WANAFOTO: 2025

27/07/25

41 British Artists Exhibition @ Maya Frodeman Gallery, Jackson Hole - "One Thing Touches Another" Curated by Emma Hill and Tom Hammick

One Thing Touches Another

Maya Frodeman Gallery, Jackson Hole

July 31 - September 14, 2025

Ken Kiff

Untitled - After Domenichino, 1996

Encaustic on paper, 40 1/8 x 59 7/8 inches

Lorna Robertson

Portrait of a Lazy Woman, 2024

Oil, linseed oil and varnish on paper, 20 5/8 x 18 ¾ inches

Prunella Clough

Black Flower, 1993

Oil on canvas, 44 x 48 3/4 inches

Maya Frodeman Gallery presents One Thing Touches Another, a group exhibition curated by Emma Hill and Tom Hammick.

The ideas behind One Thing Touches Another began from a simple premise which was to ask whether the language of painting has agency in an increasingly turbulent world. The exhibition offers a view of painting as an essential language of connection – as the physical manifestation of another’s thoughts. A form of invitation – a reaching towards.

Artists: Eileen Agar, Remi Ajani, Karolina Albricht, Ned Armstrong, Charles Avery, Basil Beattie, Maria Chevska, Prunella Clough, Denise de Cordova, Andrew Cranston, Martyn Cross, Joseph Dilnot, Peter Doig, James Fisher, Nick Goss, Phil Goss, Susie Hamilton, Tom Hammick, Marcus Harvey, Celia Hempton, Roger Hilton, Paul Housley, Andrzej Jackowski, Merlin James, Ken Kiff, Deborah Lerner, John Maclean, Elizabeth Magill, Kathryn Maple, Scott McCracken, Jeff McMillan, Margaret Mellis, Roy Oxlade, Carol Rhodes, Dan Roach, Lorna Robertson, William Scott, Myra Stimson, Graeme Todd, Phoebe Unwin, and Alice Walter.

Martyn Cross

Way Yonder Trouble, 2021

Oil on canvas, 12 x 18 inches

John Maclean

Swamp Things, 2025

Watercolor on board, 11 3/4 x 9 1/2 inches

The exhibition brings together work by 41 British artists, from internationally established figures to emerging young contemporaries. It reveals connections and currents in British art that span 75 years, with work by significant artists of the Modern British era, including Eileen Agar, Prunella Clough, Roger Hilton and William Scott, historic paintings by Ken Kiff and Roy Oxlade (whose influence as teachers travels into the present time), and recent work by artists including Basil Beattie RA, Andrew Cranston, Peter Doig and Marcus Harvey.

Though not bound by any one formal aesthetic, a prevailing aspect of the selection is the exploration of ideas expressed through depictions of landscape, both real and imaginary. The rich diversity of current practice in the UK is reflected in examples by contemporary artists including Charles Avery, Denise de Cordova, James Fisher, Tom Hammick, Nick Goss, John Maclean, Elizabeth Magill, Merlin James and Phoebe Unwin. The show also introduces a number of young painters to the US for the first time, selected by Tom Hammick, who worked for many years as a teacher.

The title of the exhibition is premised upon the words of painter Maria Chevska, writing in 2023:

The common factor—one thing touches another thing
Using the language of small gestures... tenuous, empathic, transforming,
holding, listening,
and the tensions held between bodies and spaces...

Thematic strands run through One Thing Touches Another that relate to landscape, still life, mythmaking, and folklore, but what connects all the work is a sense of the artist approaching painting as a site of perception. Axiomatically the exhibition also examines the materiality of paint as a medium.

Within the exhibition there are numerous meeting points: historic artists who have influenced, artists who have taught other artists, friends, partners, siblings. Conceived by an artist and a curator who have known and worked together in London since the late 1980s, One Thing Touches Another presents eloquent evidence of the value of painting as a vital language in the contemporary world.

This exhibition is accompanied by a physical catalogue featuring an essay by Emma Hill.

Guest-curator Emma Hill founded Eagle Gallery / EMH Arts in London in 1991. Throughout her career, she has championed emerging artists through innovative exhibitions, artist publications and off-site installations. Renowned as one of London’s pioneering alternative art spaces in the early 1990’s Eagle Gallery has nurtured talents now celebrated globally. Hill is currently a guest curator at Turps Gallery, London and has curated institutional exhibitions including Ken Kiff: The Sequence at the Sainsbury Centre for Visual Art (2018) and Stephen Chambers: The Court of Redonda for the 57th Venice Biennale (2017). Her visionary initiatives have fostered collaborations with esteemed institutions including Aldeburgh Music, Sadler’s Wells Theatre, the Scuola Internazionale di Grafica, Venezia, and now Maya Frodeman Gallery.

Hill’s co-curator Tom Hammick is an artist living and working in London and East Sussex in the UK. He studied art history at the University of Manchester and later fine painting at Camberwell College of Art and NSCAD, Nova Scotia College of Art and Design in Canada. He has an MA in printmaking, also from Camberwell, and until recently taught fine art painting and printmaking for many years at The University of Brighton. Hammick is the proud father of three grown children as well as a lover of music, theater, film, opera and poetry, all of which informs his work in a profound and tangible way. His work is held in various public and private collections worldwide, including the British Museum, London; Victoria and Albert Museum, London; Pallant House Gallery, Chichester, U.K.; Towner Eastbourne, U.K.; Yale Centre for British Art, New Haven, CT; Library of Congress, Washington, D.C.; New York Public Library, NY; Minneapolis Institute of Art, Minneapolis, MN; Bibiothèque National de France, Paris; and The Art Gallery of Nova Scotia. Tom Hammick was selected to join the Josef and Anni Albers Foundation in New Haven, CT as an artist-in-residence in 2023.

MAYA FRODEMAN GALLERY

66 South Glenwood Street, Jackson Hole, Wyoming 83001

www.mayafrodemangallery.com

Emily Kam Kngwarray @ Tate Modern, London

Emily Kam Kngwarray

Tate Modern, London

10 July 2025 – 11 January 2026

Emily Kam Kngwarray

near Mparntwe / Alice Springs in 1980

Photograph © Toly Sawenko

Tate Modern presents Europe’s first major solo exhibition dedicated to one of the most extraordinary figures in international contemporary art, Emily Kam Kngwarray (c.1914-1996). A senior Anmatyerr woman from the Sandover region in the Northern Territory of Australia, Kngwarray translated her ceremonial and spiritual engagement with her ancestral Country, Alhalker, into vivid batik textiles and monumental acrylic paintings on canvas. Taking up painting in her 70s and devoting her final years to creating a large body of art, Emily Kam Kngwarray forged a path for Aboriginal and Torres Strait Islander artists, women artists and Australian artists, and continues to entice audiences around the world three decades after her passing. Organised in collaboration with the National Gallery of Australia, this extensive survey brings together over 80 works from across her extraordinary career. Showing many pieces outside Australia for the first time, the exhibition offers European audiences a once in a lifetime chance to experience Kngwarray’s powerful batiks, paintings and vibrant legacy.

