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An indispensable listing of current exhibitions at our member galleries.



Gallery Guide Entries

  • Chicago, IL

    • Leon Polk Smith

      Endless Space

      2044 West Carroll Avenue
      Chicago, IL 60612
      September 13, 2019 - November 23, 2019

    • Manish Nai

      A History of Gestures

      835 West Washington Boulevard
      Chicago, IL 60607
      September 14, 2019 - December 14, 2019
      Kavi Gupta is pleased to present Manish Nai’s second solo exhibition with the gallery, A History of Gestures. Nai’s iconic vision for socially-conscious minimalism has earned him global attention as a crucial voice for Indian art today. Paying mind towards the complex intersections of material culture, art history, class relations, and autobiography, Nai’s geometrically simple forms distill the essence of contemporary Mumbai. Known best for employing indigo-dyed jute, used clothes, and the diverse newspapers of India as the raw material for his practice, Nai’s newest bodies of work expand to include whole used books and mosquito nets. These new bodies of work expand upon Nai’s ongoing meditation on time itself. Time has always been a chief concern in Nai’s practice, compressed layers of paper, jute, and clothing slowly setting into distinct strata like sedimentary rock. The innumerable pages and subtle tonal shifts of his new book pillar sculptures recall that tradition in his work, but their sequencing as distinct layers bring a new kind of clarity to the substance. While the forms are cleaner and more minimal than ever before, the contents remain elusive, refusing access to their text. Their history as books immediately accessible, but their content as text is arrested in time, frozen inside the sculpture. The small compressed books are slightly more generous with access to content, their covers serving as pedestals for their former contents, now twisted into gnarled knots. Text from the books gives brief flickers of legibility, but the organic forms twist and turn away from inquisitive eyes. The mosquito net paintings similarly crystallize time, laying out a history of gestures. Nai stains them with watercolor or thinned acrylic, much of which passes through the thin, perforated surface with ease. While much of the paint may pass through one layer onto another, the remaining stain has a permanence and honesty that almost relates to photography. The surface becomes a frozen moment in time, a perfect portrait of every choice made in making, with no room to hide, no opacity for coverup, no chance for erasure. In the side room, a pyramid comprised of used clothes, compressed into pillars, revisits one of Nai’s signature materials. Nai’s practice at large always circles back to the landscape of contemporary urban India, each material choice (including the books and mosquito nets) a reality of the everyday in Mumbai. The most densely populated megacity in the world, Mumbai is highly cosmopolitan, while still maintaining a distinct Indian character. This mass density of people, history, and material in a common geographic context informs Nai’s use of used clothing, the formation of the clothing into pillars, and the near-architectural logic of their arrangement. These kinds of choices extend to all of the sculptural work in the show, each piece a dense coalescence of material, each material being substantial to contemporary India, and each form based in a logical geometry that is equally related to minimalist sculpture and urban architecture. They are brought to life by Nai’s hand and the organic potential in their manipulation, unexpected possibilities blooming forth from their seemingly mundane substances.

