Claflin, Spaces, 2020
Oil and ink on linen
12 x 16 in
(30.5 x 40.6 cm)
INQUIRE
Whitney Claflin, Spaces, 2020
Oil and ink on linen
12 x 16 in
(30.5 x 40.6 cm)
INQUIRE
Whitney Claflin, Life (‘s like this), 2020
Nat Sherman’s MCDs, ash, alcohol ink, enamel on found fabric
20 x 30 in
(50.8 x 76.2 cm)
INQUIRE
Whitney Claflin, Life (‘s like this), 2020
Nat Sherman’s MCDs, ash, alcohol ink, enamel on found fabric
20 x 30 in
(50.8 x 76.2 cm)
INQUIRE
Whitney Claflin, LOVE (!!!), 2020
Found patch on found fabric
32 x 30 in
(81.3 x 76.2 cm)
INQUIRE
Whitney Claflin, LOVE (!!!), 2020
Found patch on found fabric
32 x 30 in
(81.3 x 76.2 cm)
INQUIRE
Whitney Claflin, LOVE (!!!), 2020
Found patch on found fabric
32 x 30 in
(81.3 x 76.2 cm)
INQUIRE
Whitney Claflin, LOVE (!!!), 2020
Found patch on found fabric
32 x 30 in
(81.3 x 76.2 cm)
INQUIRE
Whitney Claflin, three stars/ one rose (night sky/ a wall), 2020
Oil, acrylic, ink, carbon transfer, fabric paint, colored pencil on linen
11 x 16 in
(27.9 x 40.6 cm)
INQUIRE
Whitney Claflin, three stars/ one rose (night sky/ a wall), 2020
Oil, acrylic, ink, carbon transfer, fabric paint, colored pencil on linen
11 x 16 in
(27.9 x 40.6 cm)
INQUIRE
Whitney Claflin, Stranger Danger, 2020
Photocopy on paper
Edition of 100, 8.5 x 11 in
(21.6 x 27.9 cm)
INQUIRE
Whitney Claflin, Stranger Danger, 2020
Photocopy on paper
Edition of 100, 8.5 x 11 in
(21.6 x 27.9 cm)
INQUIRE
Whitney Claflin, Sigh Co., 2020
Magazine clipping on knife
75 x 8 x .5 in
(1.9 x 20.3 x 1.3 cm)
INQUIRE
Whitney Claflin, Sigh Co., 2020
Magazine clipping on knife
75 x 8 x .5 in
(1.9 x 20.3 x 1.3 cm)
INQUIRE
WHITNEY CLAFLIN (B. 1983, PROVIDENCE, RI) LIVES AND WORKS IN NEW YORK, NY.
RECENT SOLO EXHIBITIONS INCLUDE DREI, COLOGNE; CENTRAL FINE, MIAMI; REAL FINE
ARTS, BROOKLYN; AND GREEN GALLERY, MILWAUKEE. RECENT GROUP EXHIBITIONS INCLUDE
BODEGA, NEW YORK; GALERIE BUCHHOLZ, NEW YORK; CROY NIELSEN, VIENNA; GREENE
NAFTALI GALLERY, NEW YORK; MITCHELL ALGUS GALLERY, NEW YORK; AND DAWID
RADZISZEWSKI, WARSAW.
GEORGE ADAMS GALLERY
The George Adams Gallery traces its origin to the Allan Frumkin Gallery founded
in Chicago in 1952 and New York in 1959. George Adams’ association with the New
York gallery began in 1980, when Mr. Adams and Mr. Frumkin formed a partnership,
Frumkin/Adams Gallery, in 1988. Upon Mr. Frumkin’s retirement in 1995, the
gallery assumed its present identity of George Adams Gallery. In 2005, after 46
years on 57th Street, the gallery relocated to West 26th Street in Chelsea.
"DRAWN FROM LIFE: WORKS ON PAPER, 1970-1976"
ARTIST: JOAN BROWN
The George Adams Gallery is pleased to present Joan Brown: Drawn From Life, an
exhibition of works on paper spanning the years 1970 to 1976. Coinciding with
the 30th anniversary of Brown’s death, on October 26th, 1990, this exhibition
looks back to one of the most fruitful periods of Brown’s career from the
perspective of her drawings from the model.
Highly experimental, unstudied and boldly rendered, they reveal that drawing was
a mode Brown used as a form of practice, to allow herself to come to the canvas
instinctually and without preparation. The exhibition will include over a dozen
works ranging from simple line drawings to more fully rendered paintings on
paper - several of which Joan had set aside for her personal collection and
never before exhibited. A new publication, fully illustrated, focusing on
Brown’s drawings - the first - will accompany the exhibition with contributions
by Jenelle Porter, Eva Rivlin and Tamsin Smith and an introduction by George
Adams.
* GALLERYGeorge Adams Gallery
* LOCATION531 West 26th Street,First Floor,New York, NY 10001
* PHONE1-212 564 8480
* EMAILinfo@georgeadamsgallery.com
* WEBSITEwww.georgeadamsgallery.com
* SOCIAL@georgeadamsgallery
Joan Brown, Model in Studio, 1973
Graphite,acrilyc,ink and collage on paper
54x45 inches
JBRd191
INQUIRE
Joan Brown, Model in Studio, 1973
Graphite,acrilyc,ink and collage on paper
54x45 inches
JBRd191
INQUIRE
Joan Brown, Figure#13, 1970
Graphite on paper
35x22 1/2 inches
JBRd139
INQUIRE
Joan Brown, Figure#13, 1970
Graphite on paper
35x22 1/2 inches
JBRd139
INQUIRE
JOAN BROWN CAME TO PROMINENCE AROUND 1960, WHILE IN HER EARLY TWENTIES AND IN
GRADUATE SCHOOL, AS PART OF THE SECOND GENERATION OF BAY AREA FIGURATIVE
PAINTERS. HOWEVER, BY 1969 SHE HAD TRANSFORMED HERSELF INTO A RADICALLY
DIFFERENT ARTIST, ONE WHO WOULD COME TO BE DEFINED BY HER INDIVIDUALISM. IN THE
SEVERAL YEARS FOLLOWING, BROWN DEVOTED MUCH OF HER TIME TO DRAWING -
PREDOMINANTLY FROM A MODEL IN THE STUDIO.
Joan Brown, Figure#11, 1970
Ink on paper
22 1/2x35 inches
JBRd 182
INQUIRE
Joan Brown, Figure#11, 1970
Ink on paper
22 1/2x35 inches
JBRd 182
INQUIRE
THIS WAS A COMMUNAL ACTIVITY - WORKING ALONGSIDE FRIENDS AND CONTEMPORARIES SUCH
AS MANUEL NERI, ELMER BISCHOFF, GORDON COOK OR ROBERT ARNESON, SHE TOOK THESE
SESSIONS AS A WAY TO “GET INTO, OR FEEL, OR GET MESMERIZED BY, OR INVESTIGATE AN
IMAGE THAT I WANTED TO PAINT. I WOULD DO MANY DRAWINGS UNTIL I GOT FAMILIAR WITH
THE IMAGE… IT’S THE SAME WITH GETTING TO KNOW THE FIGURE.”
Joan Brown, Figure#25, 1970
Ink on paper with collage
35x22 1/2 inches
JBRd176
INQUIRE
Joan Brown, Figure#25, 1970
Ink on paper with collage
35x22 1/2 inches
JBRd176
INQUIRE
Joan Brown, Figure#39, 1970
Graphite on paper
35x22 1/2 inches
JBRd145
INQUIRE
Joan Brown, Figure#39, 1970
Graphite on paper
35x22 1/2 inches
JBRd145
INQUIRE
THE PROGRESSION OF HER DRAWINGS FROM 1970 ONWARDS SUGGESTS THIS PROCESS OF
FAMILIARIZATION. THOUGH THE EARLIEST ARE RENDERED IN THE BRIEFEST STROKES OF
GRAPHITE OR INK, BY 1972 A LIMITED PALETTE OF RED, BLACK AND WHITE ACRYLIC IS
INTRODUCED - THE SHORTHAND BROWN NEEDED TO DIFFERENTIATE FLESH FROM FURNITURE
AND TO BLOCK OUT GRAPHIC PATTERNS AND OUTLINES. IN DRAWINGS SUCH AS MODEL +
MIRROR IN STUDIO, 1972, THE COMPOSITION TAKES PRIMACY WITH ALL BUT THE KEY
ELEMENTS PAINTED OVER IN GLOSSY BLACK INK.
Joan Brown, Model with reflection in window, 1972
Acrylic,ink and graphite on paper
36x24 inches
JBRd150
INQUIRE
Joan Brown, Model with reflection in window, 1972
Acrylic,ink and graphite on paper
36x24 inches
JBRd150
INQUIRE
Joan Brown, Model + Artist, 1972
Acrylic,ink and graphite on paper
40 1/4 x26 inches
JBRd152
INQUIRE
Joan Brown, Model + Artist, 1972
Acrylic,ink and graphite on paper
40 1/4 x26 inches
JBRd152
INQUIRE
Joan Brown, Model + mirror in studio, 1972
Acrylic,ink and graphite on paper
20x38inches
JBRd 151
INQUIRE
Joan Brown, Model + mirror in studio, 1972
Acrylic,ink and graphite on paper
20x38inches
JBRd 151
INQUIRE
THE CULMINATION OF THESE STUDIO DRAWINGS IS THE MARY JULIA SERIES BROWN
COMPLETED OVER THE COURSE OF 1976, BASED ON THE MODEL MARY JULIA, A LONG-TIME
COLLABORATOR OF NERI’S. ALL SHOW MARY JULIA VARIOUSLY COSTUMED IN THE OUTFITS
SHE WOULD BRING TO THEIR SESSIONS, GIVING A PLAYFUL, NARRATIVE QUALITY TO THE
SERIES WITH HER FILLING THE ROLE OF THE EVERY-WOMAN: VULNERABLE, CONFIDENT AND
BEGUILING.
Joan Brown, Model with Table with Wheels, 1973
Acrylic,ink and graphite on paper
24x36 inches
JBRd 156
INQUIRE
Joan Brown, Model with Table with Wheels, 1973
Acrylic,ink and graphite on paper
24x36 inches
JBRd 156
INQUIRE
Joan Brown, Models and Crates, 1973
Graphite, acrylic and ink on paper
45x28 1/2 inches
JBRd192
INQUIRE
Joan Brown, Models and Crates, 1973
Graphite, acrylic and ink on paper
45x28 1/2 inches
JBRd192
INQUIRE
Joan Brown, Model with drowings, 1973
Graphite, acrylic and ink on paper
45x28 1/2 inches
JBRd190
INQUIRE
Joan Brown, Model with drowings, 1973
Graphite, acrylic and ink on paper
45x28 1/2 inches
JBRd190
INQUIRE
THIS LITERAL DOCUMENTATION OF TIME, AS WELL AS THE NOTION OF TIME IN THE MORE
EPHEMERAL SENSE, TAKE UP EQUAL SPACE IN THE PAINTINGS.
Joan Brown, Model with Ladder and Cupboard, 1973
Ink ,acrylic and graphite on paper
45x28 1/2 inches
JBRd195
INQUIRE
Joan Brown, Model with Ladder and Cupboard, 1973
Ink ,acrylic and graphite on paper
45x28 1/2 inches
JBRd195
INQUIRE
Joan Brown, Model in Studio, 1974
Graphite,ink and acrylic on paper
45x28 1/2 inches
JBRd188
INQUIRE
Joan Brown, Model in Studio, 1974
Graphite,ink and acrylic on paper
45x28 1/2 inches
JBRd188
INQUIRE
AFTER 1974 BROWN BEGAN TO USE MORE COLOR, THOUGH HER CONVENTION OF THE PINK
FIGURE CONTINUED. THESE LATER DRAWINGS ARE MORE FULLY REALIZED, WITH DEFINED
SETTINGS OR CONVERSELY, MINIMAL, SILHOUETTED COMPOSITIONS AKIN TO THOSE IN HER
PAINTINGS FROM AROUND THIS TIME.
Joan Brown, Model Resting, 1975
Acrylic, graphite oil pastel on paper
36x24 inches
JBRd162
INQUIRE
Joan Brown, Model Resting, 1975
Acrylic, graphite oil pastel on paper
36x24 inches
JBRd162
INQUIRE
Joan Brown, Celeste#2, 1976
Acrylic,graphite on paper
36x24 1/8 inches
JBRd167
INQUIRE
Joan Brown, Celeste#2, 1976
Acrylic,graphite on paper
36x24 1/8 inches
JBRd167
INQUIRE
THE CULMINATION OF THESE STUDIO DRAWINGS IS THE MARY JULIA SERIES BROWN
COMPLETED OVER THE COURSE OF 1976, BASED ON THE MODEL MARY JULIA, A LONG-TIME
COLLABORATOR OF NERI’S. ALL SHOW MARY JULIA VARIOUSLY COSTUMED IN THE OUTFITS
SHE WOULD BRING TO THEIR SESSIONS, GIVING A PLAYFUL, NARRATIVE QUALITY TO THE
SERIES WITH HER FILLING THE ROLE OF THE EVERY-WOMAN: VULNERABLE, CONFIDENT AND
BEGUILING.
KATHRYN MARKEL FINE ARTS
Kathryn Markel Fine Arts specialized in works on paper - both original prints
and unique works of art on paper such as watercolor, collage, and pastel with
the addition of paintings by the young avant-garde.
"DETRITUS"
ARTIST: MAEVE D’ARCY
Kathryn Markel Fine Arts is pleased to present Detritus, an exhibition of new
paintings by Maeve D’Arcy. The show marks the artist’s first solo exhibition
with the gallery.
531 West 26th Street,First Floor,New York, NY 10001
* GALLERYKathryn Markel Fine Arts
* LOCATION529 West 20th, Suite 6W,New York, NY 10011
* PHONE1-212-366-5368
* EMAILmarkel@markelfinearts.com
* WEBSITEwww.markelfinearts.com
* SOCIAL@markelfinearts
Maeve D’Arcy, CRANBERRY SAUCE SHRINE, 2020
oil on canvas
36 x 48 in.
dar028
$ 6,000.00
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Maeve D’Arcy, CRANBERRY SAUCE SHRINE, 2020
oil on canvas
36 x 48 in.
dar028
$ 6,000.00
INQUIRE
THIS LITERAL DOCUMENTATION OF TIME, AS WELL AS THE NOTION OF TIME IN THE MORE
EPHEMERAL SENSE, TAKE UP EQUAL SPACE IN THE PAINTINGS.
Maeve D’Arcy, THE GAMESHOW NETWORK, 2020
oil on panel
36 x 48 in.
dar030
$ 6,000.00
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Maeve D’Arcy, THE GAMESHOW NETWORK, 2020
oil on panel
36 x 48 in.
dar030
$ 6,000.00
INQUIRE
SWATHS OF COLOR, INTERRUPTED BY VIVID OBJECTS, ARE IN DIALOGUE WITH WAVES OF
DOTS AND LINES. THIS DYNAMIC VISUAL HARMONY IS CRAFTED THROUGH A CAREFUL PROCESS
OF ADDITION, AND EVERY NEW ELEMENT ALTERS WHAT D’ARCY REFERS TO AS THE “TEMPO”
OF THE PAINTING. THE DOTS, LINES, AND GESTURES OFFER A MEDITATION ON MEMORIES,
FLASHBACKS, DAYDREAMS, OR NIGHTMARES. THEY REPRESENT PARTS OF A WHOLE, SNIPPETS
OF SOMETHING LARGER, DIFFERENT MOODS, CHAPTERS, VIGNETTES, AND EPIC POEMS. THE
WORK IS INTIMATE AND AUTOBIOGRAPHICAL, A COLLECTION OF OBSERVATIONS AND
EXCLAMATIONS.
Maeve D’Arcy, COLD CUTS, 2020
acrylic and oil on panel
40 x 40 in.
dar024
$ 5,500.00
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Maeve D’Arcy, COLD CUTS, 2020
acrylic and oil on panel
40 x 40 in.
dar024
$ 5,500.00
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Maeve D’Arcy, DO THE RIGHT THING, 2020
acrylic on panel
24 x 24 in.
dar032
$ 3,500.00
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Maeve D’Arcy, DO THE RIGHT THING, 2020
acrylic on panel
24 x 24 in.
dar032
$ 3,500.00
INQUIRE
MAEVE D’ARCY HAS EXHIBITED HER WORK IN NEW YORK, LONDON, AND IRELAND, MOST
RECENTLY IN A TWO PERSON SHOW AT LAZY SUSAN GALLERY IN 2019, A TWO PERSON SHOW
AT TOPAZ ARTS IN 2018 AND A TWO PERSON SHOW AT ILLE ARTS IN 2016.