Emily Kam Kngwarray began experimenting with new art media at Utopia Station in the 1970s. After learning the technique of making batik, in the late 1980s she transitioned to painting in acrylic on canvas. Her practice was shaped by her intimate knowledge of her Country and by her role in women’s ceremonial traditions of ‘awely’, which encompass song, dance and the painting on bodies with ground ochres. She sat on the ground when she painted, much in the same way she would sit to prepare food, dig yams from the earth, tell stories by drawing on the sand or ‘paint up’ for awely ceremonies. Her deeply personal approach to painting was developed in isolation from the European and North American artistic practices of her time. This exhibition presents Kngwarray’s work through the lens of her own world, showcasing her as a matriarch of her community, storyteller, singer, visual artist, and custodian of Country.

Encapsulating the ecology of her homeland, Kngwarray’s work features motifs derived from native plants, animals and natural forms. She regularly depicted the pencil yam (anwerlarr) and its edible underground tuber and seedpods (kam), after which she is named, as well as the emu (ankerr), reflecting the animal’s significance to Aboriginal Peoples. The exhibition opens with three acrylic paintings acquired for Tate’s collection in 2019 - Untitled (Alhalker) 1989, Ntang 1990, and Untitled 1990 - featuring densely layered fields of dots representing native seeds. These are accompanied by Awely 1989, inspired by designs women paint on each other’s bodies before performing awely. Two of Kngwarray’s early batiks join Emu Woman 1988, her first ever work on canvas that attracted widespread national attention. These introductory rooms trace the evolution of the artist’s visual language, grounded in her detailed knowledge of the desert ecosystems of Alhalker.

Works from the early phase of Kngwarray’s painting career are shown alongside a striking display of batiks on silk and cotton that hang from floor to ceiling and immerse visitors in the artist’s vivid evocations of her Country. These works are often rooted in the Dreaming (Altyerr), the eternal life force that created the land and its myriad living forms and defined the social and cultural practices of people. Ntang Dreaming 1989 depicts the edible seeds of the woollybutt grass (alyatywereng), while Ankerr (emu) 1989 maps a path of emu footprints travelling between water sources. Larger canvases, including the three-metre Kam 1991, demonstrate how Emily Kam Kngwarray began working on monumental paintings and employing a brighter colour palette.

At the heart of the exhibition is The Alhalker Suite 1993, one of Kngwarray’s most ambitious works on loan from the National Gallery of Australia. Produced at the height of her painting career, it offers a vibrant portrait of Alhalker Country across 22 canvases. Revealing Kngwarray’s broadened colour spectrum and techniques, bright pastel pinks and blues evoke the wildflowers which carpet the landscape after rainfall, and collections of merging dots represent the rockfaces and grasslands of Alhalker. The artist did not impose any limitations for the configuration of the panels, so a new way of seeing her land is possible each time the work is displayed- an ongoing reminder that the stories and places she painted are very much alive.

In her final years, Emily Kam Kngwarray made an abrupt stylistic change, creating a suite of works comprising bold parallel monochrome lines in her familiar palette of reds and yellows, painted on white paper or canvas. Tate Modern presents Untitled (Awely) 1994, a six-panel work originally shown as the centerpiece of the Australian Pavilion at the 1997 Venice Biennale. The evident tactile quality with which Emily Kam Kngwarray applied the paint evokes the gesture and intimacy of painting on the body for awely ceremonies. Moving away from lines and dots during this late period, Kngwarray developed gestural paintings with fluid brushstrokes that burst with energy. Closing the exhibition, Yam Awely 1995 with its intricately painted twists of white, yellow and red intertwined with linear markings of grasses, yams, roots and tracks signifies the timeless connection between Emily Kam Kngwarray and her Country.

Exhibition organised by Tate Modern and the National Gallery of Australia based on an exhibition curated by Kelli Cole, Warumungu and Luritja peoples and Hetti Perkins, Arrernte and Kalkadoon peoples.

Curated by Kelli Cole, Director of Curatorial & Engagement, National Aboriginal and Torres Strait Islander Art Gallery of Australia project, with Kimberley Moulton, Adjunct Curator, Indigenous Art, Hyundai Tate Research Centre: Transnational; Charmaine Toh, Senior Curator, International Art, Tate Modern; Genevieve Barton, Assistant Curator, International Art, Tate Modern and Hannah Gorlizki, Exhibitions Assistant, Tate Modern.

Following its presentation at Tate Modern, the exhibition will tour to Fondation Opale, Switzerland in a new iteration developed in collaboration with curator Kelli Cole.

TATE MODERN

Bankside, London SE1 9TG

www.tate.org.uk

James Bidgood: Dreamlands @ CLAMP, New York + 2025 Monograph from Salzgeber + 1971 film "Pink Narcissus"

James Bidgood | Dreamlands

CLAMP, New York

Through August 29, 2025

James Bidgood

“Richie Backstage, Sleeping Portrait,”

mid-1960s/printed later

Digital C-print

Courtesy of CLAMP, New York

James Bidgood, Dreamlands, Salzgeber, 2025

Book Cover Courtesy of Salzgeber

160 p., 24 × 32 cm - English / Deutsch

ISBN 978-3-95985-718-5

CLAMP presents “James Bidgood | Dreamlands,” an exhibition of photographs marking the launch of the monograph of the same title from Salzgeber, in addition to recent screenings of the artist’s cult classic film, “Pink Narcissus,” at theaters across the United States and Europe.

The book combines iconic motifs from the artist’s oeuvre with many previously unpublished images. The exhibition at CLAMP includes twelve of these new photographs selected from the estate archives, along with a large-scale print of “Pan”—the monograph’s cover image.

“Pink Narcissus,” James Bidgood’s film from 1971, described as a “kaleidoscopic fever dream of queer desire,” was recently restored by the UCLA Film & Television Archive, and has been playing at theaters since late 2024, including MoMA (New York), Hammer Museum (Los Angeles), BAM (New York), Metrograph (New York), and other screens in London, Bologna, San Francisco, Seattle, Provincetown, Tucson, St. Louis, etc.

James Bidgood passed away in 2022 at the age of 88. A New Yorker for over 70 years, he was adored and admired by generations of artists and cinephiles alike.

When James Bidgood first came to New York from Wisconsin in the 1950s, he worked as a drag performer and occasional set and costume designer at Club 82 in the East Village. After studying at Parsons School of Design from 1957 to 1960, James Bidgood found jobs as a window dresser and costume designer.

He then went on to work as a photographer for men’s physique publications and began creating his own personal photographs and films that greatly benefited from his talents in theater design and costume construction. It was during this period in the early 1960s that James Bidgood began working on his masterpiece—the 8mm opus “Pink Narcissus.”