    • Kennedy Yanko


      219 North Elizabeth Street
      Chicago, IL 60607
      September 20, 2019 - December 14, 2019
      Kavi Gupta is pleased to present HANNAH, a solo exhibition of new work by Kennedy Yanko (b. 1988, USA). Physicality is essential to Yanko’s sculptural practice. Scouring the urban metal yards and demolition sites of New York City, she seeks out intuitive, physical connections with abandoned materials she can transform in her studio. She has long sought to exert her will on these raw materials, to free them from former actualities, covering their scars and markings to allow new forces to manifest—expressions of atomism and spirit within their present reality. In preparation for HANNAH—her first solo show at Kavi Gupta—Yanko chose to engage in more of an open call and response with the pre-existing narratives of her materials. Says Yanko, “It was a very different experience creating this show. It became about slowing down and taking more time to allow the conceptual aspects to develop as I manipulated and created each work. Initially, while searching for the base materials, I was drawn to metals that had direct characteristics related to their past lives. These markings appeared so perfectly I didn’t feel I had the agency to remove them.” Rather than eliminating evidence of the past—which was about allowing viewers to stay more in the moment with her works—Yanko felt compelled to start incorporating the imposed history of her materials into their present forms. The works in HANNAH express this shift, retaining bits of text and aged, painted surfaces—echoes of their material past. Additionally, Yanko began adding elements such as colored vinyl pieces to her sculptures, in an effort to expand the perspective of the work beyond the sculptures themselves. “I was thinking about tracing the shadows of the work,” she says, “to bring in another element and perspective that provoked the viewer to read the pieces with a different kind of physical involvement. In addition to the metal and the paint skins, I chose blocks of monochromatic color to echo the highlights and lowlights of rust, expanding the work into the space.” The additional contemplative aspects of the work coincide at a juncture of personal transcendence in Yanko’s career—her inaugural solo show at Kavi Gupta gallery aligns with the opening of Before Words, her first solo museum exhibition, opening September 28th at the Urban Institute of Contemporary Arts (UICA) in Grand Rapids, Michigan, and the debut of her first public sculpture on September 24th as part of The Poydras Corridor Sculpture Exhibition of New Orleans, sponsored by the Helis Foundation. It was precisely through reflecting on the struggles that have brought her to this moment that Yanko found herself becoming more sympathetic with the markings that signified the past tribulations of her materials—perhaps it’s no coincidence the word scrap can also mean fight. “I dropped out of school,” says Yanko, “I had every single job in New York City. All of that was about making time to make work. During that process, I didn’t look up very much. I needed to discover my own way.” The title HANNAH grew out of this self analysis. “Because of their (my materials’) adamant presentation of personal history, I couldn’t help but reflect on my own,” Yanko says. “I was thinking about the things I was given. You’re given situations, and it’s really up to you what you do with what you have. My birth name was Hannah Elizabeth Kennedy Yanko. I was given a name, I took what worked and left what didn’t. That was the genesis of my understanding, on a deeply tangible level, that my entire existence boils down to choice, down to perception, and my ability to hone in on that understanding became the foundation in which I began to move through this world.” Yanko’s work has always been about disrupting pre-existing associations. HANNAH announces the arrival of an artist who has welcomed a new paradigm of thinking, in which we consider not only what we are now, but how things have come to us in this moment. And like the paint skins that she adds to her metal pieces, it’s also about how we relate to our surroundings. “The framework supports the skin,” Yanko says, “and the metal becomes the composition that the skin responds to. There’s this play on how they interact and respond to each other. I’m fascinated with paradox, and seeming opposites, when actually they are so dependent on each other. I’m interested in the moment when they come together in that interdependence. One thing can’t exist without the opposing force.”

    • Jeffrey Gibson


      219 North Elizabeth Street
      Chicago, IL 60607
      September 20, 2019 - December 14, 2019
      Gibson’s jubilant and ever-evolving practice blends the aesthetic heritages of Native America, rave culture, and punk rock, breathing new life into the traditions of Modernist Abstraction. In his paintings, sculptures, garments, performances and films, indigenous craftwork and ancient abstract references coalesce to form metaphysical bridges between 20th century art movements like Geometric Abstraction, Neo-Dada and Pop Art, and contemporary fields of inquiry such as Relational Aesthetics, Institutional Critique and Identity Politics. For CAN YOU FEEL IT, his first solo exhibition at Kavi Gupta, Gibson presents 14 new paintings and sculptures—including the debut of a never-before-shown body of quilted works. Inspired by four years in the mid-1990s when Gibson called Chicago home, the exhibition’s title echoes the classic house jam of the same name by Chicago-born DJ Larry Fine, a.k.a. Mr. Fingers. Says Gibson, “This was a period when house music was so welcoming and inclusive, and being in Chicago was very optimistic. There was a space carved out for people of different backgrounds coming together and celebrating each other, letting everything go and having a good time. It felt hopeful. That was a big critical experience for me in terms of thinking about how to respond to a challenging larger culture.” Included in CAN YOU FEEL IT are three new works from Gibson’s ongoing Punching Bag series (2013–present). Appropriating iconic Everlast punching bags as sculptural supports, Gibson mobilizes bead work, weaving, tassels, and other material interventions to transform objectified targets for abuse into conceptual symbols of strength and beauty. Above all, Gibson’s Punching Bags sparkle with life. As with many of Gibson’s works, they come embedded with references to music, philosophy and pop culture. Bewitched, Bothered, and Bewildered (2019) takes its title from an American Standard first sung by Vivienne Segal in the 1940 Broadway premiere of Pal Joey (since covered by Ella Fitzgerald, Linda Ronstadt, and Doris Day, among others). All I ever wanted, all I ever needed (2019) reflects the chorus of Enjoy the Silence, the 1990 smash single by British synth-pop band Depeche Mode. Trapped in the dream of the other (2019) quotes French Post-structuralist philosopher Gilles Deleuze (1925 – 1995), who remarked, “If you’re trapped in the dream of the Other, you’re fucked.” The eight new paintings in CAN YOU FEEL IT similarly bear such culturally percipient titles as, “I’ve never met anyone quite like you before” (from Temptation, by New Order), “To say I love you right out loud” (from Both Sides Now, by Joni Mitchell), and “Before the devil knows you’re dead” (attributed to an Irish saying). In these multi-faceted works, text hovers in a state of tension amid brightly colored, dense optic patterning, drawing dynamic distinctions between figure and ground. Finally, Gibson presents the first three of what will eventually be 12 unique quilted pieces—a series that emerged from the performative garments Gibson is currently exhibiting in the 2019 Whitney Biennial.

