Marley Freeman, Venuses balcony, 2020,
Oil and acrylic on linen,
12 × 7 inches; 30.48 × 17.78 cm
July 27, 2020
Marley Freeman in
50 Artists: Art on the Grid
June 29-September 20, 2020 publicfund.org
“Venuses Balcony takes its title from Samuel R. Delany’s 1999 non-fiction classic Times Square Red, Times Square Blue. In a kind of eulogy for the Times Square red light district of the 1970s and 80s, Delany theorizes the nature of interclass contact. The Venus—whose balcony figures prominently throughout Delany’s first-person account—was one of many iconic theaters lost to gentrification. Painted in oil and acrylic on linen, Venuses Balcony captures the vibrant, bustling character of social relations in New York.”
— Marley Freeman
Marley Freeman’s Venuses balcony will be displayed at the following locations; Nassau St between Gold St & Navy St, Northern Blvd Between 164 St & Station Rd, Ave C between E 5th St & E 6th St, 106 St between 2 Ave & 3 Ave, 40 Ave between 12 St & 13 St, Oriental Blvd between Amherst St & West End, Myrtle Ave between Lewis Ave & Marcus Garvey Blvd, Balcom Ave between Dewey Ave & Schley Ave, West End Ave between W 72 St & W 71 St, and Northern Blvd between 164 St & Station Rd.
Art on the Grid responds to this historic moment. Our lives have been completely transformed by the devastation of a global pandemic and the rise of one of the largest social justice movements in modern history. This spring, Public Art Fund invited 50 emerging New York-based artists to reflect on the current situation as a way to help our communities process the challenges we face together. In different ways, COVID-19 and the renewed urgency over systemic racism that led to protests in our streets and a movement for change have reshaped our day-to-day lives including the ways we interact and experience our city. The exhibition gives a highly visible public platform to artists whose regular creative outlets have been stifled, commissioning them to make new, responsive works of art. Art on the Grid enables the people of New York to reflect, to engage with the city in new ways, and to begin conversations with neighbors, friends, and strangers alike.
The exhibition roster features 50 artists from 18 countries. The artists were prompted to respond to the broad themes of reconnection and renewal, interpreted through their different perspectives and personal narratives. The resulting works draw on their experiences of New York City, its people, and places. They include reflections on moments of spontaneity, intimacy, isolation, loss, healing, and rebuilding, as well as aspirations to create a more just, inclusive, and equitable future. Now more than ever, public art–open, free, and accessible to all–has the ability to serve as a vital tool in the creative and spiritual recovery of our city.
The 50 artworks in Art on the Grid form a decentralized group exhibition on the city’s public transportation and communication infrastructure. Launched in two phases—on June 29 and July 27—the works are housed on 500 bus shelters’ advertising panels and on more than 1,700 wifi kiosks’ digital screens located across the five boroughs. Clusters of works by multiple artists along a bus route are intended to create new art viewing itineraries or simply to enliven the days of those who encounter them fortuitously. The captivating works conceived by these artists re-envision the city itself as an outdoor gallery, reminding us that even in times of adversity, artistic expression is indispensable to the creation of a culture that truly reflects and responds to our contemporary world.
Art on the Grid is curated by Public Art Fund Director & Chief Curator Nicholas Baume, Public Art Fund Curator Daniel S. Palmer, and Public Art Fund Assistant Curator Katerina Stathopoulou.
Marley Freeman Untitled, 2020, Oil and acrylic on linen, 11 × 9 inches; 28 × 22.9 cm
June 25, 2020
Marley Freeman in My Way: The Gee’s Bend Quiltmakers and Contemporary Abstraction
June 27—August 9, 2020
Parts and Labor Beacon
1154 North Avenue
Beacon, New York 12508 partsandlaborbeacon.com
Louise Fishman, Serenissima, 2012, oil on linen, 70 × 88 inches. Collection of Jan and Barry Zubrow.
June 9, 2020
Louise Fishman is included in the New York Studio School Alum and Friends online exhibition, curated by Judy Rifka. On Tuesday, June 9th at 6:30pm, a virtual opening will take place here.
A digital catalogue for the exhibition is available here.
New York Studio School
Alum and Friends Online Exhibition
Online opening Tuesday June 9, 2020 6:30pm
June 1-30, 2020 https://nyss.org/
Alex Da Corte, Morning Paper, 2020, edition of 20.
June 8, 2020
Alex Da Corte participates in Art for Philadelphia, a Philadelphia-based artist initiative raising money for the Philadelphia Community Bail Fund. Other artists participating in the initiative include Jonathan Lyndon Chase, Sharon Hayes, Marcus Maddox, Tiona Nekkia McClodden, Becky Suss, and David Hartt. Prints are sold in editions of 20, and the initiative runs until July 4th.