Maeve D’Arcy, PLEASE BE KIND REWIND, 2020
acrylic on panel
24 x 24 in.
dar031
$ 3,500.00
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Maeve D’Arcy, PLEASE BE KIND REWIND, 2020
acrylic on panel
24 x 24 in.
dar031
$ 3,500.00
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Maeve D’Arcy, FRANK SINATRA'S MOTHER, 2020
acrylic and spray paint on panel
50 x 50 in.
dar034
$ 7,200.00
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Maeve D’Arcy, FRANK SINATRA'S MOTHER, 2020
acrylic and spray paint on panel
50 x 50 in.
dar034
$ 7,200.00
INQUIRE
SHE EARNED HER MA IN FINE ART FROM CENTRAL SAINT MARTINS, LONDON, AND A BA FROM
CUNY BACCALAUREATE FOR UNIQUE AND INTERDISCIPLINARY STUDIES WHERE SHE RECEIVED
THE THOMAS W. SMITH ACADEMIC FELLOWSHIP, AND THE DIEGO HIDALGO SCHOLARSHIP FOR
THE ARTS.
Maeve D’Arcy, FRAGILE COWBOYS, 2020
acrylic on panel
24 x 24 in.
dar033
$ 3,500.00
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Maeve D’Arcy, FRAGILE COWBOYS, 2020
acrylic on panel
24 x 24 in.
dar033
$ 3,500.00
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Maeve D’Arcy, POSSUM PRIEST IN THE BOROUGH OF QUEENS, 2020
acrylic on panel
36 x 36 in.
dar027
$ 5,000.00
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Maeve D’Arcy, POSSUM PRIEST IN THE BOROUGH OF QUEENS, 2020
acrylic on panel
36 x 36 in.
dar027
$ 5,000.00
INQUIRE
SHE HAS ATTENDED MANY RESIDENCIES INCLUDING JENTEL AND VIRGINIA CENTER FOR THE
CREATIVE ARTS, AND EARLIER THIS YEAR AT YADDO IN SARATOGA SPRINGS. IN AN EFFORT
TO SUPPORT THE BLACK LIVES MATTER MOVEMENT, D’ARCY WILL BE DONATING A PERCENTAGE
OF ALL SALES TO THE OKRA PROJECT, A COLLECTIVE THAT ASSISTS THE BLACK TRANS
COMMUNITY WITH VITAL RESOURCES.
Maeve D’Arcy, COFFEE CAKE, 2020
acrylic on panel
12 x 12 in.
dar025
$ 1,750.00
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Maeve D’Arcy, COFFEE CAKE, 2020
acrylic on panel
12 x 12 in.
dar025
$ 1,750.00
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Maeve D’Arcy, TEETH FALLING OUT DREAM, 2020
acrylic on panel
12 x 12 in.
dar026
$ 1,750.00
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Maeve D’Arcy, TEETH FALLING OUT DREAM, 2020
acrylic on panel
12 x 12 in.
dar026
$ 1,750.00
INQUIRE
FRIEDRICH PETZEL GALLERY
Friedrich Petzel Gallery, founded in 1994, first opened on Wooster Street in the
Soho area of New York City. In 2000, the gallery moved to 537 West 22nd Street
in Chelsea and in 2006 expanded to include a separate space next door dedicated
to smaller exhibitions, artists' projects, and performances. In Fall 2008,
Friedrich Petzel Gallery opened a joint gallery with Galerie Gisela Capitain,
Cologne. This new gallery, called Capitain Petzel, is housed in a glass-encased
gallery located in Mitte section of Berlin and presents exhibitions of
established international artists.
"SELF MUST DIE"
ARTIST: DEREK FORDJOUR
Petzel Gallery is pleased to present SELF MUST DIE, a solo exhibition event by
New York-based artist Derek Fordjour.
The show, Fordjour’s first with the gallery, is an offering of creative labor in
response to our current moment, a deeply personal and collective state of
anxiety around death and hyper-visible racial violence. It examines the nature
of martyrdom, vulnerabilities inherent to living in a Black body, performance of
competency, and the liminal space existing between autonomy and control.
* GALLERYFriedrich Petzel Gallery
* LOCATION456 W 18th Street,New York, New York 10011
* PHONE1-212-680-9467
* EMAILinfo@petzel.com
* WEBSITEwww.petzel.com
* SOCIAL@petzelgallery
Derek Fordjour, Pall Bearers, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
102.25x74.25inches
254x182.9cm
INQUIRE
Derek Fordjour, Pall Bearers, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
102.25x74.25inches
254x182.9cm
INQUIRE
Derek Fordjour, Chorus of Maternal grief, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
80x72inches
203.2x182.9cm
INQUIRE
Derek Fordjour, Chorus of Maternal grief, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
80x72inches
203.2x182.9cm
INQUIRE
IN SELF MUST DIE, FORDJOUR INTERROGATES THE INEVITABILITY OF ACTUAL DEATH, MADE
MORE URGENT BY THE REALITIES OF A GLOBAL PANDEMIC, AND POINTS TO THE
ASPIRATIONAL DEATH OF THE ARTIST’S EGO BROUGHT INTO FOCUS BY A BURGEONING
CAREER. IT IS BOTH CULTURAL MANIFESTO AND PERSONAL DECLARATION.
Derek Fordjour, Prossecion(after Ellis Wilson), 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
76.5x115inches
194.3x292.1cm
INQUIRE
Derek Fordjour, Prossecion(after Ellis Wilson), 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
76.5x115inches
194.3x292.1cm
INQUIRE
THE SHOW IS COMPRISED OF THREE PARTS: VESTIBULE, A SITE-SPECIFIC SCULPTURAL
INSTALLATION; FLY AWAY, A LIVE PUPPETRY ART PERFORMANCE; AND A SUITE OF NEW
PAINTINGS.
Derek Fordjour, Eulogy, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
74.25x50.25inches
182.9x12.9cm
INQUIRE
Derek Fordjour, Eulogy, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
74.25x50.25inches
182.9x12.9cm
INQUIRE
Derek Fordjour, Freehand Blackball Tondo 50, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
48.25inches diametr
122.6cm
INQUIRE
Derek Fordjour, Freehand Blackball Tondo 50, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
48.25inches diametr
122.6cm
INQUIRE
VESTIBULE OFFERS A COLLECTION OF SCULPTURAL OBJECTS IMBUED WITH BIBLICAL
ALLEGORY AND THE SPIRIT OF JAMES CONE’S BLACK THEOLOGY OF LIBERATION. IT
REFASHIONS THE GALLERY AS A SECULAR YET SACRED SPACE OF MEMORIAL. AMONG ITS
FEATURES, THE SMALL ENTRY COMPELS VISITORS TO UNDERGO A DESTABILIZING BODILY
SHIFT THAT ELICITS AN INTIMATE AND REORIENTING EXPERIENCE.
Derek Fordjour, Ascention, 2020
resin,plaster,soil,cayenne papper,acrylic,steel and found object
85x22.5inches
215.9x57.2cm
INQUIRE
Derek Fordjour, Ascention, 2020
resin,plaster,soil,cayenne papper,acrylic,steel and found object
85x22.5inches
215.9x57.2cm
INQUIRE
Derek Fordjour, Domicile, 2020
fabric,wire,clay,acrylic,dirt,electric wire,light bulb,battery,wood and found
object
38x15.5inches
96.5x39.4cm
INQUIRE
Derek Fordjour, Domicile, 2020
fabric,wire,clay,acrylic,dirt,electric wire,light bulb,battery,wood and found
object
38x15.5inches
96.5x39.4cm
INQUIRE
A DIRECTIONAL LIGHT FROM ABOVE SLOWLY COMBS THE ENTIRE ROOM, INVOKING BOTH
SEARCHLIGHT AND SPOTLIGHT, IDEAS CENTRAL TO THE RECENT DEATH OF BREONNA TAYLOR.
CONSTRUCTED OF BITUMINOUS COAL AND WROUGHT IRON, TAYLOR MEMORIAL HANGS FROM
ABOVE.
Derek Fordjour, Barrier Stall, 2020
resin and brass
48x26.5x26.5inches
121.9x67.3x67.3cm
INQUIRE
Derek Fordjour, Barrier Stall, 2020
resin and brass
48x26.5x26.5inches
121.9x67.3x67.3cm
INQUIRE
Derek Fordjour, Contrapposto(Teal), 2020
resin,brass,walnut wood
33.25x19x18inches
84.5x48.3x45.7cm
INQUIRE
Derek Fordjour, Contrapposto(Teal), 2020
resin,brass,walnut wood
33.25x19x18inches
84.5x48.3x45.7cm
INQUIRE
FLY AWAY, A COLLABORATION BETWEEN FORDJOUR AND AWARD-WINNING PUPPETEER NICK
LEHANE, IS PERFORMED BY A STELLAR CAST, WITH AN ORIGINAL SCORE COMPOSED BY JOHN
AYLWARD AND PERFORMED LIVE BY OBOIST HASSAN ANDERSON. THE PUPPET IS A
FORDJOUR-DESIGNED, HAND-SCULPTED FIGURE CRAFTED BY ROBERT MALDONADO.
Derek Fordjour, Taylor Memorial, 2020
resin,steel and coal
32x19x19inches
81.3x48.3x48.3cm
INQUIRE
Derek Fordjour, Taylor Memorial, 2020
resin,steel and coal
32x19x19inches
81.3x48.3x48.3cm
INQUIRE
Derek Fordjour, Nocturnal, 2020
resin,coal,brass,fiberboard and live cremon flowers
38x25.25x12inches
96.5x64.1x30.5cm
INQUIRE
Derek Fordjour, Nocturnal, 2020
resin,coal,brass,fiberboard and live cremon flowers
38x25.25x12inches
96.5x64.1x30.5cm
INQUIRE
THE PROTAGONIST’S NARRATIVE ARC RISES AND FALLS ALONG A JOURNEY OF PERSONAL
DISCOVERY. LARGER THEMES THAT COURSE THROUGH FORDJOUR’S BODY OF WORK BECOME
RESONANT. FLY AWAY PERFORMANCES ARE SCHEDULED AT 2PM AND 5PM DAILY. TICKETS ARE
FREE AND AVAILABLE UPON REQUEST. FOR ADDITIONAL INFORMATION ON SCHEDULING,
COVID-19 SAFETY PRECAUTIONS AND RESERVATIONS, PLEASE VISIT FLYAWAYSHOW.COM.
Derek Fordjour, Birmingham Steel, 2020
resin,nickel,steel,birch,walnut wood,velvet,globe lights,wax
40.25x28x13.75inches
102.2x71.1x34.9cm
INQUIRE
Derek Fordjour, Birmingham Steel, 2020
resin,nickel,steel,birch,walnut wood,velvet,globe lights,wax
40.25x28x13.75inches
102.2x71.1x34.9cm
INQUIRE
Derek Fordjour, Sunrise Cotton, 2020
resin,steel,synthetic fur,wool,suede fibers,handblown glass,copper leaf and
fiber board
40x28x10inches
101.6x71.1x25.4cm
INQUIRE
Derek Fordjour, Sunrise Cotton, 2020
resin,steel,synthetic fur,wool,suede fibers,handblown glass,copper leaf and
fiber board
40x28x10inches
101.6x71.1x25.4cm
INQUIRE
SPANNING TWO GALLERIES ARE SEVERAL NEW PAINTINGS, EXECUTED IN FORDJOUR’S
SIGNATURE COLLAGE TECHNIQUE, REPRESENTING THE LATEST DEVELOPMENTS IN HIS STUDIO
PRACTICE. THE FIRST IS A SUITE OF PAINTINGS BASED ON BLACK FUNERARY TRADITION.
THE SECOND GALLERY PRESENTS A BROAD RANGE OF SUBJECTS INCLUDING SEVERAL AT
MONUMENTAL SCALE.
Derek Fordjour, STRWMN, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
221.6x170.8cm
INQUIRE
Derek Fordjour, STRWMN, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
221.6x170.8cm
INQUIRE
Derek Fordjour, The Detriment of Autonomy, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
218.4x165.1cm
INQUIRE
Derek Fordjour, The Detriment of Autonomy, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
218.4x165.1cm
INQUIRE
ABOUT DEREK FORDJOUR:DEREK FORDJOUR WAS BORN IN MEMPHIS, TENNESSEE, IN 1974 TO
PARENTS OF GHANAIAN HERITAGE. FORDJOUR EARNED HIS BA AT MOREHOUSE COLLEGE, MA IN
ART EDUCATION AT HARVARD UNIVERSITY AND AN MFA IN PAINTING AT HUNTER COLLEGE.
HIS WORK HAS BEEN EXHIBITED AT NOTABLE INSTITUTIONS NATIONALLY AND
INTERNATIONALLY.
Derek Fordjour, Showtime!, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
108x140inches
274.3x355.6cm
INQUIRE
Derek Fordjour, Showtime!, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
108x140inches
274.3x355.6cm
INQUIRE
Derek Fordjour, Cadence, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
78.75x117.25inches
200x297.8cm
INQUIRE
Derek Fordjour, Cadence, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
78.75x117.25inches
200x297.8cm
INQUIRE
HE RECEIVED COMMISSIONS FOR PUBLIC PROJECTS INCLUDING A PERMANENT INSTALLATION
FOR METROPOLITAN TRANSIT AUTHORITY OF NEW YORK CITY AT 145TH STREET SUBWAY
STATION AND THE WHITNEY MUSEUM’S BILLBOARD PROJECT. HE WAS AWARDED 2016 SUGAR
HILL CHILDREN’S MUSEUM ARTIST-IN-RESIDENCE, THE 2017 SHARPE-WALENTAS STUDIO
PROGRAM IN NEW YORK CITY, AND NAMED RECIPIENT OF THE 2018 DEUTSCHE BANK NYFA
FELLOWSHIP AWARD. HIS WORK HAS BEEN REVIEWED IN THE NEW YORK TIMES, FINANCIAL
TIMES, THE LOS ANGELES TIMES, AND HYPERALLERGIC.
Derek Fordjour, Freehand Blackball Tondo 50, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
48.25inches diametr
122.6cm
INQUIRE
Derek Fordjour, Freehand Blackball Tondo 50, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
48.25inches diametr
122.6cm
INQUIRE
Derek Fordjour, Ascention, 2020
resin,plaster,soil,cayenne papper,acrylic,steel and found object
85x22.5inches
215.9x57.2cm
INQUIRE
Derek Fordjour, Ascention, 2020
resin,plaster,soil,cayenne papper,acrylic,steel and found object
85x22.5inches
215.9x57.2cm
INQUIRE
Derek Fordjour, Domicile, 2020
fabric,wire,clay,acrylic,dirt,electric wire,light bulb,battery,wood and found
object
38x15.5inches
96.5x39.4cm
INQUIRE
Derek Fordjour, Domicile, 2020
fabric,wire,clay,acrylic,dirt,electric wire,light bulb,battery,wood and found
object
38x15.5inches
96.5x39.4cm
INQUIRE
Derek Fordjour, Barrier Stall, 2020
resin and brass
48x26.5x26.5inches
121.9x67.3x67.3cm
INQUIRE
Derek Fordjour, Barrier Stall, 2020
resin and brass
48x26.5x26.5inches
121.9x67.3x67.3cm
INQUIRE
Derek Fordjour, Contrapposto(Teal), 2020
resin,brass,walnut wood
33.25x19x18inches
84.5x48.3x45.7cm
INQUIRE
Derek Fordjour, Contrapposto(Teal), 2020
resin,brass,walnut wood
33.25x19x18inches
84.5x48.3x45.7cm
INQUIRE
HE HAS ALSO BEEN FEATURED IN SEVERAL PUBLICATIONS SUCH AS THE WALL STREET
JOURNAL, VANITY FAIR AND FORBES MAGAZINE. FORDJOUR WAS RECENTLY APPOINTED THE
ALEX KATZ CHAIR OF PAINTING AT THE COOPER UNION AND SERVES AS A CORE CRITIC AT
YALE UNIVERSITY SCHOOL OF ART. HIS WORK ALSO APPEARS IN SEVERAL COLLECTIONS
INCLUDING THE STUDIO MUSEUM OF HARLEM, BROOKLYN MUSEUM, PEREZ MUSEUM, DALLAS
MUSEUM OF ART, THE WHITNEY MUSEUM AND LACMA.