  • Houston, TX

    • Jamal Cyrus

      Currents and Currencies

      3901 Main Street
      Houston, TX 77002
      November 8, 2019 - January 4, 2020

  • Kinderhook, NY

    • Meleko Mokgosi

      Democratic Intuition

      25 Broad Street
      Kinderhook, NY 12106
      October 26, 2019 - April 1, 2020

  • Los Angeles, CA

    • Thomas Joshua Cooper

      Thomas Joshua Cooper: Capes of California

      901 East 3rd Street
      Los Angeles, CA 90013
      October 24, 2019 - January 19, 2020

    • Charles Gaines

      Palm Trees and Other Works

      901 East 3rd Street
      Los Angeles, CA 90013
      September 14, 2019 - January 5, 2020

    • Philip Guston

      Resilience: Philip Guston in 1971

      901 East 3rd Street
      Los Angeles, CA 90013
      September 14, 2019 - January 5, 2020

    • Laura Owens

      Books and Tables

      1062 North Orange Grove
      Los Angeles, CA 90046
      October 26, 2019 - January 25, 2020

  • New York, NY - 57th Street

    • American Western Art


      60 West 55th Street, 5th Floor
      New York, NY 10019
      March 1, 2019 - December 31, 2019
      name goes here

    • Western Art

      1830 - Present

      60 West 55th Street, 5th Floor
      New York, NY 10019
      February 1, 2019 - December 31, 2019

    • Xenia Hausner
      475 Park Avenue
      New York, NY 10022
      November 14, 2019 - January 11, 2020
      New York, NY – Forum Gallery, New York will present the first exhibition in the US in a decade of paintings by Austrian artist Xenia Hausner from November 14, 2019 to January 11, 2020. Since her introduction to American audiences in 2000, Xenia Hausner has exhibited extensively in Europe and China as well as New York and Los Angeles. The current exhibition of twelve striking new paintings precedes a solo retrospective exhibition for the Artist to be presented by The Albertina Museum in Vienna, Austria in April 2020. In the paintings for this exhibition, Xenia Hausner explores the human condition of women today as she responds to the geopolitical issues of our time. Hausner captures the spirit and soul of her subjects as she probes their emotional and personal lives. The paintings are direct, dramatic and boldly expressive in their poignant narratives. Using striking color with confident, secure brushstroke, Hausner achieves a unique engagement in a highly personal way. With unflinching directness, she engages the viewer, drawing us in to her creative world. Her subjects confront us as they reveal themselves with open and palpable strength, often demanding that we seek out their points of inflection. To view a Xenia Hausner painting is a multi-layered experience that begins with an appreciation of the painting as a bold and colorful object and leads to a deep, ongoing engagement with the inner drama of the subjects. Xenia Hausner portrays the emotional lives of her subjects with strength and dexterity. They are passionate about love, desire, survival and making sense of life. Xenia Hausner offers insightful views into their hopes and dreams. In her paintings we are able to see, in a singular way, some of their past, much of their present, and a glimpse of their thoughts of the future. Xenia Hausner began her working life as a stage designer in Vienna and since 1992, has devoted all of her time to easel painting. Forum Gallery introduced her work to the United States in 2000 and subsequently presented two exhibitions in New York and one in Los Angeles. Xenia Hausner has been the subject of solo exhibitions at Kunsthaus Wien, Austria; Ludwig Museum, Koblenz, Germany; Rupertinum, Museum der Moderne, Salzburg, Austria; Käthe-Kollwitz Museum, Berlin, Germany; The Russian Museum, St. Petersburg, Russia; the Shanghai Art Museum and the Today Art Museum in China. Hausner’s paintings are included in major museum collections throughout Europe, and three monographs have been published on the Artist’s work, two of which have appeared in English as well as German. Xenia Hausner opens with a reception for the artist on Thursday, November 14, 2019 from 5:30pm to 7:30pm, and will be on view through Saturday, January 11, 2020. ### Forum Gallery is located at 475 Park Avenue at 57th Street, New York, NY 10022. Please visit to view the entire exhibition online. The exhibition begins on November 14, 2019 and will be on view through January 11, 2020. Forum Gallery is open Monday through Saturday, 10am to 5:30pm. A fully illustrated, 32-page color catalogue will be available from the gallery, featuring an essay by Jessa Crispin. For more information, please contact Kevin Dao, 212-355-4545;