In his tiny apartment in Hell’s Kitchen, he handcrafted sets using humble materials to create a theatrical dreamland in which artifice became transcendent. With hand-tailored clothing, saturated lighting, and lots of glitter, James Bidgood built a cosmos of queer belonging, populated with angelic figures of male beauty—including Cupid, Pan, and other mythological gods, along with harlequins, soldiers, firemen, hustlers, drag queens, altar boys, and more.

Bidgood’s confined domestic production speaks to both necessity and liberation—”a queer creative spirit refusing to be constrained by material limitations.” In fact, the artist and his models would eat, sleep, and frolic within the sets until it was time to tear them down and begin building the next scene.

Within this space, and in front of his lens, the homosexuals that were ostracized by larger society could be beautiful, glamorous, complex, silly, or simply themselves.

CLAMP

247 West 29th Street, New York, NY 10001

clampart.com

James Bidgood | Dreamlands

CLAMP, New York, July 10 – August 29, 2025

Pop Brazil: Avant-garde and New Figuration, 1960-70 @ Pinacoteca de São Paulo - Brazilian Pop Art Exhibition

Pop Brazil: Avant-garde and New Figuration, 1960-70

Pinacoteca de São Paulo

Through October 5, 2025

Claudio Tozzi

Astronautas [Astronauts] (1969)

Courtesy of the Pinacoteca de São Paulo

Pietrina Checcacci

Dinheiro [Money] (detail),

from the series O povo brasileiro [The Brazilian People] (1967)

Credit: Jaime Aciolo

Courtesy of the Pinacoteca de São Paulo

The Pinacoteca de São Paulo presents the exhibition Pop Brazil: Avant-garde and New Figuration, 1960-70, in the Grande Galeria of the Pina Contemporânea building. Featuring 250 works by more than 100 artists the show offers a broad perspective on the art of the period. Curated by Pollyana Quintella and Yuri Quevedo, the exhibition is divided into thematic sections that trace major events of the time, such as the rise of the cultural industry, the breakdown of democracy, and various social transformations. Works by Wanda Pimentel, Romanita Disconzi, Antonio Dias, among many others, are on view.

In a context of industrialization and political upheaval—including the Cold War and Brazil’s civil-military dictatorship—national artistic production responded to the mass culture, driven by television, mainstream media, and advertising, with both irreverence and resistance. From the 1960s onward, a series of international figurative trends entered national artistic debates. Among them was pop art, which originated in the United Kingdom but gained prominence in the United States through celebrated artists like Andy Warhol, Roy Lichtenstein, Jasper Johns, and Robert Rauschenberg. While these artists worked on language within a developed, industrialized society marked by mass production, Brazilian artists operated in a context of underdevelopment and inequality, where they had to reckon with the trauma of a society oppressed by military rule.

“The exhibition explores a moment in Brazilian history that still resonates in our daily lives. Looking at this production is key to understand the emergence of contemporary art in Brazil, as well as the foundational issues in many debates we face today. And, through the gathering of these works, we can grasp the collective strength of a generation of artists who worked to denounce, protest, and dream of a new society,” say the curators.

The artists’ interest in the street—driven by a desire to occupy more diverse and less institutionalized spaces—marked a series of events in the late 1960s and early 1970s. Among them was the Happening das Bandeiras [Flag Happening], held in 1968 at General Osório Square in Ipanema, Rio de Janeiro. It brought together artists such as Nelson Leirner, Flávio Motta, Hélio Oiticica, Carmela Gross, and Anna Maria Maiolino. On that occasion, they displayed silkscreened flags in the square, promoting a collective occupation of public space, in pursuit of broader and more democratic access to the visual arts. The set of original flags opens the exhibition in the Grande Galeria.

Subsequent sections present works that reflect Brazil’s emerging cultural industry, showing stars of Brazilian popular music—whose fame grew thanks to television festivals—amid the fever of the space race, which turned astronauts into “pop icons” and broadcast to the world the historical milestone that was the humankind’s landing to the Moon. Prominent names from the period are showcased, like Nelson Leirner with his altar to the “king” Roberto Carlos, in the work Adoração [Adoration] (1966); Claudia Andujar, with a photograph of Chico Buarque taken in 1968; Flávio Império, who portrayed Caetano Veloso in Lua de São Jorge (1976); the popular artist Waldomiro de Deus, with his characteristic rockets; and Claudio Tozzi, with works such as Bob Dylan (1969) and Guevara (1967), in addition to his astronauts that helped define the iconography of Brazilian pop art.

The restrictions imposed by the civil-military dictatorship were reflected in artistic production through diverse formal, poetic, and political strategies. The exhibition includes caricatures of generals, featured in the works by Humberto Espíndola, Antonio Dias, and Cybele Varela; political prisoners’ drawings from the Alípio Freire Collection, belonging to the Memorial da Resistência; photographic records that Evandro Teixeira made in the emblematic March of the One Hundred Thousand, as well as works that sought to intervene directly in the political context, such as the CocaCola bottles by Cildo Meireles, which make up the work Inserções em circuitos ideológicos [Insertions into Ideological Circuits] (1970), and the Trouxas ensanguentadas [Bloody Bundles] (1969) by Artur Barrio. The theme of crime also permeated the art of the period. Faced with the oppressive state, figures of marginality were evoked as a subversive strategy, challenging morality and laws. Among them, we highlight a crime scene painted by Paulo Pedro Leal in the early 1960s, the film Natureza [Nature] (1973), by Luiz Alphonsus, and the classic work A bela Lindonéia [The Beautiful Lindonéia] (1967), by Rubens Gerchman.

Pop gestures also appropriated the urban imagery through visual codes and signage. This is the case of works such as Marlboro (1976), in which Geraldo de Barros transforms billboard scraps into paintings, and the structured surfaces with acrylic and brass remains by Judith Lauand (Untitled, 1972). In the central area of the gallery, works express the dispute for public space. Arrows, traffic lights, festivities, and collective projects gain centrality in the works. Buum (1966), by Marcello Nitsche, Totém de interpretação [Interpretation Totem] (1969), by Romanita Disconzi, Lateral de ônibus [Side of Bus] (1969), by Raymundo Colares, and the iconic parangolés by Hélio Oiticica, first shown 60 years ago in the Opinião 65 exhibition, held at MAM Rio, can be seen by the public. In the case of Hélio Oiticica, the visitor can literally try on the parangolés, wearing them in the exhibition space.

The 1960s also served as a stage for a sexual revolution, sparked by historical events such as May 68 in France and the hippie movement in the United States. At the core of the section dedicated to desire and sexuality are works by artists who reflected on the shifting status of sexuality in Brazil, also influenced by mass culture. This is the case of Wanda Pimentel, with her Envolvimento [Involvement] series (1968), Teresinha Soares with A caixa de fazer amor [Lovemaking Box] (1967), and Antonio Dias in Teu corpo [Your Body] (1967), as well as pieces by Maria Auxiliadora, Lygia Pape, and Vilma Pasqualini.