Derek Fordjour, Taylor Memorial, 2020
resin,steel and coal
32x19x19inches
81.3x48.3x48.3cm
INQUIRE
Derek Fordjour, Taylor Memorial, 2020
resin,steel and coal
32x19x19inches
81.3x48.3x48.3cm
INQUIRE
Derek Fordjour, Nocturnal, 2020
resin,coal,brass,fiberboard and live cremon flowers
38x25.25x12inches
96.5x64.1x30.5cm
INQUIRE
Derek Fordjour, Nocturnal, 2020
resin,coal,brass,fiberboard and live cremon flowers
38x25.25x12inches
96.5x64.1x30.5cm
INQUIRE
Derek Fordjour, Birmingham Steel, 2020
resin,nickel,steel,birch,walnut wood,velvet,globe lights,wax
40.25x28x13.75inches
102.2x71.1x34.9cm
INQUIRE
Derek Fordjour, Birmingham Steel, 2020
resin,nickel,steel,birch,walnut wood,velvet,globe lights,wax
40.25x28x13.75inches
102.2x71.1x34.9cm
INQUIRE
Derek Fordjour, Sunrise Cotton, 2020
resin,steel,synthetic fur,wool,suede fibers,handblown glass,copper leaf and
fiber board
40x28x10inches
101.6x71.1x25.4cm
INQUIRE
Derek Fordjour, Sunrise Cotton, 2020
resin,steel,synthetic fur,wool,suede fibers,handblown glass,copper leaf and
fiber board
40x28x10inches
101.6x71.1x25.4cm
INQUIRE
Derek Fordjour, STRWMN, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
221.6x170.8cm
INQUIRE
Derek Fordjour, STRWMN, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
221.6x170.8cm
INQUIRE
Derek Fordjour, The Detriment of Autonomy, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
218.4x165.1cm
INQUIRE
Derek Fordjour, The Detriment of Autonomy, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
218.4x165.1cm
INQUIRE
Derek Fordjour, JUGGLR, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
92.25x74.25inches
234.3x188.6cm
INQUIRE
Derek Fordjour, JUGGLR, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
92.25x74.25inches
234.3x188.6cm
INQUIRE
Derek Fordjour, Six Ring Stance, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
221.6x170.8cm
INQUIRE
Derek Fordjour, Six Ring Stance, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
87.25x67.25inches
221.6x170.8cm
INQUIRE
Derek Fordjour, The Futility of Achievement, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
77.25x142.25inches
196.2x361.3cm
INQUIRE
Derek Fordjour, The Futility of Achievement, 2020
acrylic,charcoal,cardboard,oil pastel and foil on newspaper mounted on canvas
77.25x142.25inches
196.2x361.3cm
INQUIRE
KARMA
Karma is a gallery in the East Village of New York City. Founded by Brendan
Dugan in 2011 Karma was originally located in a small storefront in the West
Village, New York. Starting in 2015, Karma’s focus shifted from project-based
exhibitions towards formal artist representation. The gallery program has always
been a mixture of young, established, and under-recognized artists as well as
artists’ estates. Karma plans to continue this diverse program as the formal
roster continues to develop.
"BALLIN’ THE JACK"
ARTIST: LOUISE FISHMAN
Karma is pleased to present Ballin’ the Jack, a solo exhibition by Louise
Fishman. The exhibition consists of two new bodies of work: oil paintings
created in her studio in New York City and watercolors made at her home upstate.
* GALLERYKarma
* LOCATION188 East 2nd Street,New York, NY 10009
* PHONE1-212- 390-8290
* EMAILinfo@karmakarma.org
* WEBSITEwww.karmakarma.org
* SOCIAL@karmakarma9
Louise Fishman, Dugout, 2020
oil on linen
70 × 110 inches
177.8 × 279.4 cm
INQUIRE
Louise Fishman, Dugout, 2020
oil on linen
70 × 110 inches
177.8 × 279.4 cm
INQUIRE
THE EXHIBITION CELEBRATES THE ATHLETIC FERVOR AND GENRE-BENDING ACCOMPLISHMENTS
OF FISHMAN’S PRACTICE. BEGINNING HER PRACTICE AT THE HEIGHT OF ABSTRACT
EXPRESSIONISM, FISHMAN ASSERTED HERSELF AS A QUEER FEMINIST JEWISH WOMAN WITHIN
THE ARTISTIC MILIEU OF THE TIME.
Louise Fishman, Mondrian's Grave, 2018
oil on linen
110 × 70 inches
279.4 × 177.8 cm
INQUIRE
Louise Fishman, Mondrian's Grave, 2018
oil on linen
110 × 70 inches
279.4 × 177.8 cm
INQUIRE
Louise Fishman, A La Recherche, 2018
oil on linen
66 × 55 inches
167.64 × 139.7 cm
INQUIRE
Louise Fishman, A La Recherche, 2018
oil on linen
66 × 55 inches
167.64 × 139.7 cm
INQUIRE
HER CALLIGRAPHIC MARK-MAKING, ATMOSPHERIC SPACES, AND MUSCULAR ARTICULATIONS
RECOUNT THE URGENCY OF HER SELF-EXPRESSION, AND SPEAK TO THE SENTIMENT OF
“BALLIN’ THE JACK.”
Louise Fishman, Choral Fantasy, 2018
oil on linen
66 × 55 inches
167.64 × 139.7 cm
INQUIRE
Louise Fishman, Choral Fantasy, 2018
oil on linen
66 × 55 inches
167.64 × 139.7 cm
INQUIRE
Louise Fishman, Clear, Unruffled and Calm, 2019
oil on linen
40 × 40 inches
101.6 × 101.6 cm
INQUIRE
Louise Fishman, Clear, Unruffled and Calm, 2019
oil on linen
40 × 40 inches
101.6 × 101.6 cm
INQUIRE
AFTER RELOCATING TO UPSTATE NEW YORK THIS SPRING, FISHMAN’S WORK DREW INFLUENCE
FROM HER NEW PASTORAL SETTING. ENERGIZED BY THE CHANGE, HER SMALL-SCALE
WATERCOLORS CELEBRATE THE BEAUTY OF THE COUNTRYSIDE AND DISPLAY A REFRESHING
POETIC SENSIBILITY.
Louise Fishman, Mantra, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
Louise Fishman, Mantra, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
Louise Fishman, Ayzn, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
Louise Fishman, Ayzn, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
BALLIN’ THE JACK CHARTS A BEFORE AND AFTER: A MATERIAL RECORD OF THIS SHIFT IN
THE ARTIST’S VISION.
Louise Fishman, Ballin' the Jac, 2019
oil on linen
74 × 86 inches
187.96 × 218.44 cm
INQUIRE
Louise Fishman, Ballin' the Jac, 2019
oil on linen
74 × 86 inches
187.96 × 218.44 cm
INQUIRE
Louise Fishman, Weather, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
Louise Fishman, Weather, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
FISHMAN’S PAINTINGS FUSE GESTURAL ABSTRACTION WITH GEOMETRIC MINIMALISM, OFTEN
FEATURING HER HALLMARK GRID MOTIF. UNLIKE THE GRIDS OF MONDRIAN AND LEWITT,
FISHMAN’S ARE SCULPTURAL, YET EVANESCENT—AT TIMES OVERT AND AT OTHERS SUBTLE.
RIGID RECTANGLES OF PAINT GIVE WAY TO AIRY HASH MARKS, WHICH FADE INTO THE
BACKGROUND AS FISHMAN REWORKS THE SURFACE. FISHMAN HAS REFERRED TO HER
COMPOSITIONS AS A “BREATHING SYSTEM,” UNDERSCORING THE INFLUENCE OF MEDITATION
ON HER PRACTICE.
Louise Fishman, Unbinding, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
Louise Fishman, Unbinding, 2020
oil on linen
36 × 24 inches
91.44 × 60.96 cm
INQUIRE
Louise Fishman, Too Much, Too Much, 2020
oil on linen
66 × 57 inches
167.64 × 144.78 cm
INQUIRE
Louise Fishman, Too Much, Too Much, 2020
oil on linen
66 × 57 inches
167.64 × 144.78 cm
INQUIRE
WHILE THESE ABSTRACTIONS DO NOT CHRONICLE FISHMAN’S LIFE, THEIR PRODUCTION IS
INFORMED BY HER PRIVATE, POLITICAL, AND CULTURAL ENCOUNTERS. THE WORKS ARE
INFUSED WITH THE LITERATURE, MUSIC, EMOTIONS, AND PHILOSOPHIES THAT MOVE HER.
CHORAL FANTASY IS TITLED AFTER THE BEETHOVEN COMPOSITION PLAYING WHILE FISHMAN
WAS WORKING; UNBINDING REFERS TO THE VIPASSANA BUDDHIST NOTION OF “UNBINDING”
THE MIND; A LA RECHERCHE WAS DOUBLY INSPIRED BY HER MOTHER’S FAVORITE WRITER AND
BY A PROUSTIAN PLAY SHE ATTENDED.
Louise Fishman, Untitled, 2020
watercolor on paper
4 × 6 inches 9⅜ × 11⅜ inches
10.2 × 15.2 cm23.8 × 28.9 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
4 × 6 inches 9⅜ × 11⅜ inches
10.2 × 15.2 cm23.8 × 28.9 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
4 × 6 inches,9⅜ × 11⅜ inches
10.2 × 15.2 cm,23.8 × 28.9 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
4 × 6 inches,9⅜ × 11⅜ inches
10.2 × 15.2 cm,23.8 × 28.9 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
18 × 24 inches,23½ × 29⅜ inches
45.7 × 61 cm,59.7 × 74.6 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
18 × 24 inches,23½ × 29⅜ inches
45.7 × 61 cm,59.7 × 74.6 cm (framed)
INQUIRE
Louise Fishman, The Art of Losing, 2020
watercolor on paper
18 × 24 inches,23½ × 29⅜ inches
45.72 × 60.96 cm,59.7 × 74.6 cm (framed)
INQUIRE
Louise Fishman, The Art of Losing, 2020
watercolor on paper
18 × 24 inches,23½ × 29⅜ inches
45.72 × 60.96 cm,59.7 × 74.6 cm (framed)
INQUIRE
THE ARTIST UTILIZES THE ROBUST GESTURES OF ABSTRACT EXPRESSIONISM NOT IN SPITE
OF ITS MASCULINE ROOTS, BUT, IN PART, BECAUSE OF THEM. THROUGH PAINTINGS SUCH AS
MONDRIAN’S GRAVE, FISHMAN SUBVERTS WHAT HELEN MOLESWORTH HAS CALLED THE “FIELD
OF GENDERED LANGUAGE” THAT HAS OFTEN BEEN USED TO HISTORICIZE ABSTRACTION.
SPLATTERS, SFUMATO, IMPASTO, AND SCRATCHES—FISHMAN’S CANVASES ARE TROWELED,
SCRAPED, AND PEELED, EXUDING A FORCEFUL PHYSICALITY.
Louise Fishman, Untitled, 2020
watercolor and ProBlack
10¼ × 14 inches,15⅝ × 19½ inches
26 × 35.6 cm,39.7 × 49.5 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor and ProBlack
10¼ × 14 inches,15⅝ × 19½ inches
26 × 35.6 cm,39.7 × 49.5 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
4 3⁄4 × 9 1⁄2 inches,9⅜ × 11⅜ inches
12 × 24.1 cm, 23.8 × 28.9 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
4 3⁄4 × 9 1⁄2 inches,9⅜ × 11⅜ inches
12 × 24.1 cm, 23.8 × 28.9 cm (framed)
INQUIRE
THE VISUAL LANGUAGE OF DUGOUT TESTIFIES TO THE STRENUOUS ACTIVITY BEHIND
FISHMAN’S CREATIONS; HEAVY BLENDS OF OIL PAINT, SKIMS OF COLOR, AND JAGGED
TEXTURES ARE INTERWOVEN WITH RAUCOUS CACOPHONY. ITS LAYERING OF TEXTURES
PRODUCES A RECESSIVE, SPATIAL QUALITY. THE SURFACE IS BROKEN INTO A MULTITUDE OF
PLANES: FLAT BLOCKS OF MUTED GREENS, BROWNS, AND REDS ARE THICKLY LAID DOWN WITH
THE EDGE OF A PALETTE KNIFE.
Louise Fishman, Untitled, 2020
watercolor,Sumi ink on coffee filter
11½ × 12 inches,17 × 18 inches,
29.2 × 30.5 cm,43.2 × 45.7 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor,Sumi ink on coffee filter
11½ × 12 inches,17 × 18 inches,
29.2 × 30.5 cm,43.2 × 45.7 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
Sumi ink on paper
8 × 8 inches,13¼ × 13¼ inches,
20.3 × 20.3 cm,33.7 × 33.7 cm
INQUIRE
Louise Fishman, Untitled, 2020
Sumi ink on paper
8 × 8 inches,13¼ × 13¼ inches,
20.3 × 20.3 cm,33.7 × 33.7 cm
INQUIRE
BLURS AND SCRATCHES RECORD HORIZONTAL MOVEMENT: THE ACTIVITY OF A SWEEPING HAND.
AS SUZAN FRECON WRITES, “ONE CAN PERHAPS THINK OF MUSICAL DIMENSIONS WHILE
TRYING TO DESCRIBE [FISHMAN’S WORKS], FROM VERY LOUD, SMASHING CRESCENDOS, TO
THE WHISPER FINESSE OF A DRIBBLE OR CARESS OF PAINT, DIRECTLY FROM HER
MIND-PASSION-HAND, APPLIED WITH VARIED AND UNORTHODOX PAINTING TOOLS SUCH AS
TROWELS, VARIOUS PAINTING KNIVES, AND MANY COMMON IMPLEMENTS FOUND IN HARDWARE
STORES AND ON NYC’S OLD CANAL STREET.”
Louise Fishman, Untitled, 2020
watercolor on paper
12¼ × 16 inches,17⅝ × 21½ inches
31.1 × 40.6 cm,44.8 × 54.6 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
12¼ × 16 inches,17⅝ × 21½ inches
31.1 × 40.6 cm,44.8 × 54.6 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
9 × 12 inches,15 × 18 inches
22.9 × 30.5 cm,38.1 × 45.7 cm (frame
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on paper
9 × 12 inches,15 × 18 inches
22.9 × 30.5 cm,38.1 × 45.7 cm (frame
INQUIRE
THE SWEEPING VIEWS OF FISHMAN’S UPSTATE SETTING INSPIRED A NEW, BUCOLIC
VERNACULAR. HER LYRICAL SMALL-SCALE WATERCOLOR PAINTINGS REFLECT THIS AGRESTIC
CHANGE OF SCENERY. EARTHEN TONES, FLUID AND STIPPLED MARKS—ALL EVOKE THE COLORS
AND SURFACE CHARACTERISTICS OF SOIL, ROCKS, TREES, AND FLOWERS. AERATED,
ETHEREAL BLUE WASHES ALLUDE TO COUNTRY BROOKS AND STREAMS; FLECKS OF RED AND
GREEN SLASHES ECHO FLORAL IMAGERY.
Louise Fishman, Untitled, 2020
watercolor & Sumi Ink on paper
10¼ × 14⅛ inches,20 × 16 inches
26 × 35.9 cm,50.8 × 40.6 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor & Sumi Ink on paper
10¼ × 14⅛ inches,20 × 16 inches
26 × 35.9 cm,50.8 × 40.6 cm (framed)
INQUIRE
FISHMAN’S ATMOSPHERIC BRUSHWORK IS EFFERVESCENT AND VIVACIOUS. UNRELENTINGLY
EMOTIVE, THE COLLECTED PAINTINGS OF BALLIN’ THE JACK EVOKE FISHMAN’S ENERGETIC,
COMPASSIONATE VISION.
Louise Fishman, Untitled, 2020
watercolor on found paper
8½ × 11 inches,13¾ × 16⅜inches
21.6 × 28 cm,34.9 × 41.6 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on found paper
8½ × 11 inches,13¾ × 16⅜inches
21.6 × 28 cm,34.9 × 41.6 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on found paper
8½ × 11 inches,13¾ × 16⅜inches
21.6 × 28 cm,34.9 × 41.6 cm (framed)
INQUIRE
Louise Fishman, Untitled, 2020
watercolor on found paper
8½ × 11 inches,13¾ × 16⅜inches
21.6 × 28 cm,34.9 × 41.6 cm (framed)
INQUIRE
THE EXHIBITION IS ACCOMPANIED BY A DEFINITIVE, COMPREHENSIVE MONOGRAPH OF AROUND
500 WORKS SPANNING FROM THE 1950S TO THE PRESENT DAY. THE PUBLICATION ARCHIVES
THE DEVELOPMENT OF THE ARTIST’S VISUAL VERNACULAR, AND INCLUDES NARRATIVES BY
SUZAN FRECON, BERTHA HARRIS, ARUNA D’SOUZA, ANDREW SUGGS, JOHN YAU, AN ESSAY
PUBLISHED BY THE ARTIST, AND TWO NEWLY COMMISSIONED TEXTS FROM DEBRA SINGER AND
JOSEPHINE HALVORSON.
BERRY CAMPBELL
Berry Campbell - Christine Berry and Martha Campbell have many parallels in
their backgrounds and interests. Both studied art history in college, began
their careers in the museum world, and later worked together at a major gallery
in midtown Manhattan. Most importantly, however, Berry and Campbell share a
curatorial vision.
"HARMONIES (PAINTINGS FROM THE 1980S)"
ARTIST: JOHN OPPER
Berry Campbell Gallery is pleased to announce a finely curated exhibition of
paintings from the 1980s by the renowned New York School painter, John Opper
(1908-1994). Active as a painter for over six decades, Opper evolved from
creating abstract gestural works, in which he drew inspiration from the natural
world, to a pure form of abstraction.
* GALLERYBerry Campbell
* LOCATION530 West 24th Street,New York, NY 10011
* PHONE1-212-924-2178
* EMAILinfo@berrycampbell.com
* WEBSITEwww.berrycampbell.com
* SOCIAL@berrycampbell
John Opper, Untitled(AMA-12), 1985
acrylic on canvas
56 1/4x50 1/4in
(142.9x126.6cm)OPP-00055
INQUIRE
John Opper, Untitled(AMA-12), 1985
acrylic on canvas
56 1/4x50 1/4in
(142.9x126.6cm)OPP-00055
INQUIRE
John Opper, Untitled (#31), 1984-86
Acrylic on canvas
66 x 60 1/4 in.
(167.6 x 153 cm)OPP-00058
INQUIRE
John Opper, Untitled (#31), 1984-86
Acrylic on canvas
66 x 60 1/4 in.