    • Robert Kelly


      41 East 57th Street, Floor 11
      New York, NY 10022
      November 15, 2019 - January 10, 2020
      Jason McCoy Gallery is pleased to present Venus Imperial, a solo exhibition of paintings by Robert Kelly. Conceived as a cohesive installation, the exhibition brings together a variety of works that date from 2002 to 2019. In this context, single works such as the large-scale Woodstock Nocturne or Mimesis Noir CXXII aim to provide visual anchors, while smaller groupings including El Senor, Venus Imperial and Canary Nocturne manifest rhythmic investigations of an even more intimate focus. Though appearing as rather minimal and perhaps even as hard-edge from afar, the work of Robert Kelly is not. Upon close inspection, one instantly discovers delicate surfaces made of layered information, which bestow a unique sense of mystery upon each painting. This quality is rooted in Kelly’s material of choice: paper that has been printed in times past and heralds from different parts of the world. In fact, Kelly has spent years gathering and traveling, building a collection that ranges from original film posters from 1950s Russia or 1960s Italy, to German school ledgers from 1879 and a 1969 concert announcement for Woodstock, for example. By mounting these rare historic documents backwards onto the canvas, Kelly transforms them into faint yet atmospheric echoes of the past. Only a few phantom images remain, and Kelly draws inspiration from them as small epiphanies and points of orientation in conjuring up his paintings. Furthermore, he employs a language that honors the aesthetics of his source material and embraces a modernist vocabulary akin to the traditions of the Bauhaus, De Stijl, Russian Constructivism and Neo-Plasticism. His paintings can translate as formal puzzles, dynamic interplays between line, form and color sparked by what lies veiled underneath: a palimpsest of things past and present. Kelly himself has remarked: “In a way, this marks my search for a continuity of an aesthetic that is coupled with something organic, sensual, and found.” Born in 1956 in Santa Fe, New Mexico, Robert Kelly received his Bachelor of Arts degree from Harvard University in 1978. His work has been exhibited extensively in the United States and abroad, including most recently in Brazil and Italy. His work is represented in the permanent collection of The Rose Art Museum, FL; University of New Mexico Art Museum, NM; The Brooklyn Museum, NY; The Museum of Fine Arts, Santa Fe, NM; Milwaukee Art Museum, WI; Smith College Art Museum, MA; Jane Voorhees Zimmerli Art Museum, Rutger’s University, NJ; Montgomery Museum of Fine Arts, AL; The Fogg Museum, Harvard University, MA; The Whitney Museum of American Art, NY; The Margulies Collection, Miami, FL; The McNay Museum of Art, TX, and the New Mexico Museum of Art, Santa Fe, NM. Kelly lives and works in New York City.

