WANAFOTO: 07/2025

31/07/25

Charline von Heyl @ The George Economou Collection, Marousi / Athens - "The Giddy Road to Ruin" Exhibition

Charline von Heyl

The Giddy Road to Ruin

The George Economou Collection, Marousi / Athens

14 June 2025 – March 2026

Charline von Heyl

The Giddy Road to Ruin, 2015

Acrylic on canvas, 62 x 54 inches (157.5 x 137 cm)

Courtesy of Galerie Gisela Capitain, Cologne and Petzel New York

Photo: Butcher Walsh

The George Economou Collection presents The Giddy Road to Ruin, the first survey exhibition by German-American artist CHARLINE VON HEYL (b. 1960) in Greece.

Across three floors of gallery space, The Giddy Road to Ruin features select works from the last several decades. The earliest is an outstanding painting from the George Economou Collection—an emblematic example of the artist’s practice—Untitled (11/93, I) (1993), while the most recent is her first-ever photographic work, Athens, made in 2024.

The title of the exhibition, The Giddy Road to Ruin, derives from her 2015 painting of the same name and may be interpreted as a reflection of her thinking as well as the nature of painting itself. Displayed at the exhibition’s beginning and considered within the context of Greece’s ancient and modern landscape, the painting takes on greater significance, especially in relation to its presentation alongside the Athens (2024) collages. In these graphic images we experience the echoes and rumblings of both the present and history.

Charline von Heyl is one of the most significant painters of her generation. Educated in Germany in the 1980s and inspired by both senior artists and contemporaries—including Martin Kippenberger, Rosemarie Trockel, and Michael Krebber, as well as Albert Oehlen, Jutta Koether, and Cosima von Bonin—her work began to carve out new territory, particularly after her move to New York in 1996. While her paintings share the rigor and intensity of theirs, Charline von Heyl’s work eschews irony in favor of a more openly amused humor and a certain nimbleness in the synthesis of mind and hand.

Once in the United States, Charline von Heyl developed a novel, constructive, and strategic approach to creating and solving artistic problems that allows each painting to be “a self-generating machine that finds its own soul.” Her work is neither wholly abstract nor representational but simultaneously both. Her art succeeds by embracing visual and conceptual contradictions, keeping viewers intrigued by the seemingly impossible combinations of subjects, compositions, and styles that result in deeply satisfying yet puzzling works. In many of her paintings, forms appear both in stasis and in flux simultaneously, as evident in works such as Demons Dance Alone (2022) or World Rabbit Clock (2022). Shapes seem to be concurrently at the fore and in the background, as seen in her depiction of bowling pins—a recurring image in her vocabulary, particularly well-represented in two paintings from 2015 on mid-twentieth-century barkcloth fabric that are located on the second floor of the exhibition. To the indiscriminate eye, the contradictory styles in von Heyl’s paintings might seem irreconcilable, yet they all coexist within the singularly coherent universe of her art.

While a series of four densely composed paintings on barkcloth are a through line from the first floor, the appearance of two stolid and iconic works on the second floor signal a change of mood in the exhibition. The heraldic devices in Untitled (11/93, I) (1993) carry ominous, even militaristic overtones, in contrast to the insouciant black-and-white cut-out shapes of Time Waiting (2010), which harken back to mid-century travel advertisements’ filtered interpretation of Cubism. These works stand in stark contrast to the owl paintings from 2020–2021, in which the generally solitary birds—symbols of good fortune and wisdom—gather, against type, into a multitude. This capacious theme, with its potential for great and even adorable variation, offered a lighthearted interlude for Charline von Heyl to paint and for the viewer to enjoy encountering the third floor of the exhibition.

Here the opening salvo is a boldly blue bird in the large, rectangular painting Animal Delinquency (2021). Ultramarine fowl are partially obscured by two smudged-out, variegated forms of two other creatures—owls, perhaps? The collapse of subjects and the spaces they inhabit creates an apprehensive experience. The scroll-like structure of Banish Air from Air (2017) also features bird-like forms flying through interlocking patterns of words, lines, and shapes. At its center is a variation of her repeated, defiant yet playful female power figure, also seen in The Giddy Road to Ruin.