(167.6 x 153 cm)OPP-00058
INQUIRE
BY THE MID-1980S, OPPER WAS BUILDING ON AND COMBINING HIS EARLIER STYLISTIC
MODES, CREATING WORKS WITH A VIBRATING QUALITY OF CONTROLLED MOVEMENT. RICH
YELLOWS, DEEP REDS, BRIGHT GREENS, AND SKY BLUES CHALLENGE, BUT DO NOT INTRUDE
ON EACH OTHER. EACH COLOR IS COMPOSED OF SOPHISTICATED TONAL VARIATIONS, NOT
WITH THE PURPOSE OF DELINEATING FOREGROUND AND BACKGROUND, BUT INSTEAD REVEALING
A HARMONIOUS SYNTHESIS OF OTHERWORLDLY SPACE. JOHN OPPER: HARMONIES IS ON VIEW
AT BERRY CAMPBELL IN CHELSEA FROM NOVEMBER 19, 2020 THROUGH DECEMBER 23, 2020.
THE GALLERY IS OPEN WITH REGULAR FALL HOURS, TUESDAY – SATURDAY, 10 AM – 6 PM.
John Opper, Untitled (A18), 1984-86
Acrylic on canvas
66 1/4 x 66 in.
(168.3 x 167.6 cm)OPP-00066
INQUIRE
John Opper, Untitled (A18), 1984-86
Acrylic on canvas
66 1/4 x 66 in.
(168.3 x 167.6 cm)OPP-00066
INQUIRE
John Opper, Untitled (A12), 1984-87
Acrylic on canvas
66 x 66 1/4 in.
(167.6 x 168.3 cm)OPP-00056
INQUIRE
John Opper, Untitled (A12), 1984-87
Acrylic on canvas
66 x 66 1/4 in.
(167.6 x 168.3 cm)OPP-00056
INQUIRE
ABOUT THE ARTIST BORN IN 1908 IN CHICAGO, OPPER MOVED WITH HIS FAMILY TO
CLEVELAND, OHIO, IN 1916. IN HIGH SCHOOL, HE BEGAN STUDYING ART AS WELL AS
TAKING A CORRESPONDENCE COURSE IN COMMERCIAL ART AND ATTENDING CLASSES AT THE
CLEVELAND MUSEUM OF ART.[I] INSPIRED BY THE PAINTINGS HE SAW AT THE CLEVELAND
MUSEUM, INCLUDING THOSE BY THE ASHCAN SCHOOL PAINTERS GEORGE BELLOWS AND ROBERT
HENRI, OPPER ABANDONED THE IDEA OF BECOMING A COMMERCIAL ARTIST. AFTER
GRADUATING FROM HIGH SCHOOL, HE ENROLLED IN THE CLEVELAND SCHOOL OF ART (NOW
CLEVELAND INSTITUTE OF ART). THE SCHOOL AT THAT TIME HAD A HIGHLY TRADITIONAL
CURRICULUM, BUT OPPER WAS PULLED IN A MODERN DIRECTION BY A VISIT TO THE
PITTSBURGH INTERNATIONAL EXPOSITION IN 1928, WHERE HE SAW THE WORK OF PICASSO,
MATISSE, BRAQUE, AND OTHER ABSTRACT PAINTERS FOR THE FIRST TIME.
John Opper, Untitled (AMA 3) , 1985
Acrylic on canvas
68 1/8 x 72 1/4 in.
(173 x 183.5 cm)OPP-00053
INQUIRE
John Opper, Untitled (AMA 3) , 1985
Acrylic on canvas
68 1/8 x 72 1/4 in.
(173 x 183.5 cm)OPP-00053
INQUIRE
John Opper, Untitled (AMA-5), 1985
Acrylic on canvas
68 1/2 x 60 1/4 in.
(174 x 153 cm)OPP-00054
INQUIRE
John Opper, Untitled (AMA-5), 1985
Acrylic on canvas
68 1/2 x 60 1/4 in.
(174 x 153 cm)OPP-00054
INQUIRE
DISSATISFIED WITH THE CLEVELAND SCHOOL OF ART, OPPER SPENT A YEAR IN CHICAGO,
TAKING CLASSES AT THE ART INSTITUTE OF CHICAGO. HE RETURNED TO CLEVELAND, WHERE
HE STUDIED AT WESTERN RESERVE UNIVERSITY (NOW CASE WESTERN RESERVE), RECEIVING
HIS B.S. IN 1931. BY THAT TIME, THE DEPRESSION HAD STRUCK. REMAINING IN
CLEVELAND, OPPER TAUGHT AFTERNOON AND EVENING METALWORKING AND SKETCHING CLASSES
AT THE KARAMU SETTLEMENT HOUSE, THE OLDEST AFRICAN AMERICAN THEATER IN THE
UNITED STATES. IN THE 1920S INTO THE 1930S, THE HOUSE, WHICH BECAME KNOWN AS THE
PLAYHOUSE SETTLEMENT, DREW ACTORS, DANCERS, ARTISTS, AND PRINTMAKERS.
John Opper, Untitled, 1986
Acrylic on canvas
64 1/4 x 68 1/4 in.
(163.2 x 173.3 cm)OPP-00063
INQUIRE
John Opper, Untitled, 1986
Acrylic on canvas
64 1/4 x 68 1/4 in.
(163.2 x 173.3 cm)OPP-00063
INQUIRE
John Opper, Untitled (B-24), 1988
Acrylic on canvas
69 x 62 in.
(175.3 x 157.5 cm)OPP-00057
INQUIRE
John Opper, Untitled (B-24), 1988
Acrylic on canvas
69 x 62 in.
(175.3 x 157.5 cm)OPP-00057
INQUIRE
FOLLOWING HIS GRADUATION FROM WESTERN RESERVE, OPPER HOPED TO GO TO NEW YORK.
THIS BECAME POSSIBLE IN 1933. HOWEVER, HAVING HEARD THAT GLOUCESTER,
MASSACHUSETTS, WAS “A NICE SPOT TO PAINT,” OPPER WENT THERE FIRST, RESIDING IN A
FISHERMAN’S HOUSE.[II] IN GLOUCESTER, HE SHOWED HIS WORK TO HANS HOFMANN, WHO
WAS TEACHING AT THE SCHOOL RUN THERE BY ERNEST THURN.
Louise Fishman, Untitled (AM 10), 1987-88
Acrylic on canvas
60 1/4 x 66 in.
153 x 167.6 cm)OPP-00071
INQUIRE
Louise Fishman, Untitled (AM 10), 1987-88
Acrylic on canvas
60 1/4 x 66 in.
153 x 167.6 cm)OPP-00071
INQUIRE
Louise Fishman, Amagansett (AM-5), 1987-88
Acrylic on canvas
60 1/4 x 66 in.
(167.6 x 198.1 cm)OPP-00062
INQUIRE
Louise Fishman, Amagansett (AM-5), 1987-88
Acrylic on canvas
60 1/4 x 66 in.
(167.6 x 198.1 cm)OPP-00062
INQUIRE
HOFMANN ENCOURAGED OPPER TO WORK “IN A MORE MODERN VEIN AND START FINDING WHAT
IT’S ALL ABOUT.”[III] FOLLOWING THIS ADVICE, OPPER WENT FROM GLOUCESTER TO NEW
YORK. THERE HE AND ANOTHER ARTIST FROM CLEVELAND, EDWARD KAUFMAN, STARTED A
MAIL-ORDER CLUB OF AMERICAN AND BRITISH PRINTS, WHICH THEY MOSTLY PRINTED
THEMSELVES, TO DISTRIBUTE TO SCHOOLS AND MUSEUMS. WITH AN OFFICE ON FIFTH
AVENUE, THEY MADE A PORTFOLIO OF NINE ARTISTS, INCLUDING LOUIS LOZOWICK, WANDA
GAG, AND KARL HOFER. SHORTLY AFTER MOVING TO NEW YORK, OPPER MARRIED HIS
HIGH-SCHOOL SWEETHEART ESTELLE HAUSMAN.
Louise Fishman, Untitled, 1988
Acrylic on canvas
68 x 80 in.
(172.7 x 203.2 cm) OPP-00065
INQUIRE
Louise Fishman, Untitled, 1988
Acrylic on canvas
68 x 80 in.
(172.7 x 203.2 cm) OPP-00065
INQUIRE
BY THE MID-1930S, HE HAD JOINED THE WPA EASEL DIVISION. OPPER CREDITED THE WPA
EXPERIENCE WITH INTRODUCING HIM TO NEW MODERN IDEAS. TO ADVANCE FURTHER IN THIS
DIRECTION, HE ATTENDED THE 57TH STREET SCHOOL HOFMANN HAD ESTABLISHED AFTER
LEAVING THE ART STUDENTS LEAGUE. LOOKING BACK AT HIS TIME AT THE SCHOOL, OPPER
FELT THAT BEYOND HOFMANN’S TEACHING, MOST ADVANTAGEOUS WAS HIS CONTACT WITH
FELLOW ARTISTS, INCLUDING BYRON BROWNE, ROSALIND BENGELSDORF, AND GEORGE MCNEIL.
AT THE TIME, HE ALSO MET GIORGIO CAVALLON AND THE SCULPTOR WILFRID ZOGBAUM.
John Opper, Untitled (#12), 1988
Acrylic on canvas
66 1/4 x 62 in.
(168.3 x 157.5 cm)OPP-00059
INQUIRE
John Opper, Untitled (#12), 1988
Acrylic on canvas
66 1/4 x 62 in.
(168.3 x 157.5 cm)OPP-00059
INQUIRE
John Opper, Untitled (AM-8), 1988
Acrylic on canvas
66 x 60 in.
(167.6 x 152.4 cm) OPP-00060
INQUIRE
John Opper, Untitled (AM-8), 1988
Acrylic on canvas
66 x 60 in.
(167.6 x 152.4 cm) OPP-00060
INQUIRE
IN 1936, OPPER WAS A FOUNDING MEMBER OF THE AMERICAN ABSTRACT ARTISTS, ALONG
WITH BALCOMB AND GERTRUDE GREENE. THE ORGANIZATION WAS FORMED TO PROVIDE AN
OPPORTUNITY FOR ARTISTS TO SHOW ABSTRACT WORKS AT A TIME WHEN THERE WERE FEW
OTHER OPPORTUNITIES TO DO SO. OPPER HAD HIS FIRST SOLO SHOW IN 1937. HELD AT THE
ARTISTS’ GALLERY IN NEW YORK, IT DISPLAYED A “COLLOQUIAL FLAVOR” AND
“IMAGINATIVE COLOR” AS NOTED BY A REVIEWER FOR ART NEWS. THE REVIEWER DESCRIBED
THE WORKS ON VIEW AS SUGGESTIVE DEPICTIONS OF “EAST RIVER TUGBOATS, OLD GARAGES,
AND SCENES AROUND MANHATTAN.”[IV] DURING HIS SUMMER IN GLOUCESTER IN 1933, OPPER
CAME TO KNOW MILTON AVERY. PAINTING IN AVERY’S INFORMAL STUDIO IN NEW YORK CITY
THE FOLLOWING WINTER, HE BECAME ACQUAINTED WITH ADOLPH GOTTLIEB AND MARK ROTHKO.
OPPER PARTICIPATED IN A COUPLE OF SHOWS DURING THE 1930S OF THE AMERICAN ARTISTS
CONGRESS AGAINST WAR AND FASCISM, WHOSE PRESIDENT WAS STUART DAVIS. ABOUT THE
SAME PERIOD, OPPER JOINED THE ARTISTS’ UNION AND SERVED AS THE BUSINESS MANAGER
OF ITS PUBLICATION, ART FRONT. “WITH THE WPA, YOU GOT TOGETHER WHETHER IT WAS
THE [ARTISTS’] UNION OR THE [AMERICAN ARTISTS’] CONGRESS OR WHETHER IT WAS A
BAR…AND YOU TALKED ABOUT ART, AND HEARD ABOUT IMPORTANT ARTISTS, AND YOU BEGAN
TO LIVE ART.”[V]
Louise Fishman, Untitled (K), 1988
Acrylic on canvas
44 x 56 in.
(111.8 x 142.2 cm) OPP-00067
INQUIRE
Louise Fishman, Untitled (K), 1988
Acrylic on canvas
44 x 56 in.
(111.8 x 142.2 cm) OPP-00067
INQUIRE
Louise Fishman, Untitled (BOW-4), 1988
Acrylic on canvas
56 1/4 x 80 1/4 in.
(142.9 x 203.8 cm)OPP-00064
INQUIRE
Louise Fishman, Untitled (BOW-4), 1988
Acrylic on canvas
56 1/4 x 80 1/4 in.
(142.9 x 203.8 cm)OPP-00064
INQUIRE
DURING WORLD WAR II, OPPER WORKED FOR A SHIP DESIGN COMPANY, CREATING DRAWINGS
FOR PIPING SYSTEMS USED FOR PT BOATS. IN 1945, HE LEFT NEW YORK FOR A TEACHING
JOB AT WOMEN’S COLLEGE, UNIVERSITY OF NORTH CAROLINA. HE THEN TAUGHT AT THE
UNIVERSITY OF WYOMING, FOLLOWED BY THE UNIVERSITY OF ALABAMA, TUSCALOOSA, BEFORE
RETURNING TO NEW YORK IN 1949, WHERE HE TAUGHT AT COLUMBIA UNIVERSITY AND
COMPLETED HIS DOCTORATE. IN THE EVENING, HE TAUGHT AT THE PRATT INSTITUTE, IN
THE COMPANY OF SEVERAL LEADING NEW YORK ARTISTS, INCLUDING FRANZ KLINE AND TONY
SMITH. IT WAS DURING HIS YEARS AWAY FROM NEW YORK THAT OPPER BEGAN TO CREATE
PURELY ABSTRACT WORKS. HE HAD BEEN UNABLE TO DO SO EARLIER BECAUSE HE HAD BEEN
TORN “BETWEEN THE NEEDS OF THE SOCIETY AND THE NEEDS OF WAR ON THE ONE HAND, AND
WHAT I FELT WERE THE AESTHETIC NEEDS OF PAINTING.”[VI]
John Opper, Untitled (4-88), 1988
Acrylic on canvas
66 x 60 in.
(167.6 x 152.4 cm)OPP-00061
INQUIRE
John Opper, Untitled (4-88), 1988
Acrylic on canvas
66 x 60 in.
(167.6 x 152.4 cm)OPP-00061
INQUIRE
John Opper, Untitled (AMA 15), 1988
Acrylic on canvas
54 x 58 in.
(137.2 x 147.3 cm)OPP-00070
INQUIRE
John Opper, Untitled (AMA 15), 1988
Acrylic on canvas
54 x 58 in.
(137.2 x 147.3 cm)OPP-00070
INQUIRE
HOWEVER, HE GRADUALLY CAME TO BELIEVE THAT WHAT IS ESSENTIAL TO ART “IS THAT
WHICH CHANGES . . . THE LANGUAGE AND THE SUBSTANCE OF IT.”[VII] WITH A WIFE AND
TWO CHILDREN, OPPER AGAIN LEFT THE CITY BETWEEN 1952 AND 1957, WHEN HE RETURNED
THE UNIVERSITY OF NORTH CAROLINA AT GREENSBORO. DESPITE HIS ABSENCE FROM NEW
YORK CITY, OPPER MADE FREQUENT TRIPS BACK, NEVER FAILING TO GATHER WITH FRIENDS
SUCH AS KLINE, PHILIP GUSTON, GRACE HARTIGAN, AND WILLEM DE KOONING AT THE CEDAR
BAR. IN 1955, OPPER HAD A SOLO EXHIBITION OF ABSTRACT WORKS AT EGAN GALLERY IN
NEW YORK. IN A REVIEW IN ART NEWS, PARKER TYLER REFERRED TO OPPER AS A
“SUBSTANTIAL MEMBER OF THE NEW YORK SCHOOL” WHO HAD EXPLOITED “ITS FUSION OF
FREE RHYTHMS AND HIEROGLYPHICS WITH CUBISM’S STANDARD ANALYSIS OF SPACE AND
OBJECT.”[VIII] BY THE SUMMER OF 1957, OPPER WAS BACK IN NEW YORK CITY, WHERE HE
JOINED THE FACULTY OF NEW YORK UNIVERSITY, REMAINING UNTIL HE RETIRED IN 1974 AS
PROFESSOR EMERITUS. OPPER FOUND A LARGE STUDIO IN A FORMER YMCA BUILDING ON THE
BOWERY. HE PARTITIONED OFF THE THIRD-FLOOR SPACE INTO TWO STUDIOS AND OFFERED
THE SECOND SPACE TO JAMES BROOKS. WHEN ROTHKO RECEIVED THE FOUR SEASONS
COMMISSION, OPPER SUGGESTED HE USE THE EMPTY GYM, WHICH HE DID. WHEN OPPER HAD A
HEART ATTACK IN 1966, HE MOVED ONE FLOOR DOWN TO MINIMIZE THE FLIGHTS OF STAIRS
RATHER THAN GIVE UP HIS STUDIO, WHICH HE KEPT UNTIL HE DIED. THE ILLNESS ALSO
MADE HIM SWITCH PERMANENTLY FROM OIL TO ACRYLIC PAINT.
Louise Fishman, Cleveland, 1990
Acrylic on canvas
56 x 124 1/4 in.