Paul Lee, Red Towel, 2020,
Canvas on wooden panel, tambourine, screws,
60⅝ × 79⅞ inches; 154 × 203 cm
June 3, 2020
Paul Lee: Divided
David Shelton Gallery
May 12—August 28, 2020
Appointment Only
4411 Montrose Blvd., Suite B
Houston, Texas 77006 davidsheltongallery.com
Frieze New York Viewing Room
May 8-15, 2020 frieze.com
Frieze Viewing Room is an ambitious new digital initiative that will launch with an online edition of Frieze New York. The mobile app and web-based platform will be live May 8–15, 2020, with an invitation-only preview May 6–7, and will offer visitors the opportunity to enter over 200 virtual viewing room spaces.
Inside the Arts with Thaddeus Mosley
Abroms-Engel Institute for the Visual Arts
The University of Alabama at Birmingham
Thursday, May 14, 5:00 pm CT / 6:00 pm ET
Thaddeus Mosley will give a virtual gallery walkthrough of his current exhibition for the University of Alabama at Birmingham’s art museum’s Inside the Arts series. He will be joined by Tina Ruggieri, the Assistant Curator at AEIVA.
Alex Da Corte, still from Rubber Pencil Devil, 2018, HD digital video, color, sound; 2 hr. 56 min. Whitney Museum of American Art, New York; promised gift of Candace and Michael Barasch
April 16, 2020
Whitney Screens: Alex Da Corte’s Rubber Pencil Devil
Online, live-streamed on Vimeo
Friday, April 17, 7:00 pm whitney.org
Engage with video art in the Whitney’s collection while you’re at home with our new series: Whitney Screens. Every Friday, we’re featuring special screenings of video works recently brought into the collection, all by emerging artists, in keeping with the Whitney’s long tradition of supporting artists at the beginning and during key moments of their careers.
Created for the 2019 Carnegie International in Pittsburgh, Alex Da Corte’s Rubber Pencil Devil is composed of fifty-seven short films packed with references from pop culture—from childhood television icons like Mister Rogers and Sesame Street characters to queer icons like Peter Pan and Dolly Parton. Over the course of nearly three hours, Da Corte presents these familiar characters in very unconventional ways to consider ideas of vulnerability, empathy, and contemporary life.
This screening will present Rubber Pencil Devil in its entirety, with an introduction by David Breslin, DeMartini Family Curator and Director of Curatorial Initiatives.
TRUE LIFE, 2013, archival pigment print, anodized metal frame, 30 × 37 1⁄2 inches, Ed. of 5 + 2 AP
April 4, 2020
Alex Da Corte in Critical Dialogues Series
Tyler School of Art and Architecture at Temple University (Virtual Lecture)
Thursday, April 9, 6:00 pm tyler.temple.edu
Alex Da Corte works across a range of media, including video, performance, installation, painting and sculpture. He regularly combines high-and low-brow American cultural references from branded domestic items to figures from popular culture—to explore and interrogate personal and cultural politics, alienation and the psychological parameters of the human experience.
Alex Da Corte’s reenactment of the Allan Kaprow Happening Chicken, 1962
Levitt Auditorium, Gershman Hall University of the Arts
401 SO. Broad Street
Philadelphia, PA 19147
Thursday, March 5, 8:00 pm uarts.edu
The happening will take place in the same space it originally scandalized fifty-seven years ago. The performance is free and open to the public.
Words by Rosalyn Drexler
Choreography by Kate Watson-Wallace
Featuring Kristel Baldoz, Melanie Cotton, Danielle Currica, Julia Eichten, Jessica Emmanuel, Ya-ya Failey, Ann-Marie Gover, Imma, Andrew Smith, and Kim Thompson, along with Da Corte and Watson-Wallace. Music composed by Marco Buccelli and Xenia Rubinos, performed with Sunny Ali and Karna Ray.
Parker Gallery is proud to present its second solo exhibition with Marley Freeman. The exhibition features recent paintings and a selection of antique textiles from Paul Freeman Textile Artifacts. The textiles are displayed on freestanding cardboard armatures, referencing architectural monuments at an intimiate, human scale.
The recent paintings encompass elements of abstraction, figuration, portraiture and landscape painting all at once, without yielding to any restrictive genre. Freeman’s paintings are nebulous enigmas, frustratingly and rewardingly elusive of language.