    • Larry Poons

      "First Thought, Best Thought" - The Particle Paintings

      745 Fifth Avenue
      New York, NY 10151
      November 9, 2019 - December 21, 2019
      YARES ART is pleased to present Larry Poons: First Thought, Best Thought —The Particle Paintings (1996–2002) on view in New York, November 9–December 21, 2019. In addition to his “Particle Paintings,” the exhibition will also feature a selection of Poons’s most recent works (2018–2019). This show highlights the rarely exhibited and spectacular panoramic compositions Larry Poons produced from the mid-1990s through the early 2000s—which echo author Allen Ginsberg’s “First Thought, Best Thought” motto through their apparent spontaneity. This will be the first exhibition in Yares Art’s newly expanded galleries to focus exclusively on this exceptional period of Poons’s oeuvre, offering the public a unique opportunity to discover paintings that count among the artist’s most imaginative, brilliant, yet underrecognized achievements. In the 1960s, Poons reached critical success at an early age for his iconic “Dots” and “Lozenges” paintings—hard-edge, abstract compositions that placed the artist at the forefront of American painting. Ever the restless innovator, Poons subsequently abandoned hard-edge abstraction to refine a technique in the 1970s and ’80s centered on pouring and throwing paint, resulting in his famed “Throw” paintings, where elements of chance and gravity play major roles in the creative process. By the early 1990s, a different aesthetic, exemplified in the “Particle” paintings, had emerged. The artist created his “Particle” paintings by attaching onto the canvas bits and chunks (i.e. “particles”) of various items, such as foam, rubber, polyester fiber, and other various raw materials. These elements slowed down the flow of the paint creating a radical visual alteration from his earlier “Throw” paintings. During the mid-1990s, Poons started to draw shapes and lines on raw canvas, pre-determining a general composition, which he would subsequently fill up with “particles” and eventually paint. The underlying “particles” became more pronounced, and acted as part of an elaborate “under-drawing” in each composition, blurring the lines between abstraction and representation. Poons gradually abandoned his paint-throwing technique, and instead began to apply the paint directly onto the raw canvas and “particles” with brushes—or, at times, even his hands. The luxuriant surfaces in works such as From Life’s Other Side and Sinistra (both 1996), appear almost as sculptural reliefs, with drop shadows indicating hyperactive networks of lines and shapes. Though fundamentally abstract, the resultant images suggest epic narratives with nuanced allusions to landscape, interior spaces, and an often personal iconography—such as musical notation, hinting at the artist’s early ambitions in musical composition. Vibrant works such as The Compression Sisters (1998), and In Assisi (2000), encompass rhythmic arrangements of staccato lines and searing colors, reminiscent of works by American modernist painter Stuart Davis, one of the heroes of Poons’s youth. Also during the 1990s, Larry Poons and his wife Paula traveled the country extensively to participate in motorcycle races—remarkably, his brightly colored “Particle” Paintings often suggest enhanced interpretations of the American landscape. Many paintings on view, including Arizona and Utah (both 1997) were painted in a temporary outdoor studio in Islamorada, where Poons was deeply inspired by the tropical landscape and brilliant sunlight of Florida. Born in Tokyo in 1937 to American parents, Poons relocated with his family to the United States at a young age, where he later studied music composition at the New England Conservatory of Music in Boston. Recognizing his greater talent for visual art, he transferred to the School of the Museum of Fine Arts, Boston, where he studied painting. His career skyrocketed soon after he moved to New York in the early 1960s. Larry Poons’s work is included in many prominent public and private art collections throughout the world, including the Albright-Knox Art Gallery, Buffalo; the Art Institute of Chicago; the Cleveland Museum of Art; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Metropolitan Museum of Art, New York; the Museum of Contemporary Art, Los Angeles; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Museum of Modern Art, New York; the Philadelphia Museum of Art; the Georges Pompidou Center, Paris the Santa Barbara Museum of Art; the Smithsonian American Art Museum, Washington, DC; the Tate Modern, London; the Van Abbemuseum, Eindhoven, Netherlands; the Whitney Museum of American Art, New York; and the Yale University Art Gallery, New Haven, among other institutions. Larry Poons:“First Thought, Best Thought”/The Particle Paintings is accompanied by a fully illustrated catalogue with an essay by Alex Bacon, and an introduction by David Ebony, co-author, along with Barbara Rose and Karen Wilkin, and David Anfam of Larry Poons a forthcoming monograph published by Abbeville Press.

  • New York, NY - Chelsea

    • John Mellencamp & Robert Rauschenberg

      Binding Wires

      529 West 20th Street, 5th Floor
      New York, NY 10011
      October 24, 2019 - December 21, 2019

    • Katherine Sherwood

      In the Yelling Clinic: 2010-2019

      531 West 26th Street
      New York, NY 10001
      November 7, 2019 - January 4, 2020

    • Jennifer Bartlett

      The House was Quiet and the World was Calm

      509 West 24th Street
      New York, NY 10011
      November 7, 2019 - December 21, 2019

    • Donald Moffett

      ILL (nature paintings)