Curators: Pollyana Quintella and Yuri Quevedo

PINACOTECA DE SÃO PAULO

Pina Contemporânea Building | Grande Galeria

Av. Tiradentes, 273, São Paulo

pinacoteca.org.br

Pop Brazil: Avant-garde and New Figuration, 1960-70

Pinacoteca de São Paulo, May 31 – October 5, 2025

26/07/25

Nadia Kaabi-Linke @ Piero Atchugarry Gallery, Miami - "We Didn’t Know We’re Ready" Exhibition

Nadia Kaabi-Linke

We Didn’t Know We’re Ready

Piero Atchugarry Gallery, Miami

Through August 30, 2025

Nadia Kaabi-Linke

Fatima, 2010

Piero Atchugarry Gallery presents We Didn’t Know W'e’re Ready by Tunisian artist Nadia Kaabi-Linke curated by Silvia Cirelli. The expressive journey of Kaabi-Linke delves into the complexities of human nature revealing an “architecture of pain” marked interdependent power dynamics and the struggles of mankind's vulnerability. Her work shows how people are affected by power, memory, and vulnerability. Memory is central to her work — it's the starting point for telling both personal and collective stories. Her artworks act like emotional records, helping us understand hidden parts of our culture today.

The title chosen for Nadia Kaabi-Linke’s Miami debut solo exhibition goes exactly in this direction, it is an invitation to encompass time fluidity, to better understand the evolutionary codes of our living. We Didn’t Know We’re Ready, deliberately embraces a grammatical slip, blending verb tenses to highlight the constant convergence of yesterday and today. This temporal dissonance becomes a conceptual tool, a transversal narrative that invites a comprehensive reading, where each artwork acts as an emotional archive, a mosaic of confessions that reflects and translates the codes of contemporary culture. It is on this metaphorical bridge between past and present that the artist projects her own cultural space.

The complex relationship between artistic research and historical testimony unfolds through the evocative installation Blindstrom for Kazimir, inspired by Kazimir Malevich, a Ukrainian artist often wrongly labeled as Russian. Like many Ukrainian artists, Malevich suffered censorship. Nadia Kaabi-Linke honors these artists with black panels that represent missing or destroyed paintings, showing the damage caused by political violence. Cracks in the panels resemble wounds, revealing a deep sense of loss.

Another work, No One Harms Me Unpunished (2012), is based on a Scottish legend. A Viking raid was stopped when a warrior stepped on a thistle and cried out in pain, warning the locals. The thistle became a symbol of resistance. Nadia Kaabi-Linke places real thistles on a mattress frame, symbolizing the pain and abuse that are often hidden in everyday life, especially in intimate spaces.

In Protected Area (2025), a bench covered with sharp bird spikes makes it impossible to sit. What’s usually a place to rest becomes unwelcoming. This sculpture speaks about how public spaces are becoming more exclusive and less inviting, highlighting issues of social exclusion.

Tackling issues related to geopolitics, migration, identities and violence, Nadia Kaabi-Linke captures the collective memory and offers it to the viewer, urging them to share and participate in the emotion. An emotion that exposes a silent suffering. “The invisible violence, present or past, is active even if we don’t see it or decide to look away from it,” she states, “but like the unconscious, sooner or later the covered truth will come up to the surface and be acted out while controlling us simultaneously.”

Nadia Kaabi-Linke Portrait, 2020

Courtesy of Piero Atchugarry Gallery, Miami

NADIA KAABI-LINKE (b. 1978, Tunis) is a multimedia conceptual artist based in Berlin. After graduating with an MA from the Tunis School of Fine Arts, she received a PhD from the Pantheon Sorbonne in Paris. Growing up between Tunis, Kyiv, and Dubai, her personal history developed through the migration across cultures and borders that greatly influenced her artistic practice. Her work gives physical presence to that which tends to remain invisible in contemporary societies, be it people, structures, or the geopolitical forces that shape them. In a visually powerful way, she straddles beauty and violence, refinement and brutality, as well as the sublime and the vulgar, engaging the viewer in the play of conflicting forces of fear and attraction, repulsion and desire.

PIERO ATCHUGARRY GALLERY, MIAMI

5520 NE 4th Avenue, Miami, FL 33137

pieroatchugarry.com

Nadia Kaabi-Linke: We Didn’t Know We’re Ready

Piero Atchugarry Gallery, Miami, June 14 - August 30, 2025

Nova Jiang @ Chapter NY Gallery, New York - "Recorded Syllable" Exhibition

Nova Jiang: Recorded Syllable

Chapter NY Gallery, New York

June 27 - August 8, 2025

Chapter NY presents Recorded Syllable, Nova Jiang’s first solo exhibition with the gallery. The exhibition features a new series of intimate, symbol-laden paintings that reflect Jiang’s ongoing exploration of memory, time, and disappearance—both personal and collective.

Taking its title from Macbeth’s haunting phrase, “to the last syllable of recorded time,” the exhibition considers the traces we leave behind. Throughout the exhibition, books reappear as enduring metaphors for the passage of time, the accumulation of memory, and a life lived. She draws inspiration from artists like Philip Guston, whose own use of the book as a symbolic object resonates with her interest in the book as a vessel of personal and historical meaning.

In Trilogy, three figures—a child, an adult, and a skeleton—share a cyclical narrative embodied by a single book, its surface marked by the tracks of insects. In Words, a book composed of identically crumpled pages becomes a haunting gesture toward the unread books lost to the past, poetically suggesting how some words fail to speak to us across time.

Themes of dislocation and legacy surface in Exile, where camellias—native to China and Japan and common in the artist’s Los Angeles neighborhood—appear beside the spectral image of a fractured vase, evoking the fragility of home, memory, and belonging. Her neighborhood was once home to many Japanese Americans after WWII, and in light of the current political climate, Nova Jiang reflects on the ongoing vulnerability of displaced populations. In Silhouette, a skull nestles into the void carved from a book’s interior, surrounded by line drawings of Jiang’s own face. The image suggests a form that is missing and serves as a kind of self-portrait.

In Animator, a golden toad automaton perches atop the pages of a flip book. Rather than illustrations, the book is composed of cut-outs that flip over the automaton as it moves, collectively animating the act of the toad swallowing a moth. Nova Jiang is drawn to toads—which appear throughout her oeuvre—in part due to their sensitivity to climate change and their symbolic resonance in Chinese art history. She reminds viewers that while a toad may be reimagined through human artifice, an extinct species is lost forever.

Jiang’s practice is steeped in art historical dialogue, from Hans Baldung to Pieter Claesz, and suffused with references to natural systems, literature, and grief. In Recorded Syllable, she considers what it means to record, to mark, and to remember—even as language, species, and selves begin to vanish.

NOVA JIANG (b. 1985, Dalian, China) lives and works in Los Angeles. She received her BFA from the University of Auckland, Elam School of Fine Arts in 2006 and her MFA from the University of California, Los Angeles in 2009. She has had recent solo exhibitions at Union Pacific, London and Simone Subal, New York. Her work has been included in group exhibitions at Union Pacific, London; Am Schwarzenbergplatz with KOW and LambdaLambdaLambda, Vienna; Simone Subal, New York; Honor Fraser, Los Angeles; and the Los Angeles Municipal Art Gallery, Los Angeles; among others.