Each canvas demonstrates a striking autonomy; individual paintings present their own, idiosyncratic principles and personalities as though they were created in separate and distinct moments in time. Yet upon closer examination we see a specific color percolate in one and return in another, suggesting they were worked on together and with others, making their individuality ever more triumphant.
Spur With Energy (2019) simultaneously suggests a bird’s eye view of snarled mid-city traffic, a circuit breaker, and a friendly robot. The power of free association is ripe in Marley’s paintings, but is merely the amuse-bouche of their potential and enduring allure. Consider also The Future Arrived Too Early (2019), depicting two seated figures in folding chairs on a speckled floor in front of a wall smattered with splotches of seafoam green. Dividing the zones of floor and wall are dozens of horizontal bands in brilliant color, abstracting our already tenuous notion of pictorial space.
Ann Craven in CMCA’s “Art You Love” Online Benefit Auction
Opens Friday February 14, 12:00 pm cmcanow.org/auction cmcanow.org
Bidding opens on February 14, noon | Closes on February 28, 5pm
Just in time for Valentine’s Day, give the gift of art to yourself or your loved ones—every auction purchase directly benefits CMCA’s exhibitions and educational programming. Don’t miss out on this unique opportunity to support the art and artists of Maine.
Contributing artists: Jeff Ackerman, Gideon Bok, Katherine Bradford, Meghan Brady, Jenny Brillhart, Marcie Jan Bronstein, Emily Brown, Tom Burckhardt, Tom Butler, Sam Cady, Julie Crane, Ann Craven, Grace DeGennaro, Lois Dodd, David Driskell, Lynn Duryea, Carol Eisenberg, Inka Essenhigh, Melanie Essex, Alan Fishman, Tom Flanagan, Linden Frederick, Peter Halley, Alex Katz, Sal Taylor Kydd, Tracy Miller, Dan Mills, K. Min, Anne Neely, Tessa G. O’Brien, Colin Page, Danica Phelps, Peter Ralston, Alison Rector, David Row, Tollef Runquist, Kate Russo, Claire Seidl, Gail Skudera, Lesia Sochor, Emilie Stark-Menneg, Sara Stites, Barbara Sullivan, Greta Van Campen, Susan Headley Van Campen, Tim Van Campen, Don Voisine, William Wegman, Kathy Weinberg, Jim Wolfe, Robert Younger, and Dudley Zopp.
Alex Da Corte in Critical Dialogue Series
Temple University
Tyler B04, Tyler School of Art and Architecture
2001 N. 13th St.
Philadelphia, PA 19122
Wednesday, February 26, 6:00 pm temple.edu
Alex Da Corte works across a range of media, including video, performance, installation, painting and sculpture. He regularly combines high-and low-brow American cultural references from branded domestic items to figures from popular culture—to explore and interrogate personal and cultural politics, alienation and the psychological parameters of the human experience.
Ann Craven,
Pensée #59 (Reims, France, June 16, 2008), 2008, Watercolor on paper, 23 × 15 inches
January 27, 2020
Ann Craven: Pensée #59 Parapet Real Humans
January 23-February 8, 2020
2901 Sidney Street
Saint Louis, MO 63104
In the French language, a pansy is called pensée, which means “a thought given.” The name is supposedly derived from its likeness to a pensive human face.
It is a flower that possesses a litany of artistic usage throughout history. Pensée is also a “bouquet” of flowers, or “thoughts”, inescapable as a middle ground between the worldly and the ethereal as an extended portrait of the human spirit. Rendering a chronology of thoughts about life and death, the artist dedicated this pensée project to the life of her mother.
Craven’s subjects are often of nature, fleeting things that shift and bloom in cycles of perpetual change, their representations as mercurial as their memories.
Ann Craven’s Pensée watercolors (all 23 × 15 inches) were exhibited first at the FRAC Champagne-Ardenne in Reims France in 2008, then at Maccarone Gallery in New York City in 2011 as part of the show Ann Craven: Watercolors, and in 2016 at Galerie des Multiples in Paris in the show: 100%, 2015 + Flower Power.
In 2013 Karma Books published “PENSÉE.” This 98 page book gathers the entire series of ninety-two pensée watercolors that Ann Craven painted in 2007-08 while in residency at the FRAC Champagne-Ardenne in Reims, France.
Ann Craven is renowned for her bold portraits of the moon, birds and flowers. Major solo exhibitions of her work have been held at the Center for Maine Contemporary Art, KARMA, Southard Reid, and Nina Johnson Gallery, among others. Her work is in the permanent collection of the Whitney Museum, the Museum of Modern Art, and the Hammer Museum, among others. She currently lives and works in New York City.