The painting Ninfa (2021) continues the subtle theme of feminine power in her work. Pulchritude is rendered as outlandish, with blue lips and a graceful line suggesting a chin overtaken by a coalescence of black and ochre biomorphic forms resembling birds. The head itself transforms into a dense field of patterns, becoming increasingly abstract. The fifteen diverse, rigorous while and whimsical black-and-white drawings that comprise Drawings Group 2 (2006) elaborate on and connect to the inscriptive elements—sometimes appearing as ideograms or Rorschach-like forms— not unlike Banish Air from Air. They also echo the structure and palette of Athens earlier in the exhibition. Each work on view is replete with such recursive connections, dissonances, and discontinuities—eye-opening and mind-boggling revelations await.

Charline von Heyl: The Giddy Road to Ruin is co-curated by Adam D. Weinberg and Skarlet Smatana, the director of The George Economou Collection, in close collaboration with the artist. A publication with essays by Adam D. Weinberg and artist Helen Marten accompanies the exhibition.

THE GEORGE ECONOMOU COLLECTION

80 Kifissias Ave, 15125 Marousi, Athens

www.thegeorgeeconomoucollection.com

29/07/25

Photography and the Black Arts Movement, 1955–1985 @ National Gallery of Art, Washington + The J. Paul Getty Museum, Los Angeles + Mississippi Museum of Art, Jackson

Photography and the Black Arts Movement, 1955–1985

National Gallery of Art, Washington

September 21, 2025 – January 11, 2026

The J. Paul Getty Museum, Los Angeles

February 24 – May 24, 2026

Mississippi Museum of Art, Jackson

July 25 – November 1, 2026

John W. Mosley

View of the crowd as Dr. Martin Luther King Jr.

addresses civil rights demonstrators

at 40th Street and Lancaster Avenue, Philadelphia, August 3, 1965

Gelatin silver print

image: 24.8 x 19.7 cm (9 3/4 x 7 3/4 in.)

sheet: 25.4 x 20.3 cm (10 x 8 in.)

mat: 12 1/2 x 14 in. / frame: 13 3/8 x 14 7/8 in.

John W. Mosley Photograph Collection,

Charles L. Blockson Afro-American Collection,

Temple University Libraries

Cecil J. Williams

During the summer of 1960, the elders of Orangeburg took to

the streets as part of ongoing demonstrations and boycotts

in support of civil rights. They are standing outside a segregated

supermarket where they were allowed to shop

but not sit down for lunch., 1960, printed 2024

Inkjet print

image/sheet: 37.3 x 55.9 cm (14 11/16 x 22 in.)

mat: 53.3 x 71.12 cm (21 x 28 in.)

frame: 55.6 x 73.3 cm (21 7/8 x 28 7/8 in.)

Harry Adams

Protest Car, Los Angeles, 1962, printed 2024

Inkjet print

image: 27.5 x 35.4 cm (11 x 13 15/16 in.)

sheet: 29.7 x 41.9 cm (11 11/16 x 16 1/2 in.)

mat: 16 x 20 in. / frame: 16 7/8 x 20 7/8 in.

Tom & Ethel Bradley Center,

California State University, Northridge, Harry Adams Archive

Courtesy of the Tom & Ethel Bradley Center

at California State University, Northridge

Kwame Brathwaite

Untitled (Charles Peaker Street Speaker, head of ANPM,

after Carlos Cooks passed away, on 125th Street), c. 1968,

printed 2016 / Inkjet print

image: 37.2 x 37.2 cm (14 5/8 x 14 5/8 in.)

mat: 15 x 15 in. / frame: 15 7/8 x 15 7/8 in.