CHAPTER NY

60 Walker Street, New York, NY 10013

chapter-ny.com

Eija-Liisa Ahtila @ Galerie Marian Goodman, Paris - Exposition "On Breathing"

Eija-Liisa Ahtila, On Breathing

Galerie Marian Goodman, Paris

5 septembre – 4 octobre 2025

Eija-Liisa Ahtila

On Breathing, 2024

Single channel installation. Image 4K UHD

Audio 2.0. 9 min. 45 sec. en boucle. Crystal Eye 2024

Un arbre peut-il être un protagoniste ou un espace ? Comment, à travers l'action, cela affecterait-il les règles de la narration ?—Eija-Liisa Ahtila

La Galerie Marian Goodman présente une nouvelle exposition d’Eija-Liisa Ahtila qui dévoile pour la première fois en France deux grandes œuvres vidéo, On Breathing et APRIL ≈ 61°01’ 24°27’ (2024). Reconnue internationalement pour ses installations cinématographiques, Eija-Liisa Ahtila remet en question la notion de perspective dans l'image en mouvement et construit une expérience où plusieurs temporalités et espaces coexistent. Dans le prolongement de ses recherches menées au cours de la dernière décennie, les œuvres de l'exposition explorent chacune à leur manière des formes de narration et de modes de présentation conçues autour de la nature et du vivant. Abandonnant un point de vue anthropocentrique, Eija-Liisa Ahtila cherche à rendre visible le monde non-humain et en particulier les arbres. Alors que On Breathing dépeint les entrelacs délicats d’un arbre et de la brume matinale, APRIL capture le passage silencieux d'une saison à une autre, à travers des déplacements subtils de l’espace entre les arbres et l’observation attentive de la forêt.

Au rez-de-chaussée de la galerie, On Breathing (2024), une projection d’une durée de 9 minutes, s’apparente à un poème visuel qui met l'accent sur le mouvement lent et hypnotique de la brume s’évapororant autour d’un chêne. Ce phénomène matinal est typique des conditions automnales et hivernales, lorsque la mer demeure plus chaude que l'air et le sol environnants. Le déplacement de la brume et le son qu'elle produit dans les branchages évoquent poétiquement une respiration végétale. « L'air autour du chêne semble tangible, et l'espace à l'intérieur devient réel, comme si, pour un instant, la respiration de l'arbre devenait perceptible », explique l’artiste.

Eija-Liisa Ahtila, qui recourt fréquemment de plusieurs écrans et split-screens pour révéler simultanément différents aspects d'un même récit, utilise ici des incrustations vidéo afin de superposer des temporalités distinctes. La dérive du brouillard et son interaction avec les feuilles, le rythme et les plans de la caméra ; tout concourt à composer un tableau animé singulier.

Envisageant ses œuvres récentes comme un continuum, l'artiste remarque que chaque processus créatif la conduit naturellement vers le suivant. Depuis 2011, elle a ainsi progressivement remplacé les protagonistes humains par des arbres ou d’autres organismes vivants, donnant naissance à une série d'œuvres qui abordent « le récit écologique de l'image en mouvement ». Cette nouvelle orientation remet en question la relation contemporaine entre nature et humanité, ainsi que la frontière artificielle séparant les êtres humains et le reste du vivant. « J'ai tenté de développer des approches visuelles et des méthodes de narration qui pourraient nous montrer une voie pour sortir de l'anthropocentrisme et permettre la présence d'espèces non humaines dans notre imaginaire », affirme Eija-Liisa Ahtila.

Au niveau inférieur de la galerie, APRIL ≈ 61°01’ 24°27’(2024), exposée pour la première fois au musée Kröller-Müller aux Pays-Bas, immerge les visiteur·euse·s dans la forêt du parc naturel d'Aulanko, en Finlande, à proximité de la ville natale de l’artiste. Connue comme un environnement naturel encore préservé de l'activité humaine, cette forêt a été filmée pendant deux années consécutives, en 2022 et 2023, entre la fin mars et le mois de mai. Si le titre de l'œuvre se réfère au mois d’avril associé à la régénération de la nature, l'installation longue de près de 12 mètres et composée de huit écrans de projection, montre la transition subtile entre la fin de l'hiver et l’arrivée de l’été. Les huit séquences sont agencées de manière chronologique : de gauche à droite, la forêt apparaît d’abord aux premiers moments de la fonte des neiges, jusqu'à l'arrivée prématurée de l'été.

L'échelle et l’horizontalité de l'installation évoquent Horizontal (2011), oeuvre emblématique de l’artiste, née de sa volonté de représenter un sapin géant dans son intégralité. Pour éviter les distorsions liées à l’usage d’un objectif grand angle, Eija-Liisa Ahtila avait choisi de capturer l’arbre en plusieurs sections horizontales, avant de le présenter lui aussi sous la forme horizontale sur une série de six écrans de projection.

Avec APRIL, la forêt envisagée comme un écosystème où les arbres et une multitude d'organismes interagissent en permanence, est pour la première fois au centre de l'attention de l'artiste. La source de l'œuvre est la vie sylvestre, où chaque être singulier est un élément intégré de l'ensemble et où cet ensemble existe en retour dans cet être singulier. Pour créer un langage cinématographique adapté au sujet, les mouvements de caméra dans chacune des huit sections sont fluides et asynchrones, alternant ralentis et arrêts momentanés. « Le thème d'APRIL est la spatialité de l'être, le changement constant et la prise de forme de la forêt, qui est sa qualité fondamentale », explique Eija-Liisa Ahtila.

Eija-Liisa Ahtila est née à Hämeenlinna, en Finlande, en 1959. Elle a reçu de nombreux prix au cours des deux dernières décennies, dont récemment le titre de Commandeur de première classe de l'Ordre de la Rose blanche de Finlande (2020). Elle vit et travaille à Helsinki.

Les oeuvres d'Ahtila sont largement exposées depuis le début des années 1990. L'exposition « The Power of Trees », incluant Horizontal, est visible jusqu'au 14 septembre 2025 à la Shirley Sherwood Gallery of Botanical Art, Kew Gardens, Richmond, près de Londres. Récemment, elle a présenté des expositions personnnelles au Serlachius Manor en Finlande (2024) ; au Kröller-Müller Museum aux Pays-Bas (2024) ; à l'Ulrich Museum of Art à Wichita aux États-Unis (2022) ; à la National Gallery of Art à Vilnius en Lituanie (2021) ; au M Museum à Louvain en Belgique (2018) et au Serlachius Museum Gösta à Mänttä en Finlande (2018). Précedemment son travail a fait l’objet d’expositions monographiques dans de nombreuses institutions telles que l'Australian Centre for the Moving Image à Melbourne (2017) ; Guggenheim Bilbao en Espagne (2016) ; Albright-Knox Gallery à Buffalo aux Etats-Unis (2015) ; Oi Futuro à Rio de Janeiro au Brésil; Kiasma à Helsinki en Finlande (2013) ; Moderna Museet à Stockholm en Suède (2012); le Carré d’Art à Nîmes (2012) ; Museo del Palacio de Bellas Artes à Mexico au Mexique (2012) ; Art Institute of Chicago aux Etats-Unis (2011) ; Parasol Unit à Londres au Royaume-Uni (2010) ou encore le Jeu de Paume à Paris (2008). Eija-Liisa Ahtila a été membre du jury au Festival du film de Venise en 2011 et présidente du jury du FIDMarseille en 2013.