Alex Da Corte’s vibrant installations and mesmerizing video works can be found just as readily at major international art ventures, such as the 2019 Venice Biennale exhibition May You Live in Interesting Times, as on an electronic billboard in Times Square, New York. His visually stimulating and intellectually compelling work spans across a variety of media, including video, installation, sculpture, and painting, and takes cues and inspiration from contemporary pop culture. As a self-proclaimed “anthropologist of the immediate past,” he mines everyday objects from consumer culture to transport viewers through otherworldly experiences created with otherwise mundane, familiar images and items. A long-time Philadelphia resident, Da Corte has an extensive, personal history with the Marcel Duchamp galleries at the Philadelphia Museum of Art, a connection that becomes clear through the elevated status of the everyday through his work.
As part of an upcoming exhibition in Philadelphia—Invisible City: Philadelphia and the Vernacular Avant-garde, which highlights Philadelphia’s artistic accomplishments during the 1960s and ’70s, Da Corte will reinvent Allan Kaprow’s 1962 Happening, Chicken. Happenings grew out of challenges to the categories of art that were initiated by Duchamp and his contemporaries in the early twentieth century. Invisible City: Philadelphia and the Vernacular Avant-garde is curated by Sid Sachs and Jennie Hirsh. More information can be found at https://www.uarts.edu/invisiblecity.
“Radical Acts” is a program series explores the legacy of Marcel Duchamp through the lens of contemporary artists working today.
Schedule
5:30–6:30 pm | Come early to enjoy a happy hour at Dolcezza Café in the Lobby. Drinks for purchase.
6 pm | Doors open to Lerner Room and after-hours access to Marcel Duchamp: The Barbara and Aaron Levine Collection.
6:30–7:30 pm | On Duchamp: Alex Da Corte: Conceptual artist Alex Da Corte will join Hirshhorn chief curator Stéphane Aquin to unpack the legacy of Marcel Duchamp and new ways of reinvigorating found materials through the lens of his extensive practice and upcoming projects
We encourage you to arrive early. Lerner Room seating is limited. Any open seats may be released to walk-up visitors 10 minutes before the program.
Mungo Thomson at Frieze Projects
Frieze Los Angeles 2020
Paramount Pictures Studios Back Lot
5515 Melrose Ave, Los Angeles, CA 90038
February 14-16, 2020 Frieze.com
Saturday, February 15: 11am–7pm
Sunday, February 16: 11am–6pm
Making use of a list of mediums too lengthy to enumerate, Mungo Thomson (b. 1969, Woodland; lives in Los Angeles) aligns himself with the droll and heady legacy of California conceptualism.
Thomson borrows from design worlds (graphic and product) to contemplate human existence vs. geological time. He has isolated the font on the Times magazine masthead in an ongoing series of paintings on mirrors (Time through the ages) and slowed down the lilting tunes of new age musician William Ackerman (the long play record ’It Takes a Year’ actually takes 365 days to hear).
Snowman recasts the seemingly ubiquitous cardboard delivery box into a bronze monument for our age. Recasting also is an appropriate term for the transformation of these disposable (but environmentally damaging) cardboard boxes into the durable, mineralogical bronze. Thomson seizes the everyday, too easily cast off consumer objects of our day and produces anthropological relics for the future.
Frieze Projects 2020 is co-curated by Rita Gonzalez (Terri and Michael Smooke Curator and Department Head of Contemporary Art, LACMA) and Pilar Tompkins Rivas (Director, Vincent Price Art Museum).
Will Boone at Frieze Projects
Frieze Los Angeles 2020
Paramount Pictures Studios Back Lot
5515 Melrose Ave, Los Angeles, CA 90038
February 14-16, 2020 Frieze.com
Saturday, February 15: 11am–7pm
Sunday, February 16: 11am–6pm
Will Boone (b. 1982, Houston; lives in Los Angeles) creates paintings, sculptures and installations that draw inspiration from diverse references, including forms of pop, vernacular, and industrial culture, lore and history, and subcultural aesthetics.
Boone’s The Three Fates, P-22, and Grave, reimagine figures from vintage hobby kits popular in the 1960s as life-sized, stand-alone sculptures. In these works he isolates menacing witches around a cauldron, a cougar ready to pounce, and a gravestone from a monster set, reconfiguring classic Americana toys to create new narratives and associations.
His works foreground materiality, transforming the plastic manufacturing techniques of the post-war era figurines by upscaling them to cast bronze, finished with a loose enamel painting technique reminiscent of the hobbyist’s brush.
Frieze Projects 2020 is co-curated by Rita Gonzalez (Terri and Michael Smooke Curator and Department Head of Contemporary Art, LACMA) and Pilar Tompkins Rivas (Director, Vincent Price Art Museum).