(142.2 x 315.6 cm)OPP-00068
INQUIRE
Louise Fishman, Cleveland, 1990
Acrylic on canvas
56 x 124 1/4 in.
(142.2 x 315.6 cm)OPP-00068
INQUIRE
Louise Fishman, Untitled (S-5-3), 1991
Acrylic on canvas
48 x 60 in.
(121.9 x 152.4 cm)OPP-00069
INQUIRE
Louise Fishman, Untitled (S-5-3), 1991
Acrylic on canvas
48 x 60 in.
(121.9 x 152.4 cm)OPP-00069
INQUIRE
IN 1962 OPPER BOUGHT A HOUSE IN AMAGANSETT, LONG ISLAND, AND BEGAN CONSTRUCTION
ON A STUDIO. FROM THEN ON, HE PAINTED IN BOTH AMAGANSETT AND THE BOWERY STUDIOS.
STARTING IN 1988, HE SPENT THE WINTER MONTHS IN SARASOTA, FLORIDA, WHERE HE
ESTABLISHED ANOTHER STUDIO. THROUGHOUT HIS LONG CAREER, OPPER SHOWED WITH
SEVERAL WELL-KNOWN NEW YORK GALLERIES. IN 1959, ELEANOR WARD INVITED HIM TO THE
STABLE GALLERY. HE LEFT THE GALLERY IN 1962, FOLLOWING THE ADVENT OF POP ART.
STARTING IN THE MID-1960S, OPPER WAS REPRESENTED BY THE GRACE BORGENICHT
GALLERY. HE CONTINUED TO PAINT UNTIL HIS DEATH FROM A HEART ATTACK IN NEW YORK
CITY IN 1994.
OPPER’S WORK IS IN NUMEROUS AMERICAN MUSEUM COLLECTIONS, INCLUDING THE MUSEUM OF
MODERN ART, NEW YORK; THE WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; THE
METROPOLITAN MUSEUM OF ART, NEW YORK; THE MILWAUKEE ART MUSEUM, WISCONSIN;
CLEVELAND MUSEUM OF ART, OHIO; MUSEUM OF CONTEMPORARY ART, JACKSONVILLE,
FLORIDA; AND SMITHSONIAN AMERICAN ART MUSEUM, WASHINGTON, DC. AMONG HIS AWARDS
ARE THE JOHN SIMON GUGGENHEIM FELLOWSHIP, 1969; NATIONAL ENDOWMENT FOR THE ARTS
FELLOWSHIP, 1974; AND THE AMERICAN ACADEMY OF ARTS AND LETTERS, JIMMY ERNST
AWARD, 1993.
CHEIM & READ
CHEIM & READ-Louise Bourgeois: Spider, 1996, at Cheim & Read, West 23 Street,
New York. February 14 - April 13, 1997.Founded in 1997 by John Cheim and Howard
Read, Cheim & Read is a contemporary art gallery in New York that presents both
recent and historically-significant artworks in museum-quality exhibitions. The
gallery works directly with some of the world's most important artists,
foundations, and estates, including Lynda Benglis, Louise Bourgeois, Ron
Gorchov, Jack Pierson, Serge Poliakoff, and Sean Scully.
"EARLY WORK 1967-1979"
ARTIST: LYNDA BENGLIS
A major exhibition presented by Cheim & Read and Ortuzar Projects brings
together work that proved crucial to the development of Lynda Benglis’s practice
during her first decade in New York. Three concurrent exhibitions will be on
view in Tribeca and the Upper East Side.
* GALLERYCHEIM & READ
* LOCATION23 EAST 67 STREET,NEW YORK NY 10065
* PHONE1-212-242-7727
* EMAILGALLERY@CHEIMREAD.COM
* WEBSITEwww.cheimread.com
* SOCIAL@cheimread
LYNDA BENGLIS, UNTITLED, 1969
Pigmented polyurethane foam
6 1/4 x 56 5/8 x 57 5/8 inches
15.9 x 143.8 x 146.4 centimeters,CR# BE.13917
INQUIRE
LYNDA BENGLIS, UNTITLED, 1969
Pigmented polyurethane foam
6 1/4 x 56 5/8 x 57 5/8 inches
15.9 x 143.8 x 146.4 centimeters,CR# BE.13917
INQUIRE
LOZENGE-SHAPED WAX PAINTINGS ARE JUXTAPOSED WITH BENGLIS'S LATEX AND
POLYURETHANE POURS AT CHEIM & READ AT 23 EAST 67TH STREET. ONE FLOOR ABOVE, AT
THE ORTUZAR VIEWING ROOM, IS A SELECTION OF GILDED WALL SCULPTURES INSPIRED BY
THE CARYATIDS FROM THE PORCH OF THE ERECHTHEION AT THE ACROPOLIS IN ATHENS.
SPARKLE AND METALLIZED KNOT SCULPTURES, INCLUDING THE MULTI-PART INSTALLATION
NORTH, SOUTH, EAST, WEST, 1976 – LAST SHOWN IN NEW YORK AT A 1981 WHITNEY MUSEUM
EXHIBITION – ARE ON VIEW AT ORTUZAR PROJECTS IN TRIBECA.
LYNDA BENGLIS, NIGHT SHERBET B, 1969
Pigmented polyurethane foam
5 x 25 1/2 x 42 1/2 inches
12.7 x 64.8 x 108 centimeters,CR# BE.7696
INQUIRE
LYNDA BENGLIS, NIGHT SHERBET B, 1969
Pigmented polyurethane foam
5 x 25 1/2 x 42 1/2 inches
12.7 x 64.8 x 108 centimeters,CR# BE.7696
INQUIRE
LYNDA BENGLIS, NIGHT SHERBET B, 1969
Pigmented polyurethane foam
5 x 25 1/2 x 42 1/2 inches
12.7 x 64.8 x 108 centimeters,CR# BE.7696
INQUIRE
LYNDA BENGLIS, NIGHT SHERBET B, 1969
Pigmented polyurethane foam
5 x 25 1/2 x 42 1/2 inches
12.7 x 64.8 x 108 centimeters,CR# BE.7696
INQUIRE
BENGLIS HAS FORGED A FIFTY-YEAR CAREER AT THE FOREFRONT OF POST-MINIMALIST
INNOVATION ALONGSIDE HER PEERS LOUISE BOURGEOIS, RICHARD SERRA, EVA HESSE, AND
BRUCE NAUMAN. SHE ARRIVED AT SINGULARLY BEAUTIFUL, OFTEN SHOCKING RESULTS THAT,
AS ART HISTORIAN AND CRITIC JULIA BRYAN-WILSON WRITES IN THE EXHIBITION’S ONLINE
CATALOGUE ESSAY, “REFUSE TO BE CONSTRAINED BY CONVENTIONAL CODES AROUND THE
OSTENSIBLY DISCRETE GENRES OF PAINTING AND SCULPTURE.” THIS JOINT EXHIBITION
MARKS THE FIRST SURVEY OF BENGLIS’S EARLY WORK IN NEW YORK SINCE HER MID-CAREER
RETROSPECTIVE (2009-2011), WHICH TRAVELED TO THE NEW MUSEUM.
LYNDA BENGLIS, NIGHT SHERBET B, 1969
Pigmented polyurethane foam
5 x 25 1/2 x 42 1/2 inches
12.7 x 64.8 x 108 centimeters,CR# BE.7696
INQUIRE
LYNDA BENGLIS, NIGHT SHERBET B, 1969
Pigmented polyurethane foam
5 x 25 1/2 x 42 1/2 inches
12.7 x 64.8 x 108 centimeters,CR# BE.7696
INQUIRE
LYNDA BENGLIS, SHAPE SHIFTER, 1969
Poured pigmented latex
21 x 33 inches
53.3 x 83.8 centimetersCR# BE.16574
INQUIRE
LYNDA BENGLIS, SHAPE SHIFTER, 1969
Poured pigmented latex
21 x 33 inches
53.3 x 83.8 centimetersCR# BE.16574
INQUIRE
WE ARE DELIGHTED TO ANNOUNCE THE RELEASE OF THE ONLINE EXHIBITION CATALOGUE
INCLUDING AN NEW ESSAY, "FLOUNCE: LYNDA BENGLIS'S QUEER FEMME FORMS," BY JULIA
BRYAN-WILSON, THE DORIS AND CLARENCE MALO PROFESSOR HISTORY OF ART AT UNIVERSITY
OF CALIFORNIA, BERKELEY, AND THE ADJUNCT CURATOR AT THE MUSEU DE ARTE DE SÃO
PAULO. JULIA HAS PUBLISHED SIGNIFICANT SCHOLARLY WORKS INCLUDING FRAY: ART AND
TEXTILE POLITICS (2017, UNIVERSITY OF CHICAGO), AND ART WORKERS: RADICAL
PRACTICE IN THE VIETNAM WAR ERA (2009, UNIVERSITY OF CALIFORNIA) ON THE RADICAL
ART PRODUCTION THE LATE 1960S AND EARLY 1970S, THE SAME YEARS SURVEYED IN THIS
EXHIBITION.
LYNDA BENGLIS, SHAPE SHIFTER, 1969
Poured pigmented latex
21 x 33 inches
53.3 x 83.8 centimetersCR# BE.16574
INQUIRE
LYNDA BENGLIS, SHAPE SHIFTER, 1969
Poured pigmented latex
21 x 33 inches
53.3 x 83.8 centimetersCR# BE.16574
INQUIRE
LYNDA BENGLIS, SHAPE SHIFTER, 1969
Poured pigmented latex
21 x 33 inches
53.3 x 83.8 centimetersCR# BE.16574
INQUIRE
LYNDA BENGLIS, SHAPE SHIFTER, 1969
Poured pigmented latex
21 x 33 inches
53.3 x 83.8 centimetersCR# BE.16574
INQUIRE
WAX & POURS:THESE SEXUALLY SUGGESTIVE BODIES OF WORK BOTH ARISE OUT OF HIGHLY
LIQUID PROCESSES. MADE AT THE CUSP OF THE 1960S AND ’70S, THESE LUSHLY COLORED,
SCULPTURAL BUILD-UPS OF PIGMENTED WAX TRANSFORM THEIR WOOD AND MASONITE SUPPORTS
INTO AMBISEXUAL TOTEMS, ALTERNATELY REVELING IN BUTTERY SENSUALITY AND BRISTLING
WITH CORAL-LIKE ENCRUSTATIONS. SIMULTANEOUSLY PHALLIC (VERTICAL AND COLUMNAR)
AND VULVAL (SYMMETRICAL AND SLIT ACROSS THE MIDDLE), THE ARTIST LIKENED THE
MAKING OF THEM TO MASTURBATION, DURING WHICH SHE REPETITIVELY APPLIED COATS OF
MOLTEN WAX.
LYNDA BENGLIS, TU-LIP, 1967
Purified and pigmented beeswax, damar resin, and gesso on masonite and wood
30 1/8 x 5 1/4 x 1 3/4 inches
76.5 x 13.3 x 4.4 centimetersCR# BE.4039
INQUIRE
LYNDA BENGLIS, TU-LIP, 1967
Purified and pigmented beeswax, damar resin, and gesso on masonite and wood
30 1/8 x 5 1/4 x 1 3/4 inches
76.5 x 13.3 x 4.4 centimetersCR# BE.4039
INQUIRE
LYNDA BENGLIS, CHALK-WAX III, 1968-70
Pigmented purified beeswax, damar resin on masonite
36 x 5 x 1 inches
91.4 x 12.7 x 2.5 centimetersCR# BE.13272
INQUIRE
LYNDA BENGLIS, CHALK-WAX III, 1968-70
Pigmented purified beeswax, damar resin on masonite
36 x 5 x 1 inches
91.4 x 12.7 x 2.5 centimetersCR# BE.13272
INQUIRE
LYNDA BENGLIS, CHALK-WAX III, 1968-70
Pigmented purified beeswax, damar resin on masonite
36 x 5 x 1 inches
91.4 x 12.7 x 2.5 centimetersCR# BE.13272
INQUIRE
LYNDA BENGLIS, CHALK-WAX III, 1968-70
Pigmented purified beeswax, damar resin on masonite
36 x 5 x 1 inches
91.4 x 12.7 x 2.5 centimetersCR# BE.13272
INQUIRE
LYNDA BENGLIS, CHALK-WAX III, 1968-70
Pigmented purified beeswax, damar resin on masonite
36 x 5 x 1 inches
91.4 x 12.7 x 2.5 centimetersCR# BE.13272
INQUIRE
LYNDA BENGLIS, CHALK-WAX III, 1968-70
Pigmented purified beeswax, damar resin on masonite
36 x 5 x 1 inches
91.4 x 12.7 x 2.5 centimetersCR# BE.13272
INQUIRE
IN CONTRAST, THE LATEX AND FOAM POURS, FROM 1968 AND 1969, SIT ON THE FLOOR WITH
IMPUDENT HUMOR, JARRING SHAPES, AND PROVOCATIVE COLOR. BENGLIS CREATED THEM BY
CONSCIOUSLY LAMPOONING THE MACHO ABSTRACT EXPRESSIONIST MYTH OF THE GENIUS ALONE
IN HIS STUDIO, ATTEMPTING TO FORCE ART HISTORY IN A SINGLE DIRECTION WHILE
IGNORING THE MULTIFARIOUS VISIONS THAT ACTUALLY EXISTED.
LYNDA BENGLIS, UNTITLED, 1970
Pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.16142
INQUIRE
LYNDA BENGLIS, UNTITLED, 1970
Pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.16142
INQUIRE
LYNDA BENGLIS, UNTITLED, 1970
Pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.16142
INQUIRE
LYNDA BENGLIS, UNTITLED, 1970
Pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.16142
INQUIRE
LYNDA BENGLIS, UNTITLED, 1970
Pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.16142
INQUIRE
LYNDA BENGLIS, UNTITLED, 1970
Pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.16142
INQUIRE
LYNDA BENGLIS, KAREN, 1972
Purified pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.5178
INQUIRE
LYNDA BENGLIS, KAREN, 1972
Purified pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.5178
INQUIRE
THE WORKS IN THIS SHOW DISPLAY BENGLIS’S INSISTENCE, AS CATHERINE J. MORRIS
WRITES IN THE CATALOGUE FOR THE EXHIBITION WOMAN. FEMINIST AVANT-GARDE OF THE
1970S, THAT “CULTURALLY AND POLITICALLY DETERMINED LABELS SHOULD BE UNDERSTOOD
AS FLUID AND RESPONSIVE POSITIONS RATHER THAN AS STATIC IDENTIFICATIONS.” (1)
LYNDA BENGLIS, KAREN, 1972
Purified pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.5178
INQUIRE
LYNDA BENGLIS, KAREN, 1972
Purified pigmented beeswax, damar resin and gesso on masonite
36 x 5 x 3 inches
91.4 x 12.7 x 7.6 centimetersCR# BE.5178
INQUIRE
LYNDA BENGLIS, UNTITLED, 1971
Purified pigmented beeswax, damar resin and gesso on masonite
36 1/4 x 5 1/2 x 2 1/2 inches
92.1 x 14 x 6.4 centimetersCR# BE.40084
INQUIRE
LYNDA BENGLIS, UNTITLED, 1971
Purified pigmented beeswax, damar resin and gesso on masonite
36 1/4 x 5 1/2 x 2 1/2 inches
92.1 x 14 x 6.4 centimetersCR# BE.40084
INQUIRE
LYNDA BENGLIS, UNTITLED, 1971
Purified pigmented beeswax, damar resin and gesso on masonite
36 1/4 x 5 1/2 x 2 1/2 inches
92.1 x 14 x 6.4 centimetersCR# BE.40084
INQUIRE
LYNDA BENGLIS, UNTITLED, 1971
Purified pigmented beeswax, damar resin and gesso on masonite
36 1/4 x 5 1/2 x 2 1/2 inches
92.1 x 14 x 6.4 centimetersCR# BE.40084
INQUIRE
LYNDA BENGLIS, UNTITLED, 1971
Purified pigmented beeswax, damar resin and gesso on masonite
36 1/4 x 5 1/2 x 2 1/2 inches
92.1 x 14 x 6.4 centimetersCR# BE.40084
INQUIRE
LYNDA BENGLIS, UNTITLED, 1971
Purified pigmented beeswax, damar resin and gesso on masonite
36 1/4 x 5 1/2 x 2 1/2 inches
92.1 x 14 x 6.4 centimetersCR# BE.40084
INQUIRE
"THESE OBJECTS REFUSE TO BE CONSTRAINED BY CONVENTIONAL CODES AROUND THE
OSTENSIBLY DISCRETE GENRES OF PAINTING AND SCULPTURE; THEY ALSO VIOLATE, OR
QUEER, NORMS AROUND ANY PRESUMED GENDER BINARY." - JULIA BRYAN-WILSON
LYNDA BENGLIS, FLOUNCE, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
48 x 16 x 8 inches
121.9 x 40.6 x 20.3 centimetersCR# BE.19424
INQUIRE
LYNDA BENGLIS, FLOUNCE, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
48 x 16 x 8 inches
121.9 x 40.6 x 20.3 centimetersCR# BE.19424
INQUIRE
LYNDA BENGLIS, FLOUNCE, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
48 x 16 x 8 inches
121.9 x 40.6 x 20.3 centimetersCR# BE.19424
INQUIRE
LYNDA BENGLIS, FLOUNCE, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
48 x 16 x 8 inches
121.9 x 40.6 x 20.3 centimetersCR# BE.19424
INQUIRE
GOLD:WHEN SHE WAS A GIRL, BENGLIS’S GRANDMOTHER TOOK HER ON A TRIP TO THE GREEK
ISLAND OF MEGISTE, ALSO KNOWN AS KASTELLORIZO, HER FAMILY’S ANCESTRAL HOME. IT
WAS THERE THAT SHE ENCOUNTERED THE GILDED ICONS OF THE GREEK ORTHODOX CHURCH,
WHICH MADE A DEEP AND LASTING IMPRESSION ON HER.