GALERIE MARIAN GOODMAN

79 rue du Temple, 75003 Paris

www.mariangoodman.com

The Monaco Masters Show: Chagall & Léger, la couleur et la forme @ Opera Gallery, Monaco

The Monaco Masters Show:

Chagall & Léger, la couleur et la forme

Opera Gallery, Monaco

Through 31 August 2025

Opera Gallery presents ‘The Monaco Masters Show: Chagall & Léger, la couleur et la forme’ a masters exhibition with a special focus on MARC CHAGALL (1887–1985) and FERNAND LEGER (1881–1955).

With 2025 marking the 40th anniversary of Chagall’s death and 70th anniversary of Léger’s death, this exhibition explores the parallel experiences and respective influences of both Chagall and Léger. From their crossover within the avant-garde scene in the Montparnasse neighbourhood of Paris in the early 20th century, to their overlapping exile to the United States during WWII, to eventually settling as residents in the South of France (Fernand Léger in Biot and Marc Chagall in Vence and then Saint-Paul-de-Vence), the exhibition further explores how their time in France–where both artist’s formal artistic journeys began and ended–made an indelible influence on art history.

Notably, both Marc Chagall and Fernand Léger used colour to underscore their distinctive approaches to modernism. Léger’s work frequently celebrated the technological developments of modern life through the use of bold, flat primary colours and a graphic, stylised approach–emphasising his fascination with industrialisation. With cubism as a point of departure, Léger’s early interpretations of the avant-garde movement became known as “Tubism”– characterised by mechanical, often cylindrical forms. In Nature morte aux trois papillons,1952, even Léger’s depiction of nature and organic forms takes on a technical quality–rendered in bold colours, framed by black contour lines.

Alternatively, Chagall’s colour palette was more fantastical–with lyrical compositions evocative of dreams, nostalgia and the intangibility of emotion. In Chagall’s Le Peintre, 1976, the composition is divided into four distinct quadrants of colour–red, yellow, green and blue. An artist is depicted in the foreground, surrounded by figures and imagery of a folkloric nature–two lovers, a cityscape of Paris, a rooster–that appear simultaneously weightless, symbolic and fleeting. Here, Chagall uses colour as an emotive tool in his depiction of an artist surrounded by visions and memories of people, places and things.

At the core, both Marc Chagall and Fernad Léger’s work can be seen as a celebration of humanity’s enduring spirit, with Léger taking an idealistic view to the collective–framing the human figure as an intrinsic component of the modern, technological world. Conversely, Chagall’s work embraced tradition and symbolism, taking a more mystical lens to personal narratives in his paintings. ‘The Monaco Masters Show: Chagall & Léger, la couleur et la forme’ explores the broad range of existential themes that Chagall and Léger were exploring that continue to resonate today.

Additionally, the exhibition features a wider presentation of nearly thirty 20th and 21st century masterworks from artists including Jean-Michel Basquiat, Fernando Botero, Alexander Calder, George Condo, Niki de Saint Phalle, Jean Dubuffet, Keith Haring, Damien Hirst, Alex Katz, Yayoi Kusama, Roy Lichtenstein, Claude Monet, Pablo Picasso, Pierre Soulages, Manolo Valdés, Andy Warhol and Tom Wesselmann.

OPERA GALLERY MONACO

1 avenue Henri Dunant, Palais de la Scala, 98000 Monaco

www.operagallery.com

The Monaco Masters Show: Chagall & Léger, la couleur et la forme

Opera Gallery, Monaco, 4 July - 31 August 2025

25/07/25

Lee Friedlander, Joseph Rodríguez, Garry Winogrand @ Museum Ludwig, Cologne - "Street Photography" Exhibition Curated by Barbara Engelbach

Street Photography

Lee Friedlander, Joseph Rodríguez, Garry Winogrand

Museum Ludwig, Cologne

Through October 12, 2025

Lee Friedlander

New York City, 1963

Gelatin silver paper, print after 1963, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

New York City, 1969

Gelatin silver paper, print after 1978, 22,9 x 34,2 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

220 West Houston Street, NY 1984,

Gelatin silver paper, print after 1988, 25,2 x 37,2 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

The street life of cities has always been a fascinating subject for photographers, who have approached it in a variety of ways, from candid images documenting urban unrest to portraits that shine a spotlight on individuals. Since the nineteenth century, cities and photography have been directly linked through the idea of modernity. With the introduction of compact cameras such as the Leica, street photography developed into its own genre in the mid-twentieth century. Small-format cameras gave photographers greater flexibility and enabled them to respond quickly while remaining discrete. They explored public space without obtruding and, in contrast to staged photography, captured candid and spontaneous moments that had previously been considered unworthy photographic subjects. Influenced by Henri Cartier-Bresson’s concept of the “decisive moment,” these photographers sought to capture the fleeting instant when light, composition, and subject aligned to convey the significance of an event.

Lee Friedlander

New York City, 1965

Gelatin silver paper, print after 1965, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

Untitled, from: Women are Beautiful, around 1970

Gelatin silver paper, print after 1981, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

I picked him up at a club and I took him to

Brooklyn. He was a happy camper, NY 1984,

Gelatin silver paper, print after 1988, 24,8 x 36,8 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

This exhibition in the Photography Room at the Museum Ludwig is dedicated to three protagonists from two generations of street photography: Garry Winogrand (b. 1928 in New York, d. 1984), Lee Friedlander (b. 1934 in Aberdeen, Washington, based in New York), and Joseph Rodríguez (b. 1951 in Brooklyn, based in New York). Despite all three photographers sharing the same subject matter, each one pursues a singular approach that produces distinct results. Iconic photographs from the 1960s to the 1980s are displayed alongside lesser-known examples from each photographer’s oeuvre. All of the works on display were included in donations made by the Bartenbach Family in 2015 and Volker Heinen in 2018, or have been acquired by the Museum Ludwig since 2001.