Contemporary Arts Museum Houston is hosting a catalogue signing of the newly-released publication that accompanies the exhibition Will Boone: The Highway Hex. Catalogues will be available in the Museum Shop, and the artist will be present to sign and personalize your copy.
Blue Pencil Drawing (Zinnia Omelette),
2019.
Inkjet and White Out on paper, cast polyester resin frame, plexiglass, mat-board, coroplast, wooden
strainer, hardware.
17 3⁄16 × 14 13⁄16 in (43.66 × 37.62 cm)
Courtesy of the artist and Karma, NY
December 10, 2019
Alex Da Corte in the Space 1026 Art Auction
Friday, December 13th, 2019
6 pm Space 1026
844 North Broad Street
Philedelphia, PA 19130
Alex Da Corte, Blue Pencil Drawing (Big Chill Spook), 2019, Inkjet and White Out on paper, cast polyester resin frame, plexiglass, mat-board, coroplast, wooden strainer, hardware, 17 3⁄16 × 14 13⁄16 inches
November 10, 2019
Alex Da Corte in The Swiss Institute’s 2019 Benefit Auction
November 10, 2019, 6:30 pm
Angel Orensanz Foundation
172 Norfolk Street
New York, NY 10002 swissinstitute.net
SI Artist Tribute
CHRISTINA FORRER
SI Special Tribute
RUDOLF STINGEL
SI Honoree
ANNABELLE SELLDORF
SI Visionary Award
ANTONIE & PHILIPPE BERTHERAT
and saluting SI’s education partner
THE EDUCATIONAL ALLIANCE SIROVICH CENTER
Creative Direction
RAÚL DE NIEVES
Auction
SIMON DE PURY
Benefit Co-Chairs
Akris, Larry Gagosian, LUMA Foundation, Stiftung Usine
Benefit Co-Hosts
Shelley Fox Aarons and Philip E. Aarons, Monique and Max Burger and the TOY Family, Massimo De Carlo, Milan/London/Hong Kong, Consulate General of Switzerland in New York, Paula Cooper, Florian Gutzwiller, Hauser & Wirth, Lévy Gorvy, Luhring Augustine, Ricola, Lisa Schiff
Benefit Committee
Sarah Arison, James Keith Brown and Eric Diefenbach, Sadie Coles HQ, Beat Curti, Matthew Dontzin and Elissa Doyle, Eurostruct, Mark Fletcher and Tobias Meyer, Heather Flow, Gladstone Gallery, David Kordansky, Maren Krass, Caroline Lang, Rachel and Jean-Pierre Lehmann, Pierre-André Maus, Marjorie Mayrock, Susanne von Meiss, Metro Pictures, Melanie Munk, Carolina Nitsch, PIN-UP, Galerie Eva Presenhuber, Almine Rech, Thaddaeus Ropac, Melissa Stewart, Clarice O. Tavares, Begum Yasar
Mathew Cerletty, Crying As Architecture, 2019, oil on linen, 52 × 40 inches
Darren Bader, crying as architecture
October 30, 2019
Mathew Cerletty in Words at Alexander Berggruen Gallery
October 11–November 26, 2019
1018 Madison Avenue, Floor 3
New York, NY 10075 www.alexanderberggruen.com
John Baldessari, Jean-Michel Basquiat, David Bates, Alighiero Boetti, Margaret Bourke-White, Georges Braque, Mathew Cerletty, Walker Evans, Danny Fox, Charles Gaines, Philip Guston, David Hockney, Robert Indiana, On Kawara, Paul Klee, Joseph Kosuth, Barbara Kruger, Tony Lewis, Kerry James Marshall, Ryan Morozowski, Yoshitomo Nara, Ed Ruscha, Emily Mae Smith, Cy Twombly, Lawrence Weiner, Jonas Wood, and Christopher Wool.
Mathew Cerletty in conversation with Lucy Kim in Boston University’s Tuesday Night MFA Lecture Series Boston University
Room 410, 808 Commonwealth Avenue
Brookline, MA 02446
Tuesday, October 29, 7:30 pm bu.edu
Hosted by the graduate programs in Painting and Sculpture at Boston University, the Tuesday Night MFA Lecture series brings practicing artists to campus to present their work. All lectures are free and open to the public.
Mathew Cerletty (CFA’02) utilizes a hyper-realistic approach to painting that marries the quotidian and the surreal within a range of motifs and subjects. While an undergraduate at Boston University, Cerletty developed the ability to carefully paint the figure in the academic, representational mode. Today, he has developed a practice in which virtuosic yet slightly uncanny depictions of human subjects, corporate logos, and domestic objects are rendered in high-key color and with flat precision. Pervading Cerletty’s paintings is a deadpan sense of humor tempered by a disarming sincerity towards his seemingly banal subjects.