LYNDA BENGLIS, FLOUNCE, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
48 x 16 x 8 inches
121.9 x 40.6 x 20.3 centimetersCR# BE.19424
INQUIRE
LYNDA BENGLIS, FLOUNCE, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
48 x 16 x 8 inches
121.9 x 40.6 x 20.3 centimetersCR# BE.19424
INQUIRE
LYNDA BENGLIS, FIGURE I, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
34 3/4 x 20 x 7 3/4 inches
88.3 x 50.8 x 19.7 centimetersCR# BE.308
INQUIRE
LYNDA BENGLIS, FIGURE I, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
34 3/4 x 20 x 7 3/4 inches
88.3 x 50.8 x 19.7 centimetersCR# BE.308
INQUIRE
LYNDA BENGLIS, FIGURE I, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
34 3/4 x 20 x 7 3/4 inches
88.3 x 50.8 x 19.7 centimetersCR# BE.308
INQUIRE
LYNDA BENGLIS, FIGURE I, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
34 3/4 x 20 x 7 3/4 inches
88.3 x 50.8 x 19.7 centimetersCR# BE.308
INQUIRE
LYNDA BENGLIS, FIGURE I, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
34 3/4 x 20 x 7 3/4 inches
88.3 x 50.8 x 19.7 centimetersCR# BE.308
INQUIRE
LYNDA BENGLIS, FIGURE I, 1978
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
34 3/4 x 20 x 7 3/4 inches
88.3 x 50.8 x 19.7 centimetersCR# BE.308
INQUIRE
BENGLIS’S USE OF GOLD IS CONFLICTED AND COMPLEX, PLAYING ON ITS PERCEIVED
PRECIOUSNESS AS WELL AS THE WAYS IT CAN BE CHEAP AND DECEPTIVE, A REFERENTIAL
RANGE ENCOMPASSING BOTH BYZANTINE TREASURE AND MARDI GRAS GLITTER. IN HER
CATALOGUE ESSAY, BRYAN-WILSON SINGLES OUT THE BULGING, BOW-LIKE FLOUNCE
(1978):"MANY OF BENGLIS’S WORKS ALSO FLOUNCE – THEY AMPLIFY AND EXAGGERATE THE
VOLUPTUOUS PLEASURES FOUND IN FEMME SELF-FASHIONING OF ALL KINDS, AND REVEL IN
ITS OUTRAGEOUS AND LEWD ASPECTS."
LYNDA BENGLIS, CURRENT, 1979
Brass wire mesh, plaster, gesso, oil based size, and gold leaf
17 1/2 x 14 1/2 x 2 3/4 inches
44.5 x 36.8 x 7 centimetersCR# BE.9645
INQUIRE
LYNDA BENGLIS, CURRENT, 1979
Brass wire mesh, plaster, gesso, oil based size, and gold leaf
17 1/2 x 14 1/2 x 2 3/4 inches
44.5 x 36.8 x 7 centimetersCR# BE.9645
INQUIRE
LYNDA BENGLIS, CURRENT, 1979
Brass wire mesh, plaster, gesso, oil based size, and gold leaf
17 1/2 x 14 1/2 x 2 3/4 inches
44.5 x 36.8 x 7 centimetersCR# BE.9645
INQUIRE
LYNDA BENGLIS, CURRENT, 1979
Brass wire mesh, plaster, gesso, oil based size, and gold leaf
17 1/2 x 14 1/2 x 2 3/4 inches
44.5 x 36.8 x 7 centimetersCR# BE.9645
INQUIRE
LYNDA BENGLIS, CURRENT, 1979
Brass wire mesh, plaster, gesso, oil based size, and gold leaf
17 1/2 x 14 1/2 x 2 3/4 inches
44.5 x 36.8 x 7 centimetersCR# BE.9645
INQUIRE
LYNDA BENGLIS, CURRENT, 1979
Brass wire mesh, plaster, gesso, oil based size, and gold leaf
17 1/2 x 14 1/2 x 2 3/4 inches
44.5 x 36.8 x 7 centimetersCR# BE.9645
INQUIRE
LYNDA BENGLIS, FAN BIRD, 1979
Brass wire screen, plaster, gesso, oil based size, gold leaf
35 x 22 x 4 1/2 inches
88.9 x 55.9 x 11.4 centimetersCR# BE.40388
INQUIRE
LYNDA BENGLIS, FAN BIRD, 1979
Brass wire screen, plaster, gesso, oil based size, gold leaf
35 x 22 x 4 1/2 inches
88.9 x 55.9 x 11.4 centimetersCR# BE.40388
INQUIRE
KNOTS:KNOT SCULPTURES MADE OUT OF COTTON BUNTING TREATED WITH GLITTER, PAINT, OR
SPRAYED METALS CREATE AN INTERIOR AND AN EXTERIOR, LIKE A BODY, AND REFERENCE
THE LONG LIMBS OF A FIGURE. THE FOUR ELEMENTS, SPRAYED IN ZINC, STEEL, AND TIN
THAT MAKE UP NORTH SOUTH EAST WEST (1976) EXPLODE IN AN ECSTATICALLY
CHOREOGRAPHED CONFIGURATION ACROSS THE WALL.
LYNDA BENGLIS, FAN BIRD, 1979
Brass wire screen, plaster, gesso, oil based size, gold leaf
35 x 22 x 4 1/2 inches
88.9 x 55.9 x 11.4 centimetersCR# BE.40388
INQUIRE
LYNDA BENGLIS, FAN BIRD, 1979
Brass wire screen, plaster, gesso, oil based size, gold leaf
35 x 22 x 4 1/2 inches
88.9 x 55.9 x 11.4 centimetersCR# BE.40388
INQUIRE
LYNDA BENGLIS, PANKAJ, 1979
Bronze wire mesh, plaster, gesso, oil based size, gold leaf
27 1/2 x 12 x 10 inches
69.9 x 30.5 x 25.4 centimetersCR# BE.6224
INQUIRE
LYNDA BENGLIS, PANKAJ, 1979
Bronze wire mesh, plaster, gesso, oil based size, gold leaf
27 1/2 x 12 x 10 inches
69.9 x 30.5 x 25.4 centimetersCR# BE.6224
INQUIRE
LYNDA BENGLIS, PANKAJ, 1979
Bronze wire mesh, plaster, gesso, oil based size, gold leaf
27 1/2 x 12 x 10 inches
69.9 x 30.5 x 25.4 centimetersCR# BE.6224
INQUIRE
LYNDA BENGLIS, PANKAJ, 1979
Bronze wire mesh, plaster, gesso, oil based size, gold leaf
27 1/2 x 12 x 10 inches
69.9 x 30.5 x 25.4 centimetersCR# BE.6224
INQUIRE
LYNDA BENGLIS, PANKAJ, 1979
Bronze wire mesh, plaster, gesso, oil based size, gold leaf
27 1/2 x 12 x 10 inches
69.9 x 30.5 x 25.4 centimetersCR# BE.6224
INQUIRE
LYNDA BENGLIS, PANKAJ, 1979
Bronze wire mesh, plaster, gesso, oil based size, gold leaf
27 1/2 x 12 x 10 inches
69.9 x 30.5 x 25.4 centimetersCR# BE.6224
INQUIRE
IN THESE WORKS, BENGLIS EXHIBITS A SURFACE RESTRAINT, EMPLOYING MOSTLY
MONOCHROME, WHILE RATCHETING UP THE COMPLEXITY OF THE FORMS. THESE ARE
MINIMALIST SCULPTURES GONE HAYWIRE, LOOPING INTO AND AROUND THEMSELVES, EVOKING
THE CONVOLUTIONS OF LIVED EXPERIENCE RATHER THAN THE PURITY OF THEORETICAL
THOUGHT. THE SHOW ALSO INCLUDES SMILE (1974), A BRONZE CAST OF THE DOUBLE-HEADED
DILDO THAT BENGLIS BRANDISHED IN HER NOTORIOUS ARTFORUM AD OF NOVEMBER 1974,
WHICH LAUNCHED THE ARTIST AS AN ICON OF DEFIANCE AGAINST THE POWERS THAT BE.
LYNDA BENGLIS, SKOWHEGAN TORSO, 1979
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
27 1/8 x 27 3/8 x 11 3/8 inches
68.9 x 69.5 x 28.9 centimetersCR# BE.40186
INQUIRE
LYNDA BENGLIS, SKOWHEGAN TORSO, 1979
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
27 1/8 x 27 3/8 x 11 3/8 inches
68.9 x 69.5 x 28.9 centimetersCR# BE.40186
INQUIRE
LYNDA BENGLIS, SKOWHEGAN TORSO, 1979
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
27 1/8 x 27 3/8 x 11 3/8 inches
68.9 x 69.5 x 28.9 centimetersCR# BE.40186
INQUIRE
LYNDA BENGLIS, SKOWHEGAN TORSO, 1979
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
27 1/8 x 27 3/8 x 11 3/8 inches
68.9 x 69.5 x 28.9 centimetersCR# BE.40186
INQUIRE
LYNDA BENGLIS, SKOWHEGAN TORSO, 1979
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
27 1/8 x 27 3/8 x 11 3/8 inches
68.9 x 69.5 x 28.9 centimetersCR# BE.40186
INQUIRE
LYNDA BENGLIS, SKOWHEGAN TORSO, 1979
Chicken wire, cotton, plaster, gesso, oil based size, gold leaf
27 1/8 x 27 3/8 x 11 3/8 inches
68.9 x 69.5 x 28.9 centimetersCR# BE.40186
INQUIRE
LYNDA BENGLIS, ETA , 1972
Aluminum screen, cotton bunting, plaster, paint, glitter
40 x 18 x 14 inches
101.6 x 45.7 x 35.6 centimetersCR# BE.40391
INQUIRE
LYNDA BENGLIS, ETA , 1972
Aluminum screen, cotton bunting, plaster, paint, glitter
40 x 18 x 14 inches
101.6 x 45.7 x 35.6 centimetersCR# BE.40391
INQUIRE
"BENGLIS GRASPS THE JOY OF THE FAKE-OUT, THE HARD THAT LOOKS SOFT, THE
INDUSTRIAL THAT BECOMES PLIABLE AND HANDWORKED."
LYNDA BENGLIS, ETA , 1972
Aluminum screen, cotton bunting, plaster, paint, glitter
40 x 18 x 14 inches
101.6 x 45.7 x 35.6 centimetersCR# BE.40391
INQUIRE
LYNDA BENGLIS, ETA , 1972
Aluminum screen, cotton bunting, plaster, paint, glitter
40 x 18 x 14 inches
101.6 x 45.7 x 35.6 centimetersCR# BE.40391
INQUIRE
LYNDA BENGLIS, ETA , 1972
Aluminum screen, cotton bunting, plaster, paint, glitter
40 x 18 x 14 inches
101.6 x 45.7 x 35.6 centimetersCR# BE.40391
INQUIRE
LYNDA BENGLIS, ETA , 1972
Aluminum screen, cotton bunting, plaster, paint, glitter
40 x 18 x 14 inches
101.6 x 45.7 x 35.6 centimetersCR# BE.40391
INQUIRE
LYNDA BENGLIS, UNTITLED (TOTEM), 1972
Plaster, fabric, glitter, mica
101 x 5 x 3 1/2 inches
256.5 x 12.7 x 8.9 centimetersCR# BE.36160
INQUIRE
LYNDA BENGLIS, UNTITLED (TOTEM), 1972
Plaster, fabric, glitter, mica
101 x 5 x 3 1/2 inches
256.5 x 12.7 x 8.9 centimetersCR# BE.36160
INQUIRE
LYNDA BENGLIS, UNTITLED (TOTEM), 1972
Plaster, fabric, glitter, mica
101 x 5 x 3 1/2 inches
256.5 x 12.7 x 8.9 centimetersCR# BE.36160
INQUIRE
LYNDA BENGLIS, UNTITLED (TOTEM), 1972
Plaster, fabric, glitter, mica
101 x 5 x 3 1/2 inches
256.5 x 12.7 x 8.9 centimetersCR# BE.36160
INQUIRE
AFTER MOVING FROM LOUISIANA TO NEW YORK IN 1964, BENGLIS BEGAN A SERIES OF
RADICAL EXPERIMENTS WITH MATERIALS AND TECHNIQUES IN PURSUIT OF “DEFIANTLY
FEMINIST, […] QUEERLY, CHEEKILY, FORCEFULLY FEMME” WORKS THAT DEFY PREEXISTING
FORMAL AND MATERIAL PARAMETERS OF CONTEMPORARY ART.
LYNDA BENGLIS, UNTITLED (TOTEM), 1972
Plaster, fabric, glitter, mica
101 x 5 x 3 1/2 inches
256.5 x 12.7 x 8.9 centimetersCR# BE.36160
INQUIRE
LYNDA BENGLIS, UNTITLED (TOTEM), 1972
Plaster, fabric, glitter, mica
101 x 5 x 3 1/2 inches
256.5 x 12.7 x 8.9 centimetersCR# BE.36160
INQUIRE
LYNDA BENGLIS, CHARLIE, 1973
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, copper
30 7/8 x 18 1/8 x 13 1/4 inches
77.2 x 48.3 x 33 centimetersCR# BE.19090
INQUIRE
LYNDA BENGLIS, CHARLIE, 1973
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, copper
30 7/8 x 18 1/8 x 13 1/4 inches
77.2 x 48.3 x 33 centimetersCR# BE.19090
INQUIRE
LYNDA BENGLIS, CHARLIE, 1973
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, copper
30 7/8 x 18 1/8 x 13 1/4 inches
77.2 x 48.3 x 33 centimetersCR# BE.19090
INQUIRE
LYNDA BENGLIS, CHARLIE, 1973
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, copper
30 7/8 x 18 1/8 x 13 1/4 inches
77.2 x 48.3 x 33 centimetersCR# BE.19090
INQUIRE
LYNDA BENGLIS, CHARLIE, 1973
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, copper
30 7/8 x 18 1/8 x 13 1/4 inches
77.2 x 48.3 x 33 centimetersCR# BE.19090
INQUIRE
LYNDA BENGLIS, CHARLIE, 1973
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, copper
30 7/8 x 18 1/8 x 13 1/4 inches
77.2 x 48.3 x 33 centimetersCR# BE.19090
INQUIRE
FROM THE VERY BEGINNING BENGLIS’S PRACTICE, SHE HAS MANIPULATED AMBIVALENT AND
CRITICAL RELATIONSHIPS AMONG FORMAL CATEGORIES, CONFOUNDING THE DEFINITIONS OF
PERFORMANCE, PHOTOGRAPHY, VIDEO, PAINTING, AND SCULPTURE. HELEN MOLESWORTH
REFERRED TO THIS ADMIXTURE AS “A RADICAL SLIPPAGE OF COORDINATES” (2) THAT OPENS
BENGLIS'S ART TO MULTIPLE STREAMS OF BODILY, GENDERED, EROTIC, AND PSYCHOSEXUAL
CONTENT. TOGETHER, THESE KEY BODIES OF WORK BEAR OUT BENGLIS’S FORMIDABLE
INFLUENCE ON CONTEMPORARY SCULPTURE. HER RADICAL EXPERIMENTS WITH MATERIALS,
ENGENDERED IN STYLE AND FORM, MUST BE RECONSIDERED TODAY AS NOT ONLY PROVOCATIVE
BUT THOROUGHLY TRANSFORMATIVE.