Lee Friedlander

New York City, 1966

Gelatin silver paper, print after 1966, 22 x 32,9 cm

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Lee Friedlander

Mount Rushmore, 1969

Gelatin silver paper, print after 1969, 22 x 32,9 cm

Museum Ludwig, Cologne

and Luhring Augustine, New York

Repro: Historisches Archiv mit Rheinischem Bildarchiv

The landmark exhibition "New Documents" at the Museum of Modern Art in New York in 1967 helped launch the careers of Garry Winogrand and Lee Friedlander. Their striking photographs broke with visual conventions, such as a level horizon line or a centered main subject. Garry Winogrand frequently tilted his viewfinder, producing skewed horizon lines that offer a new view of reality and make his images appear spontaneous, as does his purposeful use of blurriness, overexposure, underexposure, and backlighting. Lee Friedlander, in turn, created compositions in which the viewer’s gaze is hindered by obstructions, such as shadows, signs, architectural elements, and streetlights, or is disoriented by reflections.

Garry Winogrand

Circle Line Statue of Liberty Ferry, New York, 1971

Gelatin silver paper, print after 1973, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand

Untitled, from: Women are Beautiful, around 1973

Gelatin silver paper, print after 1973, 21,7 x 32,4 cm

Fraenkel Gallery, San Francisco

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Garry Winogrand and Lee Friedlander, who are represented in the exhibition with twenty images each, both use photography in a self-reflective way that brings the formal aspects of photography to the fore. This encourages an analytical gaze, producing an emotional distance between the viewer and the subject, which often results in ambivalent images where the intention of the photographer remains unclear. Garry Winogrand and Lee Friedlander each developed their own distinct style, embracing originality and authorship by merging documentary photography and personal expression. While they attempted to distance themselves from photojournalism and social documentary photography, eschewing eventbased, narrative-focused, and emotionally charged imagery, Joseph Rodriguez’s work deliberately engages with these genres. He aspires to give visibility to marginalized people by communicating with his subjects and attempting to tell their stories. Many of his photographs are accompanied by short commentaries that provide information about the context in which each image was created. Joseph Rodríguez’s pictures employ unusual perspectives and surprising compositions, and his use of reflections emphasizes the subjectivity of the photographer’s empathic gaze beyond the momentariness of the shot. The exhibition features around twenty photographs from his Taxi series.

Joseph Rodriguez

East Village, NY, 1984

Gelatin silver paper, print after 1988, 25,3 x 37,4 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

Joseph Rodriguez

Pulaski Skyway, New Jersey, 1984

Gelatin silver paper, print after 1988, 25,2 x 37,2 cm

Repro: Historisches Archiv mit Rheinischem Bildarchiv

This is the first exhibition in the new Photography Rooms at the Museum Ludwig, centrally located on the second floor.

Curator: Barbara Engelbach

MUSEUM LUDWIG

Heinrich-Böll-Platz , 50667 Köln

www.museum-ludwig.de

Street Photography - Lee Friedlander, Joseph Rodríguez, Garry Winogrand

Museum Ludwig, Cologne, May 3 – October 12, 2025

24/07/25

Divine Egypt @ Metropolitan Museum of Art, New York - A Landmark Exhibition that Explores Powerful Imagery of the Gods of Ancient Egypt

Divine Egypt

Metropolitan Museum of Art, New York

October 12, 2025 – January 19, 2026

Triad of Osiris, Horus, and Isis

From Egypt, probably Thebes, Karnak Temple

Third Intermediate Period, Dynasty 22, reign of Osorkon II

(about 872–837 BCE)

Gold inlaid with lapis lazuli. Acquired in 1872

Paris, Louvre Museum,

Department of Egyptian Antiquities (E 6204)

Photo: Mathieu Rabea

Divine Egypt at The Metropolitan Museum of Art—the first major exhibition of Egyptian art at the Museum in over a decade—explores how images of gods in ancient Egypt were experienced not merely as spiritual depictions in temples, shrines, and tombs but were the instruments that brought the gods to life for daily worship, offering ancient Egyptians a vital connection between the human and divine worlds. The exhibition brings together over 200 spectacular works of art to examine the imagery associated with the most important deities in ancient Egypt’s complex and always-expanding constellation of gods.

Over more than 3,000 years, the Egyptian people’s belief system grew to include more than 1,500 gods with many overlapping forms and traits. Divine Egypt features impressive works of art, ranging from monumental statues to small elegant figurines in gleaming gold and silver and brilliant blue faience, that represent 25 of ancient Egypt’s principal deities, including the stately falcon-headed Horus, the potentially dangerous lion-headed Sakhmet, the great creator-god Re, and the serene mummiform Osiris. The exhibition will reveal the ways in which subtle visual cues, like what a figure wore, how they posed, or the symbols they carried, helped identify them and their roles.

“Divine Egypt will immerse visitors in the breathtaking imagery of the most formidable ancient deities and expansive universe of the Egyptian gods,” said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. “The Museum’s galleries for Egyptian art are among the most beloved by our millions of yearly visitors, and this dazzling exhibition brings together some of our most exquisite works with loans from leading global institutions for an exceptional, once-in-a-lifetime exhibition of ancient Egyptian art.”

The exhibition includes magnificent works of ancient Egyptian art that have never been exhibited together before, many of them on loan from institutions such as the Museum of Fine Arts, Boston; the Musée du Louvre, Paris; and the Ny Carlsberg Glyptotek, Copenhagen. There are also over 140 works from The Met’s own iconic Egyptian art collection. Highlights range from impressive sculpture to a striking pectoral in gold and lapis (the substances that the bodies of gods were believed to be made of) to detailed metal and wood sculptures. A solid gold statue of the god Amun will adorn a re-creation of a divine barque, a type of boat that held the principal deity of a temple and would be paraded through the streets during festivals so that people could commune directly with the god. Each section of the exhibition will provide an immersive opportunity to examine the ways in which the kings and people of ancient Egypt recognized and interacted with their gods.

"The ways in which the ancient Egyptian gods were depicted are vastly different from the divine beings in contemporary religions and therefore are intriguing to modern audiences," said Diana Craig Patch, Lila Acheson Wallace Curator in Charge of Egyptian Art. "The identity of an ancient Egyptian god may at first seem easy to recognize but looks can be deceiving, as one form can be shared by many deities. Across more than 3,000 years of history, gods, attributes, roles, and myths were rarely dropped from use, yet the Egyptians of the time had no difficulty understanding and accepting the resulting multiplicity. Through hundreds of spectacular objects, Divine Egypt will allow visitors to understand the complex nature of these deities and help translate the images that were needed to make the inhabitants of the celestial realm available to ancient Egyptians."

By focusing on the imagery associated with many of the most important and powerful deities in ancient Egypt, the exhibition reveals the multifaceted nature of ancient Egyptian religion as well as the ease with which ancient Egyptians connected with their complicated divine landscapes. Some deities deceptively employed the same imagery with the result that one form could be shared by many gods, while in other cases the roles of deities would expand or change over ancient Egypt’s long history, with one god taking on many forms. The evolution of this landscape over time created deities with numerous roles often having a different representation for each manifestation. Hathor, for example, can appear as a cow, a woman wearing a headdress of horns protecting a sun disk, or a human-headed snake, while some gods maintained consistent forms over thousands of years, like Ptah, who is almost always mummiform and wears a cap.

