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522 West 24th Street
New York, NY 10011
By Appointment
212 647 9111
SUSAN INGLETT GALLERY is located in the heart of Chelsea in a ground floor space at 522 West 24th Street. The gallery provides representation for a range of artists, emerging to established, working across media. Continuing a pattern established early in its history, the gallery consciously develops a program of surprising juxtapositions within and between exhibitions alternating between single artist shows, curated group exhibitions and historical exhibitions. Gallery artists have appeared recently in the Hammer Biennial, Paris Triennale, Whitney Biennial, the Venice Biennale, the Carnegie International and Greater New York at P.S. 1 among many international venues. 

Susan Inglett represents Benjamin Degen, Eric Fertman, Hope Gangloff, Maren Hassinger, George Herms, Marcia Kure, Allison Miller, Robyn O'Neil, Beverly Semmes, Greg Smith, William Villalongo, Ryan Wallace, and Wilmer Wilson IV.
Artists Represented:
Benjamin Degen
Eric Fertman
Hope Gangloff
Channing Hansen
Maren Hassinger
George Herms
Marcia Kure
Allison Miller
Robyn O'Neil
Beverly Semmes
Greg Smith
William Villalongo
Ryan Wallace
Wilmer Wilson IV
Works Available By:
Sarah Charlesworth
Bruce Conner
Robert Kobayashi
Lee Mullican
Shaun O'Dell
Gary Stephan


Courtesy, Bill Orcutt

Online Programming

Current Exhibition

Allison Miller

Upside Down Pyramid

March 11, 2021 - April 24, 2021
Susan Inglett Gallery is pleased to present ALLISON MILLER’s fifth exhibition with the gallery, Upside Down Pyramid. The exhibition will run from 11 March to 24 April 2021. In May of last year, Allison Miller began drawing bold capital letters freehand on paper in black acrylic, cutting them out and photographing them in the landscape: R among banana leaves, S amidst poppies, P suspended on the branch of a copper tree. She then brought the letters back to her studio and glued them down on paper, accompanied by free mark making and strongly-colored grounds. D, A, P, Q, R, S, M, and E all appear. In earlier works, Miller used forms that might evoke worldly references in the same way we see animals and other shapes in clouds, but her paintings have never included anything so explicit or concrete as a letter of the alphabet. Such elements began creeping into her lexicon in her 2019 solo show at The Pit in Los Angeles. In that exhibition, Miller used excerpts of her mother’s handwriting, arrow icons resembling those on our computer screens, and a diagrammatic spider web. Now, in this latest body of work, representational moments are in evidence throughout, including letters, handwriting, roses, irises, a crescent moon and a spider web. The recognizable imagery that began as a trickle in 2019 gained force in early 2020 with the letters placed in nature, and is now a strong presence alongside the abstract language Miller has long established. It is difficult these days not to see everything through the lens of the pandemic, but that viewpoint offers some insight into how the new paintings might operate. Covid-19 has denied us direct engagement with the world, and in the face of this lack, Miller’s increased use of referential forms may function to restore some sort of presence through symbolic means. The iconography in the new work speaks to circumscribed experience: a moon may be seen through the windowpane, spider webs appear in the corners of the house, and Miller’s rose is not painted perceptually, but is instead a symbol. Replete with bright, clean hues, just about every painting includes flowers in some form, whether in printed fabrics, painted images or curving lines that twist like floral tendrils. The plants that served as armatures for the handmade letters Miller photographed in May have now found pictorial incarnations. Similarly, letters and handwriting are formal objects as well as vehicles of mediation: they communicate a writer’s experience, but through the filter of language. The new paintings’ use of recognizable imagery demonstrates art’s ability not to replace the world, but to encapsulate experience and make it tangible, and thus available for remembrance, reflection and reaction. Rendering experience tangible does not, however, make it entirely comprehensible. One of the signal qualities in Miller’s work is her use of graphic clarity to effect profound mystery. The visual elements of her paintings are crisp and unambiguous, but they never resolve into a clearly interpretable message. In fact, the works become systems for the disruption of meaning through a series of spontaneous improvisations that build each painting from start to finish. This is exemplified by “Mirror,” a pyramid of letters repeating like a code, hovering above a receding dark violet plane that suggests the mouth of a great pit, presided over by a crescent moon made from flower-printed fabric. The image is cryptic in the extreme, and compelling in equal measure. Even the shape of each canvas is slightly jarring: the paintings are trapezoids, just a bit off the rectangle. This is a shape Miller has visited before, as both an element within paintings and the geometry of the canvas itself, and it emphasizes her interest in painting as a simultaneous object and illusory window. These divergent elements are knit into a visually stable and powerful whole through Miller’s formal sensitivity and a knack for unexpected balance. With these new works, Miller strategically places us in a stream of consciousness where everything defies expectations and no definitive meaning locks into place. Continually evading definition, Miller’s paintings liberate themselves and the viewers to integrate all manner of experience, from loss and fear to joy and love. Her work opens ever outward, helping us to ponder and face our own unknown futures. — Daniel Gerwin ALLISON MILLER (b. 1974, Evanston, IL) lives and works in Los Angeles. She holds a BFA from the Rhode Island School of Design and an MFA from the University of California, Los Angeles. Miller’s work can be found in the collections of the Frances Lehman Loeb Art Center, Vassar College, the Orange County Museum of Art, the Pizzuti Collection, the West Collection, the Santa Barbara Museum of Art, and the Neuberger Museum of Art. Her work has been reviewed in Artforum, Frieze, the Los Angeles Times, Modern Painters, The Brooklyn Rail, Hyperallergic, and Flash Art. Recently, Miller discusses acquisitions by the Loeb Art Center with curator Mary-Kay Lombino and conducts a studio visit featuring the work for Upside Down Pyramid with Daniel Gerwin hosted by the Neuberger Museum.