LYNDA BENGLIS, BRAVO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, bronze, copper
27 x 10 x 10 inches
68.6 x 25.4 x 25.4 centimetersCR# BE.1893
INQUIRE
LYNDA BENGLIS, BRAVO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, bronze, copper
27 x 10 x 10 inches
68.6 x 25.4 x 25.4 centimetersCR# BE.1893
INQUIRE
LYNDA BENGLIS, BRAVO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, bronze, copper
27 x 10 x 10 inches
68.6 x 25.4 x 25.4 centimetersCR# BE.1893
INQUIRE
LYNDA BENGLIS, BRAVO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, bronze, copper
27 x 10 x 10 inches
68.6 x 25.4 x 25.4 centimetersCR# BE.1893
INQUIRE
LYNDA BENGLIS, BRAVO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, bronze, copper
27 x 10 x 10 inches
68.6 x 25.4 x 25.4 centimetersCR# BE.1893
INQUIRE
LYNDA BENGLIS, BRAVO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, bronze, copper
27 x 10 x 10 inches
68.6 x 25.4 x 25.4 centimetersCR# BE.1893
INQUIRE
LYNDA BENGLIS, KILO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, aluminum
18 x 25 x 17 inches
45.7 x 63.5 x 43.2 centimetersCR# BE.19420
INQUIRE
LYNDA BENGLIS, KILO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, aluminum
18 x 25 x 17 inches
45.7 x 63.5 x 43.2 centimetersCR# BE.19420
INQUIRE
LYNDA BENGLIS (B.1941, LAKE CHARLES, LOUISIANA) LIVES AND WORKS IN NEW YORK AND
SANTA FE. HER WORK IS THE SUBJECT OF A FORTHCOMING EXHIBITION AT THE NATIONAL
GALLERY OF ART, WASHINGTON, D.C. (2020-2021) AND THE NASHER SCULPTURE CENTER,
DALLAS (2021). HER WORK WAS RECENTLY ON VIEW AT THE MUSEUM OF CYCLADIC ART,
ATHENS, PRESENTED BY NEON (2019-2020);
LYNDA BENGLIS, KILO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, aluminum
18 x 25 x 17 inches
45.7 x 63.5 x 43.2 centimetersCR# BE.19420
INQUIRE
LYNDA BENGLIS, KILO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, aluminum
18 x 25 x 17 inches
45.7 x 63.5 x 43.2 centimetersCR# BE.19420
INQUIRE
LYNDA BENGLIS, KILO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, aluminum
18 x 25 x 17 inches
45.7 x 63.5 x 43.2 centimetersCR# BE.19420
INQUIRE
LYNDA BENGLIS, KILO, 1973-1974
Aluminum wire mesh, cotton bunting, plaster, sprayed zinc, aluminum
18 x 25 x 17 inches
45.7 x 63.5 x 43.2 centimetersCR# BE.19420
INQUIRE
LYNDA BENGLIS, ALPHA 1, 1973-74
Aluminum screen, cotton bunting, plaster, sprayed zinc, aluminum, tin
32 x 14 x 12 inches
81.3 x 35.6 x 30.5 centimetersCR# BE.241
INQUIRE
LYNDA BENGLIS, ALPHA 1, 1973-74
Aluminum screen, cotton bunting, plaster, sprayed zinc, aluminum, tin
32 x 14 x 12 inches
81.3 x 35.6 x 30.5 centimetersCR# BE.241
INQUIRE
LYNDA BENGLIS, ALPHA 1, 1973-74
Aluminum screen, cotton bunting, plaster, sprayed zinc, aluminum, tin
32 x 14 x 12 inches
81.3 x 35.6 x 30.5 centimetersCR# BE.241
INQUIRE
LYNDA BENGLIS, ALPHA 1, 1973-74
Aluminum screen, cotton bunting, plaster, sprayed zinc, aluminum, tin
32 x 14 x 12 inches
81.3 x 35.6 x 30.5 centimetersCR# BE.241
INQUIRE
KISTEFOS-MUSEET, JEVNAKER (2018); THE HEPWORTH WAKEFIELD, YORKSHIRE (2015); AND
THE VAN ABBE MUSEUM, EINDHOVEN, IRISH MUSEUM OF MODERN ART, DUBLIN, LE
CONSORTIUM, DIJON, RISD MUSEUM, PROVIDENCE, THE NEW MUSEUM, NEW YORK, AND THE
MUSEUM OF CONTEMPORARY ART, LOS ANGELES (2009-2011). SHE IS THE RECIPIENT OF A
GUGGENHEIM FELLOWSHIP AND TWO NATIONAL ENDOWMENT FOR THE ARTS GRANTS, AMONG
OTHERS.
LYNDA BENGLIS, ALPHA 1, 1973-74
Aluminum screen, cotton bunting, plaster, sprayed zinc, aluminum, tin
32 x 14 x 12 inches
81.3 x 35.6 x 30.5 centimetersCR# BE.241
INQUIRE
LYNDA BENGLIS, ALPHA 1, 1973-74
Aluminum screen, cotton bunting, plaster, sprayed zinc, aluminum, tin
32 x 14 x 12 inches
81.3 x 35.6 x 30.5 centimetersCR# BE.241
INQUIRE
LYNDA BENGLIS, X-RAY, 1973-74
Aluminum wire mesh, cotton bunting, plaster, gesso, sprayed zinc, aluminum
20 x 55 1/2 x 14 inches
50.8 x 141 x 35.6 centimetersCR# BE.19091
INQUIRE
LYNDA BENGLIS, X-RAY, 1973-74
Aluminum wire mesh, cotton bunting, plaster, gesso, sprayed zinc, aluminum
20 x 55 1/2 x 14 inches
50.8 x 141 x 35.6 centimetersCR# BE.19091
INQUIRE
LYNDA BENGLIS, X-RAY, 1973-74
Aluminum wire mesh, cotton bunting, plaster, gesso, sprayed zinc, aluminum
20 x 55 1/2 x 14 inches
50.8 x 141 x 35.6 centimetersCR# BE.19091
INQUIRE
LYNDA BENGLIS, X-RAY, 1973-74
Aluminum wire mesh, cotton bunting, plaster, gesso, sprayed zinc, aluminum
20 x 55 1/2 x 14 inches
50.8 x 141 x 35.6 centimetersCR# BE.19091
INQUIRE
LYNDA BENGLIS, X-RAY, 1973-74
Aluminum wire mesh, cotton bunting, plaster, gesso, sprayed zinc, aluminum
20 x 55 1/2 x 14 inches
50.8 x 141 x 35.6 centimetersCR# BE.19091
INQUIRE
LYNDA BENGLIS, X-RAY, 1973-74
Aluminum wire mesh, cotton bunting, plaster, gesso, sprayed zinc, aluminum
20 x 55 1/2 x 14 inches
50.8 x 141 x 35.6 centimetersCR# BE.19091
INQUIRE
LYNDA BENGLIS, QUEBEC, 1974
Aluminum wire screen, cotton bunting, sprayed zinc, copper, aluminum
39 x 28 x 8 inches
99.1 x 71.1 x 20.3 centimetersCR# BE.9807
INQUIRE
LYNDA BENGLIS, QUEBEC, 1974
Aluminum wire screen, cotton bunting, sprayed zinc, copper, aluminum
39 x 28 x 8 inches
99.1 x 71.1 x 20.3 centimetersCR# BE.9807
INQUIRE
LYNDA BENGLIS, QUEBEC, 1974
Aluminum wire screen, cotton bunting, sprayed zinc, copper, aluminum
39 x 28 x 8 inches
99.1 x 71.1 x 20.3 centimetersCR# BE.9807
INQUIRE
LYNDA BENGLIS, QUEBEC, 1974
Aluminum wire screen, cotton bunting, sprayed zinc, copper, aluminum
39 x 28 x 8 inches
99.1 x 71.1 x 20.3 centimetersCR# BE.9807
INQUIRE
HER WORK IS IN THE PERMANENT COLLECTIONS OF PUBLIC INSTITUTIONS INCLUDING THE
MUSEUM OF MODERN ART, NEW YORK; THE METROPOLITAN MUSEUM OF ART, NEW YORK; THE
GUGGENHEIM MUSEUM, NEW YORK; THE WHITNEY MUSEUM OF AMERICAN ART, NEW YORK; THE
LOS ANGELES COUNTY MUSEUM OF ART; THE SAN FRANCISCO MUSEUM OF MODERN ART; THE
WALKER ART CENTER, MINNEAPOLIS; THE ART INSTITUTE OF CHICAGO; THE NATIONAL
GALLERY OF ART, WASHINGTON, D.C.; AND TATE MODERN, LONDON. THIS EXHIBITION IS
HER ELEVENTH WITH CHEIM & READ, AND HER FIRST WITH ORTUZAR PROJECTS.
LYNDA BENGLIS, SMILE, 1974
Cast bronze
15 1/2 x 6 1/2 x 2 1/4 inches
39.4 x 16.5 x 5.7 centimetersCR# BE.40387
INQUIRE
LYNDA BENGLIS, SMILE, 1974
Cast bronze
15 1/2 x 6 1/2 x 2 1/4 inches
39.4 x 16.5 x 5.7 centimetersCR# BE.40387
INQUIRE
LYNDA BENGLIS, SMILE, 1974
Cast bronze
15 1/2 x 6 1/2 x 2 1/4 inches
39.4 x 16.5 x 5.7 centimetersCR# BE.40387
INQUIRE
LYNDA BENGLIS, SMILE, 1974
Cast bronze
15 1/2 x 6 1/2 x 2 1/4 inches
39.4 x 16.5 x 5.7 centimetersCR# BE.40387
INQUIRE
LYNDA BENGLIS, NORTH, SOUTH, EAST, WEST, 1976
Aluminum wire screen, cotton bunting, plaster, sprayed zinc, steel, tin
North: 40 x 23 x 15 1/2 inches,South: 51 x 27 x 14 inches,East: 37 x 29 x 19
inches,West: 60 x 24 x 17 inches
CR# BE.19446
INQUIRE
LYNDA BENGLIS, NORTH, SOUTH, EAST, WEST, 1976
Aluminum wire screen, cotton bunting, plaster, sprayed zinc, steel, tin
North: 40 x 23 x 15 1/2 inches,South: 51 x 27 x 14 inches,East: 37 x 29 x 19
inches,West: 60 x 24 x 17 inches
CR# BE.19446
INQUIRE
LYNDA BENGLIS, NORTH, SOUTH, EAST, WEST, 1976
Aluminum wire screen, cotton bunting, plaster, sprayed zinc, steel, tin
North: 40 x 23 x 15 1/2 inches,South: 51 x 27 x 14 inches,East: 37 x 29 x 19
inches,West: 60 x 24 x 17 inches
CR# BE.19446
INQUIRE
LYNDA BENGLIS, NORTH, SOUTH, EAST, WEST, 1976
Aluminum wire screen, cotton bunting, plaster, sprayed zinc, steel, tin
North: 40 x 23 x 15 1/2 inches,South: 51 x 27 x 14 inches,East: 37 x 29 x 19
inches,West: 60 x 24 x 17 inches
CR# BE.19446
INQUIRE
LYNDA BENGLIS, NORTH, SOUTH, EAST, WEST, 1976
Aluminum wire screen, cotton bunting, plaster, sprayed zinc, steel, tin
North: 40 x 23 x 15 1/2 inches,South: 51 x 27 x 14 inches,East: 37 x 29 x 19
inches,West: 60 x 24 x 17 inches
CR# BE.19446
INQUIRE
LYNDA BENGLIS, NORTH, SOUTH, EAST, WEST, 1976
Aluminum wire screen, cotton bunting, plaster, sprayed zinc, steel, tin
North: 40 x 23 x 15 1/2 inches,South: 51 x 27 x 14 inches,East: 37 x 29 x 19
inches,West: 60 x 24 x 17 inches
CR# BE.19446
INQUIRE
VENUS OVER MANHATTAN
Venus Over Manhattan-Founded in 2012 by Adam Lindemann, Venus Over Manhattan is
dedicated to curated exhibitions both historic and contemporary, which cast a
unique and often iconoclastic view on the work of established artists or artists
whose works have been somewhat overlooked.
""
ARTIST: JOAN BROWN
Venus Over Manhattan will present Joan Brown, the gallery’s first exhibition
devoted to the work of the late California figurative painter for whom painting
was a vehicle for exploration of the self in all of its physical, emotional, and
spiritual wonder.
Comprising a dozen major paintings, many not seen for decades, the exhibition
surveys a particularly productive decade in Brown’s career, from the late 1960s
through the late 1970s, and features key loans from the di Rosa Center for
Contemporary Art in Napa, as well as a number of important private collections.
On view through December 24th, Joan Brown will be complemented by an illustrated
catalogue featuring new scholarship, as well as excerpts from archival
interviews with the artist.
* GALLERYVenus Over Manhattan
* LOCATION120 East 65th Street,New York, NY 10065
* PHONE1-212-980-0700
* EMAILinfo@venusovermanhattan.com
* WEBSITEwww.venusovermanhattan.com
* SOCIAL@v_over_m
Joan Brown, Joan Brown, Grey Wolf with Red Clouds and Dark Tree, 1968
Oil on canvas
61 x 85 1/4 in
(154.9 x 216.5 cm)
INQUIRE
Joan Brown, Joan Brown, Grey Wolf with Red Clouds and Dark Tree, 1968
Oil on canvas
61 x 85 1/4 in
(154.9 x 216.5 cm)
INQUIRE
JOAN BROWN ACHIEVED NATIONAL NOTORIETY BY THE TIME SHE WAS TWENTY-TWO YEARS OLD,
FOR WORK THAT “MELDED AN ABSTRACT EXPRESSIONIST APPROACH TO PAINT HANDLING WITH
HER INTEREST IN A KIND OF ABBREVIATED REPRESENTATIONAL IMAGERY.” SEPARATED FROM
HER FIRST HUSBAND AND RECENTLY GRADUATED FROM THE CALIFORNIA SCHOOL OF FINE ARTS
(NOW THE SAN FRANCISCO ART INSTITUTE),
Joan Brown, Devil Stepping on Fish, 1970
Oil enamel and glitter on masonite
96 x 48 in
(243.8 x 121.9 cm)
INQUIRE
Joan Brown, Devil Stepping on Fish, 1970
Oil enamel and glitter on masonite
96 x 48 in
(243.8 x 121.9 cm)
INQUIRE
Joan Brown, Sara as Eve, 1970
Oil enamel on masonite
96 x 48 in
(243.8 x 121.9 cm)
INQUIRE
Joan Brown, Sara as Eve, 1970
Oil enamel on masonite
96 x 48 in
(243.8 x 121.9 cm)
INQUIRE
BROWN ENGAGED THE HEADY ATMOSPHERE AND SENSE OF FREEDOM THAT SAN FRANCISCO’S
BEAT SCENE AND NASCENT FUNK MOVEMENT PROVIDED. IN A TIGHT-KNIT CREATIVE
COMMUNITY OF HER PEERS, INCLUDING JAY DE FEO, WALLY HEDRICK, BRUCE CONNER, AND
HER SECOND HUSBAND MANUEL NERI, BROWN MADE LARGE WORKS WITH INCREDIBLY THICK
PAINT THAT CLAIMED AS THEIR SUBJECTS HER IMMEDIATE AND PERSONAL SURROUNDINGS.
Joan Brown, Dancers in a City #4, 1973
Oil on canvas, two panels
Each panel: 96 x 60 in (243.8 x152.4 cm)
96 x 120 in (243.8 x304.8 cm)(JBRO011)
INQUIRE
Joan Brown, Dancers in a City #4, 1973
Oil on canvas, two panels
Each panel: 96 x 60 in (243.8 x152.4 cm)
96 x 120 in (243.8 x304.8 cm)(JBRO011)
INQUIRE
Joan Brown, The Swimmers #2 (The Crawl), 1973
Enamel and oil pastel on canvas
73 x 85 in
185.4 x 215.9 cm(JBRO002)
INQUIRE
Joan Brown, The Swimmers #2 (The Crawl), 1973
Enamel and oil pastel on canvas
73 x 85 in
185.4 x 215.9 cm(JBRO002)
INQUIRE
SHE SHARED WITH HER PEERS A “MISTRUST OF VERBALIZATION AND INTELLECTUALIZING, A
DISDAIN FOR THE WAYS AND FASHIONS OF THE COMMERCIAL ART WORLD, AND [A] TOTAL AND
ADAMANT REJECTION OF PAINTING AS DECORATION,” AND FORGED A PRACTICE ENTIRELY FOR
HERSELF, WHICH RECORDED IN A DIARISTIC MANNER HER ONGOING RELATIONSHIP WITH THE
WORLD AT LARGE. UNTRUSTING OF HER OWN INCREASING RENOWN, AND COGNIZANT OF HER
ABILITY TO “FAKE SPONTANEITY” IN HER PAINTINGS, BROWN MADE THE RADICAL DECISION
IN 1964 TO STOP WORKING WITH THE THICK IMPASTO FOR WHICH SHE’D BEEN CELEBRATED.
FIERCELY INDEPENDENT, BROWN “WENT UNDERGROUND” FOR THE NEXT THREE YEARS AND
FUNDAMENTALLY ALTERED HER PRACTICE, WORKING TO BECOME A PAINTER OF “CONTROL AND
INTENTION, RATHER THAN SPONTANEITY.”