His work has been exhibited in museums including Whitney Museum of American Art, the Hermitage Museum in St. Petersburg, and the Museum of Contemporary Art in San Diego; and at galleries including Rivington Arms, Team Gallery, Plum and Poe in New York, and the Boston University Art Galleries. He is represented by Office Baroque in Brussels, Belgium and Standard in Oslo, Norway.
Dike Blair, Untitled, oil on wooden panel, 10 × 7 1⁄2 inches
October 22, 2019
Dike Blair, Robert Duran, Marley Freeman, and Paul Mogensen in TWO × TWO for Aids and Art Auction
October 26, 2019
The Rachofsky House
8605 Preston Road
Dallas, TX 75225 twoxtwo.org
The 21st annual benefit dinner and art auction that jointly benefits amfAR and the Dallas Museum of Art. The black-tie gala dinner will feature a live and silent auction of significant contemporary art, as well as the presentation of amfAR’s 2019 Award of Excellence for Artistic Contributions to the Fight Against AIDS. Sponsored by Sotheby’s, Highland Park Village, Headington Companies, Neiman Marcus, Chubb Personal Insurance / IMA | Waldman, and Todd Events.
We are deeply saddened to announce the sudden passing of our friend, Matthew Wong. Our heartfelt condolences go out to his family and friends.
A service in celebration of Matthew’s life will be held at Connelly-McKinley Funeral Homes on Monday, October 21, 2019 from 1 to 2:30 p.m., followed by the burial at Rosehill Cemetery from 3 to 5 p.m. A reception will be held afterwards at the Cactus Club Cafe from 5:30 p.m. onwards.
Whooping Crane (Endangered, after Audubon), 2018, 2018, oil on canvas, 24 × 18 inches
September 26, 2019
Ann Craven AMERICAN BIRDS (ENDANGERED, EXTINCT, AFTER AUDUBON), 2018-19 Southard Reid
September 28–November 2, 2019
7 Royalty Mews
London W1D 3AS SouthardReid.com
Marley Freeman, At the Office, 2017-2019, Oil on linen, 12 9⁄16 × 10 1⁄2 inches
September 25, 2019
Marley Freeman included in GUBBINAL at Project Native Informant
A group exhibition co-curated by Sean Steadman
September 27–November 2, 2019
Dressage Court, 58 – 64 Three Colts Lane
Bethnal Green London E2 6GQ projectnativeinformant.com
Adam Gordon | Alan Miller | Andrew Stahl | Clementine Bruno | Jennifer Packer | Marley Freeman | Sean Steadman | Sebastian Jefford | Stanislava Kovalcikova | Tenant of Culture | Vincent Fecteau
Matthew Wong, The Stranger, 2019, acrylic on paper, 16 × 12 1⁄4 inches
September 11, 2019
Alex Da Corte and Matthew Wong in The Drawing Center’s 2019 Benefit Auction
September 19, 2019, 6:30 pm
35 Wooster Street
New York, NY 10013 DrawingCenter.org
Join the Drawing Center on Thursday, September 19 for an evening of music, cocktails, and a silent auction featuring works generously donated by over 40 leading artists.
Participating artists include; Tomma Abts, Richard Aldrich, Noel W Anderson, Kamrooz Aram, Attributed to Arrow (Southern Cheyenne), Tauba Auerbach, Joe Bradley, George Condo, John Currin, Alex Da Corte, Trisha Donnelly, Leonardo Drew, Isa Genzken, John Giorno, Maryam Hoseini, Rashid Johnson, Anna K.E., Brad Kahlhamer, Fernanda Laguna, Bill Lynch, Calvin Marcus, Park McArthur, Hugo McCloud, Troy Michie, Jeanette Mundt, Oscar Murillo, Chris Ofili, Laura Owens, Maia Cruz Palileo, Adam Pendleton, Ronny Quevedo, Jessi Reaves, Ugo Rondinone, Alan Shields, Josh Smith, Cauleen Smith, Rudolf Stingel, Ryan Sullivan, Henry Taylor, Johanna Unzueta, Cecilia Vicuña, Adrián Villar Rojas, Mary Weatherford, Michael Williams, and Matthew Wong.