      507 West 24th Street
      New York, NY 10011
      November 7, 2019 - December 21, 2019

    • Melvin Edwards

      Painted Sculpture

      510 West 26th Street
      New York, NY 10001
      October 24, 2019 - December 14, 2019

    • Rashid Johnson
      548 West 22nd Street
      New York, NY 10011
      November 12, 2019 - January 25, 2020

    • Mike Kelley
      548 West 22nd Street
      New York, NY 10011
      November 12, 2019 - January 25, 2020

    • Hung Liu

      This Land

      520 West 27th Street
      New York, NY 10001
      October 24, 2019 - December 7, 2019

    • Hope Gangloff
      522 West 24th Street
      New York, NY 10011
      October 24, 2019 - November 30, 2019

    • Japan is America
      514 West 26th Street
      New York, NY 10001
      October 30, 2019 - December 14, 2019
      Fergus McCaffrey is pleased to present Japan is America, an exhibition exploring the complex artistic networks that informed avant-garde art in Japan and America between 1952 and 1985.

    • Simen Johan

      Conspiracy of Ravens

      245 Tenth Avenue
      New York, NY 10001
      October 24, 2019 - December 7, 2019

    • Walead Beshty

      Abstract of A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench

      456 West 18th Street
      New York, NY 10011
      October 24, 2019 - December 14, 2019

    • Frederick Sommer

      Visual Affinities

      529 West 20th Street, 3rd Floor
      New York, NY 10011
      October 24, 2019 - November 27, 2019

    • Doug Ohlson

      Doug Ohlson: "Poker" Paintings

      177 Tenth Avenue
      New York, NY 10011
      November 7, 2019 - January 18, 2020

    • Jason Rhoades


      519 West 19th Street
      New York, NY 10011
      October 24, 2019 - December 7, 2019

  • New York, NY - Downtown

    • Rudolf de Crignis
      15 Rivington Street
      New York, NY 10002
      October 19, 2019 - November 24, 2019

    • Hannah Wilke

      Force of Nature

      31 Mercer Street
      New York, NY 10013
      September 19, 2019 - November 30, 2019

  • New York, NY - Midtown

    • Keith Sonnier

      Ethereal/Ephemeral: Keith Sonnier in the Sixties

      24 West 40th Street
      New York, NY 10018
      September 20, 2019 - November 23, 2019
      This exhibition focuses on ephemerality as a formative principle in Keith Sonnier’s work through a display of sculpture from the 60s and 70s which mark his initial engagement with this concept/quality.

  • New York, NY - Upper East Side

    • Georgia Gardner Gray

      New Work

      34 East 69th Street
      New York, NY 10021
      September 11, 2019 - December 20, 2019

    • Henry Taylor


      19 East 66th Street
      New York, NY 10065
      September 24, 2019 - December 21, 2019

    • Tyler Bright Hilton: The Minmei Trilogy part 2: Minmei Madelynne Pryor on the Trail of a Liar
      526 West 26th Street, Room 304
      New York, NY 10001
      October 22, 2019 - November 22, 2019

    • Keith Sonnier

      Ethereal/Ephemeral: Keith Sonnier in the Sixties

      18 East 77th Street, 3rd Floor
      New York, NY 10075
      September 20, 2019 - November 23, 2019
      This exhibition focuses on ephemerality as a formative principle in Keith Sonnier’s work through a display of sculpture from the 60s and 70s which mark his initial engagement with this concept/quality.

    • Enigma & Desire: Man Ray Paintings
      744 Madison Avenue
      New York, NY 10065
      October 24, 2019 - December 13, 2019

    • Alina Szapocznikow

      To Exalt the Ephemeral: Alina Szapocznikow, 1962–1972

      32 East 69th Street
      New York, NY 10021
      October 29, 2019 - December 21, 2019

    • Lyonel Feininger

      The Enchanted World of Lyonel Feininger

      35 East 64th Street
      New York, NY 10065
      November 7, 2019 - January 31, 2020

    • Anne Appleby

      hymn: first light, last light

      53 East 64th Street
      New York, NY 10065
      October 24, 2019 - December 21, 2019

    • Felipe Baeza, Jaclyn Conley, Kenturah Davis, Merik Goma, Christie Neptune, Alexandria Smith, Vaughn Spann

      NXTHVN: First Year Fellows

      8 East 76th Street
      New York, NY 10021
      November 5, 2019 - January 18, 2020
      Works by the Studio Fellows at NXTHVN, upon completion of the first year of this Residency Program founded by Titus Kaphar, Jonathan Brand and Jason Price.

