Peter Halley, End of the Road, 2022, acrylic, fluorescent acrylic, Flashe, and Roll-a-Tex on canvas, 77 × 86 × 4 inches; 195.58 × 218.44 × 10.16 cm
A Conversation on Peter Halley
at Karma, Los Angeles
Saturday, February 18, 6pm
7351 Santa Monica Boulevard
West Hollywood, CA 90046
On the occasion of the exhibition Peter Halley, Karma is pleased to present a conversation moderated by curator Tim Griffin along with the artists Peter Halley and Tala Madani.
Read more and register HERE
Peter Halley, The Division, 2022, acrylic, fluorescent acrylic and Roll-A-Tex on canvas, 80 × 67 1⁄2 inches; 203 × 171 cm
Peter Halley in Cartographies of Colour
at Galerie Thomas, Munich
April 29 — July 16, 2022
80333 Munich, Germany
For years, the curator David Moos has been working on the topic of the “cartography of colour” in contemporary painting. The exhibition at Galerie Thomas is based on his theses:
Cartographies of Colour brings together works by four artists whose painting is fundamentally based on colour and abstraction. All are considered important representatives of abstract painting from the 1960s to the present day. For all four artists, the presence of colour and its arrangement in regulated patterns or in a gestural relief is the decisive means with which the nature of the world is remeasured. This is how cartographies of colour are created.
Read more HERE
Peter Halley in INTERACTION
at Fondazione Made in Cloister, Naples
March 12 — September 17, 2022
Piazza Enrico de Nicola, 48
80139 Napoli NA, Italy
Saturday 12 March first opening to the public, at the presence of the curator and many artists, of INTERACTION NAPOLI, new biennial exhibition in Naples on the theme of interaction.
Read more HERE
Peter Halley in Consequences: A Parlor Game
at The National Arts Club, New York
February 7 — March 17, 2022
15 Gramercy Park S
New York, NY 10003
The National Academy of Design is pleased to present Consequences: A Parlor Game, an exhibition of recent artwork by the Class of 2021 National Academicians: Andrew Freear, Joanne Greenbaum, Peter Halley, Trenton Doyle Hancock, Rashid Johnson, Julie Mehretu, Joanna Pousette-Dart, and Gary Simmons.
Read more and RSVP HERE
Peter Halley: Recent Paintings
at Xippas, Paris
October 16, 2021 —January 15, 2022
108, rue Vieille du Temple
For his third personal exhibition in Xippas’ Parisian space, Peter Halley will present his “constructor paintings” for the first time in France. This new cycle of works transcends the conventional form of the square or the rectangle and reorganizes the real in a puzzle that is different each time.
Openly composed of several frames, the new paintings of Peter Halley revolt against flatness. They create an illusion of volume, even a forced perspective, and amplify their architectural character. Blocks of color are juxtaposed like facades in a street view, drawing the profile of the modernist city. The towers rise up, scratching the sky, seeming to stand out from the ground (unless it’s their foundations that sag, as often happens with ivory towers). Grid windows mysteriously glow and create a half-physical, half-digital landscape that could just as easily be the desktop of a laptop screen with multiple apps open simultaneously. Out of nowhere, a science-fiction city appears.
Read more HERE
The artist Peter Halley, photographed outside his studio in Guilford, Conn. Credit Allison Minto
Peter Halley Featured in The New York Times T Magazine
Article by Alice Newell-Hanson
In the 1980s, the artist Peter Halley helped ignite New York’s East Village art scene alongside contemporaries like Jeff Koons and Ashley Bickerton. In 1996, he co-founded the influential arts and culture magazine Index. And between 2002 and 2011, he served as the director of Yale’s M.F.A. painting program. But he is best known for his often gargantuan neon abstract canvases, which he has made in subtly varying forms for four decades (a show of his recent works is currently on view at Dallas Contemporary). Comprising cell-like shapes connected by “conduits,” his paintings are at once luminous and austere, with textured surfaces he laboriously builds up using layers of acrylic frequently mixed with Roll-a-Tex, a surfacing material for houses. A native New Yorker, he works mostly from a 5,000-square-foot studio in West Chelsea, a former industrial building filled with buckets of Day-Glo paint and bins of splattered rollers. But his studio in Connecticut, a modest two-story house wrapped in blackstained shingles that he bought and renovated in 2010, and where he now spends a few days each week, is a very different kind of work space. It serves as both a refuge for making the 17-by-22-inch studies on which his large-scale paintings are based — a meditative process he likens to composing music but with colors instead of chords — and as a memory palace of sorts, filled with furniture and objects from each chapter of his life.
Read more HERE