Da Corte will discuss his reworking of American pop culture as well as his recent contributions to the 57th Carnegie International in Pittsburgh and the 58th La Biennale di Venezia. His most recent solo exhibition was held at Kölnischer Kunstverein, Köln, Germany (2018). Other recent solo exhibitions include Karma, New York (2018); Secession, Vienna, Austria; Art + Practice, Hammer Museum, Los Angeles (2016); MASS MoCA, North Adams, Massachusetts (2016); Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); and Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson).
Join artist Ann Craven and Christopher B. Crosman, founding curator, Crystal Bridges Museum of American Art and former director, Farnsworth Art Museum, as they discuss her current exhibition on view at CMCA, Birds We Know.
Matthew Wong, Mili's Corner, 2019, oil on canvas, 24 × 20 inches
July 18, 2019
Matthew Wong and Gertrude Abercrombie in A Cloth Over a Birdcage at Château Shatto
July 27–August 31, 2019
1206 S. Maple Ave, Suite 1030
Los Angeles, CA 90015 http://chateaushatto.com
Gertrude Abercrombie, Ross Bleckner, Chen Ching-Yuan, Van Hanos, Brook Hsu, Helen Johnson, Jennifer J. Lee, Sally Michel, Jonny Negron, Alexandra Noel, Jules Olitski, Lauren Satlowski, Hiroshi Sugito, Issy Wood, and Matthew Wong
Out in the Country, 1939, oil on canvas, 23 1⁄4 × 29 1⁄4 inches (unframed), 25 1⁄2 × 31 5⁄8 inches (framed)
June 28, 2019
Gertrude Abercrombie in The Whitney’s Collection: Selections from 1900 to 1965 Whitney Museum of American Art
June 28, 2019–
99 Gansevoort Street
New York, NY 10014 Whitney.org
Alvin Loving, Septehedron 34, 1970, Acrylic on shaped canvas, 88 5⁄8 × 102 1⁄2 inches, Whitney Museum of American Art, New York; gift of William Zierler, Inc. in honor of John I. H. Baur 74.65. Courtesy the Estate of Al Loving and Garth Greenan Gallery, New York
June 28, 2019
Interactions of Color: Alex Da Corte and David Breslin in Conversation Whitney Museum of American Art, Floor 8
Monday, July 1, 7 pm
Join artist Alex Da Corte and David Breslin, DeMartini Family Curator and Director of the Collection and curator of the exhibition Spilling Over: Painting Color in the 1960s, for a conversation about abstraction, color, and optical perception in painting and related media.
Alex Da Corte creates vibrant and immersive large-scale installations that include wall-based works, sculptures, and videos. Colorful and humorous, his work combines personal narrative, art-historical references, pop-culture characters, and the glossy aesthetics of commercial advertising to explore the absurdity and psychological complexity of the images and stories that pervade contemporary American life.
Matthew Wong, Dark Reverie, 2018, oil on canvas, 30 × 40 inches
June 23, 2019
Matthew Wong and Nicolas Party in Away in the Hill GRIMM Gallery
June 27–August 2, 2019
202 Bowery
New York, NY, 10012 grimmgallery.com
With Charles Avery, Katherine Bradford, Peter Doig, Alex Dordoy, Loie Hollowell, Matthew Day Jackson, Claudia Martínez Garay, Benny Merris, William Monk, Ciarán Murphy, Rosalind Nashashibi, Lucy Skaer, Matthias Weischer, and Letha Wilson
Alex Da Corte in Garland
Curated by Sabrina Tarasoff
Treignac Projet
June 21–September 15, 2019
2 rue Ignace Dumergue
19260 Treignac, France treignacprojet1.tumblr.com
With Ericka Beckman, Scott Benzel, Andrew Cameron, Guendalina Cerruti, Alex da Corte, Charlotte Houette, Karen Kilimnik, Sherrie Levine, Signe Rose, Adam Stamp, and Michael Zahn
Mathew Cerletty, Print, 2018, inkjet and watercolor on Epson Hot Press Bright 330gsm paper, 18 × 18 inches
May 17, 2019
Mathew Cerletty, Marley Freeman and Nicolas Party in 2019 White Columns Benefit Auction Exhibition
May 18–May 29, 2019
Auction: May 29 at 6:30 pm
91 Horatio Street
New York, NY 10014
Time, Turn, and Light, 2019. Collection of the City and County of San Francisco. Photo courtesy of San Francisco Arts Commission by Ethan Kaplan Photography.
April 16, 2019
Woody De Othello at San Francisco International Airport
Opened on February 6, 2019 (permanent installation)
Public Observational Deck
San Francisco, CA 94128
Matthew Wong, Morning Landscape, 2017, oil on canvas, 36 × 48 inches
April 5, 2019
Matthew Wong in a Panel Discussion for Landscape Painting Now
Book Launch at the Whitney Museum April 17, 2019
Whitney Museum, Shop, Floor 1
99 Gansevoort St.
New York, NY 10014
In conversation with Verne Dawson, Lois Dodd, Enrique Martínez Celaya, and Alison Elizabeth Taylor. Moderated by author Barry Schwabsky.