    • The Liberation of Form: Four American Abstractionists
      44 East 74th Street, Suite G
      New York, NY 10021
      September 26, 2019 - November 22, 2019

  • Palm Beach, FL

    • Henri-Cartier Bresson, Brassai, Robert Doisneau, Edouard Boubat, Diane Arbus, Bill Brandt, Sabine Weiss and Roger Mayne

      A Window to Life; Looking at the Humanists

      332 Worth Avenue
      Palm Beach, FL 33480
      November 9, 2019 - December 7, 2019
      Image: Henri Cartier-Bresson
      Madrid, 1933
      Silver Gelatin Photograph

  • San Francisco, CA

    • To Reflect Us
      1275 Minnesota Street
      San Francisco, CA 94107
      November 9, 2019 - January 11, 2020
      Work by: Katrina Andry, Sadie Barnette, Phoebe Beasley, Sydney Cain, T.J. Dedeaux-Norris, LaToya Ruby Frazier, Suzanne Jackson, Kenyatta A.C. Hinkle, Mildred Howard, Nashormeh N.R. Lindo, Amalia Mesa-Bains, Mary Lovelace O'Neal, Lezley Saar, Lava Thomas, Carrie Mae Weems, & Deborah Willis "I have always wanted my art to service my people – to reflect us, to relate to us, to stimulate us, to make us aware of our potential…We have to create an art for liberation and for life." -Elizabeth Catlett

    • Long Story Short
      49 Geary Street, 4th Floor
      San Francisco, CA 94108
      October 24, 2019 - January 18, 2020

    • Jutta Haeckel

      Double Nature

      260 Utah Street
      San Francisco, CA 94103
      October 19, 2019 - November 27, 2019
      Düsseldorf-based Jutta Haeckel may be the most original painter of her generation. Her recent paintings on jute—the strong, coarse, natural fiber that burlap is made of—utilize a series of unorthodox techniques to undermine the physical and conceptual precepts of painting. For several years, Haeckel has been developing a technique that inverts traditional processes of depiction. Rather than painting a form, she paints the negative space around the form, confounding one’s perception of foreground and background as well as the meaning of “subject.” In her newest work, in addition to her already eccentric process, she applies pigments to the “backside” of the painting, then pushes paint through small gaps in the fabric—extruding it onto the “front”—further subverting the two-dimensional space of traditional painting. Technically dichotomous—painted from both sides; seemingly gestural, yet quite controlled; at the same time abstract and representational; micro and macro—Haeckel’s paintings are studies in ambiguity. Their Double Nature, she believes, is a reflection of the technological, scientific, social and cultural fluidity of our time. Jutta Haeckel was born in Hannover, Germany in 1972. She studied at Hochschule für Künste, Bremen, under the tutelage of Karin Kneffel and at Goldsmiths College in London. She has exhibited widely in Germany, including recent exhibitions at the Kunstverein Leverkusen, the Kunsthalle in Recklinghausen and at Schloss Detmold. This is her sixth solo exhibition at Hosfelt Gallery. A recent catalogue can be purchased by contacting the gallery. As a counterpoint to Haeckel’s paintings, Hosfelt Gallery will exhibit a group of antique stone objects from the temple gardens of Kyoto. While Haeckel’s paintings can be said to be about flux, the basins, pagodas, lanterns and foundation stones—some dating as early as the Kamakura Period (1185 – 1300)—exude serenity and solidity. These stone objects are shown in association with Mitsui Fine Arts.

    • Sheldon Greenberg

      Sheldon Greenberg - Cinéma Vérité

      2534 Mission Street
      San Francisco, CA 94110
      November 20, 2019 - January 4, 2020
      In Cinéma Vérité, Greenberg experiments with painting as film by repeating images and strips of information that translate into a moment of time. Images sometimes are overlapped or erased, diffused and become something other than reality, like a memory or a dream. Greenberg's unique oil paintings on paper are composed as a digital palimpsest subsequently printed and mounted on aluminum.

    • Rose B. Simpson
      488 Ellis Street
      San Francisco, CA 94102
      October 29, 2019 - December 21, 2019

  • Venice, CA

    • Edward and Nancy Kienholz

      The Merry-Go-World or Begat by Chance and the Wonder Horse Trigger

      45 North Venice Boulevard
      Venice, CA 90291
      October 24, 2019 - January 18, 2020