Past Exhibitions

William Villalongo

Sticks & Stones

January 21, 2021 - March 6, 2021
Susan Inglett Gallery is pleased to present WILLIAM VILLALONGO’S Sticks & Stones, from 21 January through 6 March 2021. The artist will be present in the Gallery on Saturday, 23 January from 1-6 PM. Villalongo's sixth solo exhibition with the Gallery, Sticks & Stones shines a spotlight on the artist’s signature black velvet cut paper work. In this recent series, Villalongo uses the medium to explore how to best represent the Black subject against the backdrop of race in America. Here, he defines anatomies through collaged images of geologic forms, meteorites, butterflies, drinking gourds, and African sculpture interspersed with leafy cut-outs. These combined images create a portrait from ecological and cultural histories, emphasizing diaspora, deep time, freedom, beauty, and transformation. Drawing parallels to natural metamorphosis, Villalongo suggests an evolution of Black identity—a caterpillar enters a chrysalis, emerging later as a butterfly or rocks, compressed over millennia, transforming into stunning crystals. By collapsing time and space through earthly and cosmic imagery, the artist calls attention to the fluctuating role of the Black figure. He studies and transmutes the Black image, underscoring liminality and transformation through his living motifs. Materializing from Villalongo’s black velvet cut-outs, Black and Brown skin, eyes, and appendages intermittently appear, swirling alongside turbulent incisions and collaged elements to form the disembodied figure. The texture of the artist's characteristic velvet reinforces the experience and sensation of spirits rising from extreme darkness, confronting conditions of their visibility. The resulting scene interrogates the tentative space held by the Black body in contemporary society and throughout history and art, balancing loss and agency over the Black self-image. Keenly aware of the limitations of skin color as a progenitor of meaning around the Black subject, the artist engages with strategic use of imagery and activity to create a context for seeing and understanding. Combining these dynamic components—both corporeal and from another world—Villalongo powerfully conveys the experience of the Black diaspora in the past and present while celebrating Black identity.

Ryan Wallace

The Unanimous Hour

November 12, 2020 - January 16, 2021

Robert Kobayashi

Moe's Meat Market

September 17, 2020 - November 7, 2020

Benjamin Degen

In Waves

March 14, 2020 - July 24, 2020

Beverly Semmes

Beverly Semmes: Red

January 30, 2020 - March 7, 2020

Tauba Auerbach, Fiona Banner, Lynda Benglis, Paul Chan, Claude Closky, Hans-Peter Feldmann, General Idea, Gilbert & George, the Guerrilla Girls, Dan Graham, Jenny Holzer, Reverend Jen, KAWS, Yayoi Kusama, Louise Lawler, Cary Leibowitz, George Maciunas, Piero Manzoni, Jonathan Monk, Takashi Murakami, Bruce Nauman, Claes Oldenburg, Richard Prince, Edward Ruscha, Tom Sachs, Rirkrit Tiravanija, Cosey Fanni Tutti, Ben Vautier, Visitor Design, Kelley Walker, Robert Watts, Hannah Wilke, Mathieu Mercier as Marcel Duchamp

By/Buy Me, curated by David Platzker

December 6, 2019 - January 25, 2020

Hope Gangloff

October 24, 2019 - November 30, 2019

Alain Kirili

Who's Afraid of Verticality?

September 12, 2019 - October 19, 2019

Greg Smith

June 7, 2019 - July 26, 2019

Robyn O'Neil

An Unkindness

April 25, 2019 - June 1, 2019

John McLaughlin

Ascetic Approach, curated by David Platzker

March 21, 2019 - April 20, 2019

Wilmer Wilson IV don't got the juice

January 31, 2019 - March 9, 2019

Beverly Semmes + Richard Artschwager

Blue Sky with Green Moon and Lake

December 13, 2018 - January 26, 2019

Ryan Wallace

October 25, 2018 - December 8, 2018

Eric Fertman

September 13, 2018 - October 20, 2018

Erika Rothenberg

September 13, 2018 - October 20, 2018

Night, Shortly

June 9, 2018 - July 27, 2018

Maren Hassinger

As One

April 26, 2018 - June 2, 2018

Allison Miller

Feed Dogs

March 15, 2018 - April 21, 2018