Divine Egypt also looks at how two categories of society interacted differently with the gods: the Pharoah and high priests had access to the gods in daily temple rituals, while non-royal Egyptians were not permitted to enter the inner sanctuaries of the great temples where the deities came to Earth and inhabited their images. Through objects of private devotion, including donations to offering tables and shrines in temples and images of deities found in homes and villages, the people of Egypt could find support from their gods daily.

The exhibition concludes with artifacts relating to the transition to the next life—a reality shared by Egyptians of all rank—with depictions of the gods who together oversaw each person’s passage from this world to the next: chief god of the underworld, Osiris, supported by his sisters, Isis and Nephthys, and Anubis, the canid-headed god who supervises the embalming process.

Divine Egypt is curated by Diana Craig Patch, Lila Acheson Wallace Curator in Charge of Egyptian Art at The Met, with Brendon Hainline, Research Associate, Department of Egyptian Art.

A fully illustrated catalogue will accompany the exhibition.

METROPOLITAN MUSEUM OF ART

The Met Fifth Avenue, The Tisch Galleries, Gallery 899, 2nd floor

www.metmuseum.org

Nicole Lampl: Curator of American Art at The Westmoreland Museum of American Art, Greensburg, PA

Nicole Lampl Joins The Westmoreland Museum of American Art, in Greensburg, as Curator of American Art

The Westmoreland Museum of American Art announces the appointment of NICOLE LAMPL as Curator of American Art. With 16 years of experience across museums, galleries, academic institutions, and arts education, Lampl’s curatorial work is rooted in scholarly research, interdisciplinary thinking, and a deep commitment to public engagement. In this role, she will work to give voice to diverse perspectives and expand the traditional canon of American art through the presentation of innovative exhibitions and by guiding the Museum’s new art acquisitions.

“I am honored to join The Westmoreland and excited to collaborate with the team to shape a curatorial vision that makes art more inclusive, resonant, and engaging for diverse audiences,” said Nicole Lampl. “At the heart of this work is my commitment to creating meaningful audience-centered experiences and ensuring the Museum is welcoming and relevant to all.”

Nicole Lampl most recently served as the inaugural Director and Curator of the Reeves House Visual Arts Center in Atlanta, where she launched the visual arts program from the ground up—curating over 20 exhibitions and shaping the institution’s identity through strategic planning, community partnerships, and immersive programming. Her past exhibitions have explored intersections of art, science, identity, and social justice, and combined conceptual rigor with accessible storytelling. She has also held curatorial roles at the New Orleans Museum of Art and worked independently on a range of curatorial projects.

Her writing has been published in academic journals, and she has presented her work at conferences across the country. Nicole Lampl holds an MA in Art History from Tulane University and a BA with honors from UC Berkeley, where she double-majored in Art History and Studio Art. Her graduate research on Gustav Klimt was supported by a year-long fellowship at Freie Universität in Berlin.

“We’re excited to welcome Nicole to The Westmoreland in this lead curatorial role,” said Richard M. Scaife Director/CEO Silvia Filippini-Fantoni, PhD. “She brings a forward-thinking approach that aligns with our strategic initiatives to grow our audience, foster belonging, and deepen community engagement.”

THE WESTMORELAND MUSEUM OF AMERICAN ART

221 N Main Street, Greensburg, PA 15601

thewestmoreland.org

Bridget Riley @ Tate Britain, London

Bridget Riley

Tate Britain, London

21 July 2025 – 7 June 2026

Bridget Riley

Concerto I, 2024

Tate, Presented by the artist 2025

Tate announced that it has received the gift of a major recent painting by BRIDGET RILEY (b.1931), one of the most influential artists of our time. Premiering at Tate Britain as part of a new display of Riley’s paintings running until 7 June 2026, Concerto I 2024 has been generously donated by the artist and joins Tate’s holdings of her work spanning a remarkable six-decade working life.

Alex Farquharson, Director of Tate Britain said: “We are extremely grateful to Bridget Riley for her generosity in making such a significant gift to the nation. Riley’s work changed the landscape of abstract art and Concerto I demonstrates how she continues to expand her practice while upholding a commitment to exploring energy and sensation through colour and form. We’re delighted to be able to show the painting in Tate Britain’s free collection displays over the next year, and I have no doubt it will soon become one of the best-loved works in the gallery.”

Bridget Riley

Elongated Triangles 5, 1971

Presented by the Institute of Contemporary Prints 1975.

Renowned internationally for her visually vibrant works, Bridget Riley’s particular approach to painting involves the skilful balancing of forms and colour to explore perceptions of space, balance and dynamism. Her recent works, Concerto 1 and Concerto 2 reflect the artist’s abiding love of French Impressionist and Post-Impressionist painters and their engagement with colour. High in key, Concerto 1 is uplifting, while Concerto 2 explores hidden images.

Bridget Riley

Fall, 1963

Tate, Purchased 1963

Highlighting Riley’s dialogue with the sensory experience of sight, the new display includes Fall 1963, an important early abstract painting in Tate’s collection. The artist has described this painting as “a field of visual energy, which accumulates until it reaches maximum tension.” Using black and white curves, it evokes feelings of both elation and disturbance. Fall is being shown for the first time since receiving sustainable conservation treatment as part of GREENART, a groundbreaking new project researching ways to preserve cultural heritage using environmentally friendly materials.

Building on the long-standing relationship between Bridget Riley and Tate, this display is the artist’s fourth showing at the institution, having previously presented displays in 1973, 1994, and a large-scale retrospective survey in 2003. Fall was the first work by Bridget Riley to enter Tate’s collection in 1963 and has since been joined by nine paintings, 25 studies, and three works on paper by the artist. Concerto I is the first work by Bridget Riley created within this decade to be brought into Tate’s collection, expanding its representation of her practice.

Bridget Riley’s work is part of a series of regularly changing displays at Tate Britain to be staged since the gallery unveiled a full rehang in 2023. Collection works by Jacob Epstein, a key figure in the direct carving movement of the early 20th century, are currently installed in the Duveens Galleries at the heart of Tate Britain. Exploring the interplay between carving and modelling in Epstein’s work, monumental sculptures in stone are juxtaposed with bronze portrait busts. On 28 July, Pieter Casteels’s painting A Fable from Aesop: The Vain Jackdaw 1723 will be shown for the first time as part of a display looking at how artists have been inspired by birds. Several new artist interventions, first implemented with the rehang, will also appear throughout the collection. Found ceramics painted by Lubaina Himid will feature in the room exploring the rise of the urban metropolis in the era of Hogarth. Archive materials from Stuart Brisley’s time working on a project to record the experience of the inhabitants of Peterlee New Town and its surrounding villages will be included in the display exploring the place of abstract art in Britain’s post-war reconstruction.

TATE BRITAIN

Millbank, London SW1P 4RG

www.tate.org.uk