Joan Brown, Let's Dance, 1976
Oil enamel on canvas
96 x 78 in
243.8 x 198.1 cm(JBRO015)
INQUIRE
Joan Brown, Let's Dance, 1976
Oil enamel on canvas
96 x 78 in
243.8 x 198.1 cm(JBRO015)
INQUIRE
Joan Brown, The Swimmers #1 (Diving), 1973
Oil enamel and oil pastel on canvas
84 1/2 x 72 1/2 in
214.6 x 184.2 cm(JBRO012)
INQUIRE
Joan Brown, The Swimmers #1 (Diving), 1973
Oil enamel and oil pastel on canvas
84 1/2 x 72 1/2 in
214.6 x 184.2 cm(JBRO012)
INQUIRE
REGISTERING THE IMPACT OF MAJOR SHIFTS IN HER FAMILY LIFE, INCLUDING HER
FATHER’S DEATH IN 1969, AND HER MOTHER’S SUICIDE SIX WEEKS LATER, BROWN’S
PAINTINGS BECAME INCREASINGLY SYMBOLIC IN THE 1970S, AND FEATURED FLATLY PAINTED
COMPOSITIONS WITH SUGGESTIVE ANIMALS. SHE BEGAN PAINTING ON FOUR BY EIGHT FOOT
SHEETS OF MASONITE WITH HOUSEHOLD ENAMEL PAINT AND INCORPORATING GLITTER --
PAINTINGS IN WHICH SHE CLAIMED TO FEEL LIKE A “PARTICIPANT,” LARGE ENOUGH FOR
HER TO WALK INTO. TWO OF THESE PAINTINGS, “GARDEN OF EDEN SERIES #2:
Joan Brown, David with Sphinx, 1978
Acrylic, graphite on paper
Sheet: 18 x 24 in (45.7 x 61 cm)
Framed: 18 1/4 x 25 3/8 in (46.4x 64.3 cm)(JBRO016)
INQUIRE
Joan Brown, David with Sphinx, 1978
Acrylic, graphite on paper
Sheet: 18 x 24 in (45.7 x 61 cm)
Framed: 18 1/4 x 25 3/8 in (46.4x 64.3 cm)(JBRO016)
INQUIRE
Joan Brown, The Long Journey, 1981
Enamel on canvas
78 x 96 in
198.1 x 243.8 cm(JBRO017)
INQUIRE
Joan Brown, The Long Journey, 1981
Enamel on canvas
78 x 96 in
198.1 x 243.8 cm(JBRO017)
INQUIRE
DEVIL STEPPING ON FISH” (1970) AND “GARDEN OF EDEN SERIES #3: SARA AS EVE”
(1970) FEATURE PROMINENTLY IN THE VENUS EXHIBITION, FOREGROUNDING THE SYMBOLIC
NATURE OF HER WORK FROM THIS PERIOD. THE 1970S ALSO SAW BROWN CENTER HER OWN
IMAGE IN HER PRACTICE, UNDERTAKING A SERIES OF SELF-PORTRAITS IN WHICH SHE
FEATURES PROMINENTLY OR IS REPRESENTED BY A HYBRID FIGURE AS A SURROGATE. ONE OF
THESE PAINTINGS, “SELF-PORTRAIT IN FUR HAT” (1972), ON LOAN FROM THE DI ROSA
CENTER FOR CONTEMPORARY ART, SHOWS BROWN IN A SIGNATURE PAINT-COVERED SHIRT
AGAINST A STARKLY CHECKERED BACKGROUND, ONE OF HER SIGNATURE MOTIFS.
Joan Brown, Woman Preparing for a Shower, 1975
Enamel on canvas
84 x 72 in
213.4 x 182.9 cm(JBRO013)
INQUIRE
Joan Brown, Woman Preparing for a Shower, 1975
Enamel on canvas
84 x 72 in
213.4 x 182.9 cm(JBRO013)
INQUIRE
Joan Brown, Woman Waiting in a Restaurant, 1975
Enamel on canvas
96 x 72 in
243.8 x 182.9 cm(JBRO014)
INQUIRE
Joan Brown, Woman Waiting in a Restaurant, 1975
Enamel on canvas
96 x 72 in
243.8 x 182.9 cm(JBRO014)
INQUIRE
WHEN BROWN AND COOK MOVED BACK TO SAN FRANCISCO IN 1971, SWIMMING TOOK A CENTRAL
POSITION IN HER LIFE. SHE SWAM FREQUENTLY IN THE TREACHEROUS WATERS OF THE SAN
FRANCISCO BAY, AND BEGAN WORKING WITH FORMER OLYMPIC SWIM COACH CHARLIE SAVA,
WHO HAD AN OUTSIZED IMPACT ON BROWN’S PAINTING AS WELL. AS THE ARTIST’S STYLE
CONTINUED TO DEVELOP, SAVA “HELPED BROWN CLARIFY HER OWN THOUGHTS ABOUT HER ART
AS IT BECAME INCREASINGLY MORE SIMPLIFIED AND DIRECT,” WHICH BROWN DESCRIBED AS
BEING “ABOUT ECONOMY, ABOUT GETTING RID OF EXTRA STUFF.” EVIDENCING THIS
INFLUENCE, A PAIR OF PAINTINGS FROM 1973/1974, TITLED RESPECTIVELY “THE SWIMMERS
#1 (DIVING)” AND “THE SWIMMERS #2 (THE CRAWL),” ARE REUNITED AT VENUS FOR THE
FIRST TIME SINCE BROWN’S RETROSPECTIVE EXHIBITION AT THE BERKELEY ART MUSEUM IN
1974.
BROWN AND COOK LOVED TO GET DRESSED UP AND GO DANCING, AND AS IF TO COMMEMORATE
THESE MEMORIES, BROWN COMPLETED A SERIES OF SOME TWENTY WORKS BETWEEN 1971 AND
1973 THAT SHE REFERRED TO AS THE DANCERS SERIES. ONE OF THE LARGEST WORKS FROM
THIS GROUP, “DANCERS IN THE CITY #2,” A MONUMENTALLY SCALED DIPTYCH, FEATURES
CENTRALLY IN THIS EXHIBITION.
BROWN’S MARRIAGE TO COOK ENDED IN 1976, AND IN ITS AFTERMATH HER WORK BECAME
INCREASINGLY ORIENTED TOWARD THE SPIRITUAL UNTIL HER UNTIMELY DEATH IN 1990 AT
THE AGE OF 52. IN 1977, SHE BEGAN TRAVELING EXTENSIVELY TO EGYPT, CHINA, AND
INDIA, AND SUBSEQUENTLY AFFECTED ANOTHER OVERHAUL OF HER PAINTERLY STYLE, AS
SEEN IN “THE LONG JOURNEY” FROM 1981. DUE IN LARGE PART TO HER NUMEROUS
STYLISTIC SHIFTS, HER DESIRE FOR INDEPENDENCE, AND HER SKEPTICISM TOWARD THE ART
WORLD, BROWN’S PLACE IN THE NARRATIVE OF LATE 20TH CENTURY AMERICAN ART HAS BEEN
UNDER RECOGNIZED, A SITUATION COMPLICATED BY HER REGIONALIST ASSOCIATIONS WITH
BAY AREA FIGURATION. TOGETHER, THE WORKS ON VIEW AT VENUS PROPOSE A NEW
CONSIDERATION OF AN ARTIST WHO IS AMONG THE MOST ORIGINAL AND INDEPENDENT
PAINTERS OF HER TIME.
ABOUT JOAN BROWNJOAN BROWN WAS BORN IN 1938 IN SAN FRANCISCO, CALIFORNIA. SHE
RECEIVED HER BFA AND MFA FROM THE CALIFORNIA SCHOOL OF FINE ARTS IN 1959, AND
1960, RESPECTIVELY. BROWN’S WORK HAS BEEN THE SUBJECT OF NUMEROUS SOLO
PRESENTATIONS, INCLUDING RECENT EXHIBITIONS AT THE RICHMOND ART CENTER, THE SAN
JOSE MUSEUM OF ART, AND THE OAKLAND MUSEUM OF CALIFORNIA. HER WORK IS HELD IN
THE COLLECTIONS OF MANY PUBLIC INSTITUTIONS, INCLUDING THE MUSEUM OF MODERN ART,
THE WHITNEY MUSEUM OF AMERICAN ART, THE SAN FRANCISCO MUSEUM OF MODERN ART, AND
THE CARNEGIE MUSEUM OF ART. BROWN DIED IN PUTTAPARTHI, INDIA, IN 1990.
MARGARET THATCHER PROJECTS
MARGARET THATCHER PROJECTS-Margaret Thatcher Projects has, since its inception
in 1998, been located in the West Chelsea arts district. The gallery opened in
its first space on West 20th Street. In 2002 Thatcher Projects moved to its
artist-designed space on West 25th Street, the Whitehall building. In 2009 we
relocated to our current home, a ground floor gallery at 539 West 23rd Street.
"NEW YORK, NEW YORK"
ARTIST: WILLIAM STEIGER
Margaret Thatcher Projects is pleased to announce an exhibition of new collages
by William Steiger, the artist’s twelfth solo show at Thatcher Projects, and his
first show featuring only imagery of New York City.
The exhibition will open on Saturday, November 7 and continue through Wednesday,
December 23, 2020. Instead of a reception, the artist will be in the gallery
from 1 to 6 p.m. on November 7, with visitors encouraged to stop by throughout
the day to facilitate social distancing.
* GALLERYMARGARET THATCHER PROJECTS
* LOCATION539 West 23rd Street,New York, NY 10011
* PHONE1-212.675.0222
* EMAILinfo@thatcherprojects.com
* WEBSITEwww.thatcherprojects.com
* SOCIAL@margaretthatcherprojects
William Steiger, New Yorker, 2020
Collage of cut paper, gouache and glue mounted on panel
20 x 16inches
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William Steiger, New Yorker, 2020
Collage of cut paper, gouache and glue mounted on panel
20 x 16inches
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William Steiger, ESB #2, 2020
Collage of cut paper, gouache and glue mounted on panel
20 x 16inches
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William Steiger, ESB #2, 2020
Collage of cut paper, gouache and glue mounted on panel
20 x 16inches
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WILLIAM STEIGER DECONSTRUCTS FAMILIAR ARCHITECTURE IN A MANNER THAT QUESTIONS
OUR PERCEPTION OF TIME AND SPACE. THE SUBJECTS OF HIS PAINTINGS INCLUDE
MACHINERY, MODES OF TRANSPORTATION, BUILDINGS AND LANDSCAPES, EACH DISTILLED TO
THEIR MOST VITAL ELEMENTS. IN HIS RECENT WORK, STEIGER DEPICTS THIS IMAGERY BY
COLLAGING PAINTED PAPER AND FOUND EPHEMERA, SUCH AS MAPS, CHARTS AND MARBLED
ENDPAPERS, TO PRODUCE STRIKING VISTAS. HE METICULOUSLY CUTS EACH LAYER THEN
MOUNTS IT ON PANEL, ADEPTLY BALANCING THE PIECES TO CAPTURE THE ESSENCE OF A
SCENE WHILE STILL HIGHLIGHTING EACH PART. IN THE FINAL COMPOSITIONS, EVERY
FAÇADE, SHADOW LINE OR GIRDER IS DEFINED BY TEXTURE OR COLOR TO REPRESENT A
KNOWN LANDSCAPE FROM A CHALLENGING ANGLE.
William Steiger, 30 Rock, 2020
Collage of cut paper, gouache and glue mounted on panel
20 x 16inches
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William Steiger, 30 Rock, 2020
Collage of cut paper, gouache and glue mounted on panel
20 x 16inches
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William Steiger, Parachute Jump, 2020
Collage of cut paper, hand marbled paper, gouache and glue mounted on panel
20 x 16 inches
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William Steiger, Parachute Jump, 2020
Collage of cut paper, hand marbled paper, gouache and glue mounted on panel
20 x 16 inches
INQUIRE
NEW YORK, NEW YORK IS STEIGER’S CELEBRATION OF THE CITY IN WHICH HE LIVES AND
WORKS. THIS EXHIBITION EXCLUSIVELY FOCUSES ON COLLAGES OF URBAN LANDMARKS THAT
CHARACTERIZE MANHATTAN AND THE BOROUGHS. THE SCALE OF THE WORK IS INTIMATE WITH
COLLAGES NO LARGER THAN 20X16 INCHES, YET THE DELICATE LAYERS OF PAPER PRODUCE
CITYSCAPES THAT ARE BOLD AND MONUMENTAL. IN PARACHUTE JUMP, THE CONEY ISLAND
THRILL RIDE IS MADE OF SLIVERS OF DEEP RED PAPER THAT POP AGAINST A SWIRLING
BLUE AND CREAM SKY. IN ESB, THE SLAB-LIKE EDIFICES OF MIDTOWN MANHATTAN
PARTIALLY OBSCURE THE DOMINANT, ELEGANT FORM OF THE EMPIRE STATE BUILDING AS
SEEN FROM A LOW VANTAGE POINT. WARM AND COOL PAPERS CREATE THE VOLUME OF THE
SKYSCRAPERS, WITH PERFORATIONS DEFINING THE MANY WINDOWS THAT HINT AT ACTIVITY
WITHIN.
William Steiger, Parachute Jump (ink), 2020
Ink on paper mounted on panel
20 x 16 inches
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William Steiger, Parachute Jump (ink), 2020
Ink on paper mounted on panel
20 x 16 inches
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William Steiger, Cyclone, 2020
Collage of cut and found paper, wood, gouache and glue mounted on panel
20 x 16 inches
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William Steiger, Cyclone, 2020
Collage of cut and found paper, wood, gouache and glue mounted on panel
20 x 16 inches
INQUIRE
STEIGER’S WORK HAS ALWAYS BEEN A RESPONSE TO HIS SURROUNDINGS. NEW YORK CITY,
HIS IMMEDIATE ENVIRONMENT, IS A CONCEPTUAL AND PHYSICAL SPACE THAT CAN BE TRACED
AND MAPPED IN MANY WAYS. STEIGER’S FOUND-PAPER REPRESENTATIONS OF NEW YORK
STRUCTURES DELINEATE TOUCHSTONES THAT CONNECT US ALL. DESPITE THE EFFECTS OF THE
COVID-19 PANDEMIC ON THE FABRIC OF THE CITY, THE ENDURING QUALITIES OF NEW
YORK’S ARCHITECTURE AND LANDMARKS TRANSCEND THE FRAGILITY OF THE TIMES.
William Steiger, Deno’s Wonderwheel, 2020
Collage of cut and found paper, gouache and glue mounted on panel
16 x 20 inches
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William Steiger, Deno’s Wonderwheel, 2020
Collage of cut and found paper, gouache and glue mounted on panel
16 x 20 inches
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WILLIAM STEIGER RECEIVED A B.A. IN ART FROM THE UNIVERSITY OF CALIFORNIA, SANTA
CRUZ AND AN M.F.A. IN PAINTING FROM YALE UNIVERSITY IN 1989. STEIGER HAS BEEN A
RECIPIENT OF NUMEROUS GRANTS, FELLOWSHIPS, AND AWARDS, INCLUDING THE ELIZABETH
GREENSHIELDS FOUNDATION AWARD, BASIL H. ALKAZZI TRAVEL AWARD, LONDON, ENGLAND,
AND THE PHELPS BERDAN MEMORIAL AWARD FOR DISTINCTION IN PAINTING, YALE
UNIVERSITY. HIS WORK IS INCLUDED IN NUMEROUS PRIVATE, PUBLIC AND CORPORATE
COLLECTIONS. STEIGER HAS HAD MORE THAN 35 SOLO EXHIBITIONS WORLDWIDE INCLUDING
NEW YORK, SEOUL AND TOKYO. HE HAS BEEN MAKING PRINTS WITH THE PRESTIGIOUS
PUBLISHER PACE PRINTS SINCE 2004. IN 2011, HUDSON HILLS PRESS PUBLISHED A
200-PAGE MONOGRAPH ON THE ARTIST'S WORK WITH 13 CONTRIBUTING WRITERS AND OVER
200 IMAGES.
William Steiger, Hotel Empire, 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
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William Steiger, Hotel Empire, 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
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William Steiger, Cyclone (future events), 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
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William Steiger, Cyclone (future events), 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
INQUIRE
William Steiger, Collage of cut and found paper, gouache and glue mounted on
panel, 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
INQUIRE
William Steiger, Collage of cut and found paper, gouache and glue mounted on
panel, 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
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William Steiger, Elevated, 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
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William Steiger, Elevated, 2020
Collage of cut and found paper, gouache and glue mounted on panel
11 x 14 inches
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William Steiger, Dirigible Manhattan, 2020
Collage of cut paper, vintage maps, gouache and glue mounted on panel
8 x 10 inches
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William Steiger, Dirigible Manhattan, 2020
Collage of cut paper, vintage maps, gouache and glue mounted on panel
8 x 10 inches
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A NEW STANDARD FOR VR IN VIEWING ROOMS.
Our computer graphics team has produced an unparalleled virtual reality showcase
using 3D software to recreate the gallery experience for gallery, museum, and
evern art fair exhibitions. The "bricks-and-clicks" model has become more
relevant than ever having accelerated its need because of global city shutdowns
due to Covid-19. We bring the best in intechnology and CG capabilties to better
serve your collectors, offering an engaging experience of art shows no matter
the viewer's location.
VIEW VR
A NEW STANDARD FOR VR IN VIEWING ROOMS.
Our computer graphics team has produced an unparalleled virtual reality showcase
using 3D software to recreate the gallery experience for gallery, museum, and
evern art fair exhibitions. The "bricks-and-clicks" model has become more
relevant than ever having accelerated its need because of global city shutdowns
due to Covid-19. We bring the best in intechnology and CG capabilties to better
serve your collectors, offering an engaging experience of art shows no matter
the viewer's location.
VIEW VR
A NEW STANDARD FOR VR IN VIEWING ROOMS.
Our computer graphics team has produced an unparalleled virtual reality showcase
using 3D software to recreate the gallery experience for gallery, museum, and
evern art fair exhibitions. The "bricks-and-clicks" model has become more
relevant than ever having accelerated its need because of global city shutdowns
due to Covid-19. We bring the best in intechnology and CG capabilties to better
serve your collectors, offering an engaging experience of art shows no matter
the viewer's location.
VIEW VR
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