Paul Mogensen, no title, stand oil and ink on canvas, 60 × 60 inches
February 17, 2019
Paul Mogensen in 2019 Invitational Exhibition of Visual Arts The American Academy of Arts and Letters
March 7 – April 7, 2019
633 West 155 Street
New York, NY 10032
Walter Price, Afro blue 5, 2017, acrylic and ink on paper, 17 1⁄2 × 23 5⁄8 inches (framed).
February 17, 2019
Walter Price in Uptown to Harlem: African American Works from the Collection of Martin & Rebecca Eisenberg
April 2018 – April 2019 Riverview School
Cape Cod, Massachusets
Derrick Alexis Coard, David Hammons, Dave McKenzie, Julie Mehrutu, Wardell Milan, Jason Moran, Wangechi Mutu, William Pope L., Walter Price, Gary Simmons, Henry Taylor, Kara Walker, Nari Ward, Jack Whitten
Installation view, Techniques of the Observer, 2019. Courtesy of Greene Naftali, New York.
January 30, 2019
Walter Price in Techniques of the Observer
February 5 – March 9, 2019 Greene Naftali
508 West 26th Street
New York, NY 10001
Gillian Carnegie, Lois Dodd, Thomas Eggerer, Michael Fullerton, Michael Krebber, Stuart Middleton, Elizabeth Peyton, Walter Price, Elliot Jamal Robbins, Giangiacomo Rossetti, Nolan Simon, Katharina Wulff
Woody De Othello in “Blow Up” at Friedman Benda
Curated by Felix Burrichter
January 10 – February 16, 2019 Friedman Benda
515 West 26th Street
New York, NY 10001
Alex Da Corte, Rubber Pencil Devil, 2018, HD Digital video, Runtime: 2 hours, 55 mins, 52 seconds
January 1, 2019
Alex Da Corte in the 57th edition of the Carnegie International.
Curated by Ingrid Schaffner
October 13, 2018 – March 25, 2019
Carnegie International, 57th Edition Carnegie Museum of Art
4400 Forbes Ave.
Pittsburgh, PA 15213
Nicolas Party “Arches” M WOODS
November 30, 2018 – February 24, 2019
Chaoyang District
Beijing, China
Opening in November 2018, M WOODS presents a solo exhibition by Swiss artist Nicolas Party. Working across painting, pastel, sculpture, video and installation, Party is renowned for a deep sense of site specificity and temporality in his projects, which often feature hand-painted murals that exist on gallery walls only for the duration of an exhibition. Within these painted environments sit two and three dimensional works which, through a style and colour system unique to the artist, offer a contemporary take on traditional subjects such as still life, portraiture, landscape and the sculptural bust.
Party’s exhibition at M WOODS will be his first at a non-profit institution in Asia and his largest to date, bringing together recent works with a suite of new sculptures and wallpaintings created on site at the museum.
Jean Conner FORMAL GARDEN, 1966. Courtesy of Anglim Gilbert Gallery, San Francisco, CA
November 25, 2018
Jean Conner in “West by Midwest” at MCA Chicago
Curated by Charlotte Ickes and Michael Darling
November 17, 2018 – January 27, 2019 MCA Chicago
220 East Chicago Avenue
Chicago, IL 60611
Courtesy of Mendes Wood DM, Brussels. Photo credit: Kirsten Daem.
November 24, 2018
Nicolas Party in “Nightfall”
Curated by Erika Verzutti, Fernanda Brenner and Milovan Farronato
November 7, 2018 – January 19, 2019 Mendes Wood DM
13 Rue des Sablons / Zavelstraat
1000 Brussels Belgium
Ann Craven Moon (Full Lavender Halo, Blue Sky, Cushing, 8-26-18, 11PM), 2018.
November 24, 2018
Ann Craven in Foundation for Contemporary Arts 2018 Benefit Exhibition
November 29 – December 15, 2018 Gladstone Gallery
530 West 21st Street
New York, NY 10011
Dike Blair, Untitled, 1990, gouache and pencil on paper, 7 × 10 inches
October 9, 2018
Dike Blair in “One Day at a Time: Manny Farber and Termite Art”
Curated by Helen Molesworth
October 14, 2018 — March 11, 2019 MoCA, Los Angeles
250 South Grand Ave
Los Angeles, CA 90012