National Gallery of Art, Alfred H. Moses and Fern M. Schad Fund

and Pepita Milmore Memorial Fund, 2023.129.2

The National Gallery of Art presents Photography and the Black Arts Movement, 1955–1985, an exhibition exploring the work of American and Afro-Atlantic diaspora photographers in developing and fostering a distinctly Black visual culture and identity. The first presentation to investigate photography's role in the Black Arts Movement, a creative initiative comparable to the Harlem Renaissance in its scope and impact, which evolved concurrently to the civil rights and international freedom movements, the exhibition reveals how artists developed strategies to engage communities and encourage self-representation in media, laying a foundation for socially engaged art practices that continue today.

Photography and the Black Arts Movement will be on view in the West Building of the National Gallery of Art before traveling to The J. Paul Getty Museum, Los Angeles and the Mississippi Museum of Art, Jackson

Doug Harris

Malcolm X speaks at a rally at Harlem's Williams Institutional

CME Church on December 20, 1964, with Fannie Lou Hamer,

and Professor Bill Strickland, 1964

Gelatin silver print

image: 20.32 x 25.4 cm (8 x 10 in.)

mat: 14 x 17 in. / frame: 14 7/8 x 17 7/8 in.

Collection of Doug Harris

Jeffrey Henson Scales

In a Time of Panthers 1, Chicago Summer, 1967, printed 2022

Gelatin silver print

image/sheet: 45.7 x 45.7 cm (18 x 18 in.)

mat: 26 x 26 in. / frame: 26 7/8 x 26 7/8 in.

National Gallery of Art,

Alfred H. Moses and Fern M. Schad Fund, 2024.121.1

Photography and the Black Arts Movement brings together approximately 150 artworks spanning photography, video, collage, painting, installation, and other photo-based media, some of which have rarely or never been on view. Among the over 100 artists included in the exhibition are Billy Abernathy (Fundi), Romare Bearden, Dawoud Bey, Frank Bowling, Kwame Brathwaite, Roy DeCarava, Louis Draper, David C. Driskell, Charles Gaines, James E. Hinton, Danny Lyon, Gordon Parks, Adrian Piper, Nellie Mae Rowe, Betye Saar, Raymond Saunders, Jamel Shabazz, Lorna Simpson, and Carrie Mae Weems.

This expansive selection of work showcases the broad cultural exchange between writers, musicians, photographers, filmmakers, and other visual artists of many backgrounds, who came together during the turbulent decades of the mid-20th century to grapple with social and political changes, the pursuit of civil rights, and the emergence of the Pan-African movement through art. The exhibition also includes art from Africa, the Caribbean, and Great Britain to contextualize the global engagement with the social, political, and cultural ideas that propelled the Black Arts Movement.

"Working on many fronts—literature, poetry, jazz and new music, painting, sculpture, performance, film, and photography—African American artists associated with the Black Arts Movement expressed and exchanged their ideas through publications, organizations, museums, galleries, community centers, theaters, murals, street art, and emerging academic programs. While focusing on African American photography in the United States, the exhibition also includes works by artists from many communities to consider the extensive interchange between North American artists and the African diaspora. The exhibition looks at the important connections between America's focus on civil rights and the emerging cultural movements that enriched the dialog," said Philip Brookman, cocurator of the exhibition and consulting curator of the department of photographs at the National Gallery of Art.

"Photography and photographic images were crucial in defining and giving expression to the Black Arts Movement and the civil rights movement. By merging the social concerns and aesthetics of the period, Black artists and photographers were defining a Black aesthetic while expanding conversations around community building and public history," said Deborah Willis, visiting cocurator, university professor and chair of the department of photography and imaging at the Tisch School of the Arts and founding director of the Center for Black Visual Culture at New York University. "The artists and their subjects helped to preserve compelling visual responses to this turbulent time and their images reflect their pride and determination."

Isaac Sutton

Photograph of Etta Moten Barnett gazing at a painting, c. 1960

Gelatin silver print

overall: 26.5 x 26.5 cm (10 7/16 x 10 7/16 in.)

Collection of the Smithsonian National Museum

of African American History and Culture,

courtesy J. Paul Getty Trust and Smithsonian National Museum

of African American History and Culture

Courtesy J. Paul Getty Trust and Smithsonian National Museum

of African American History and Culture

Roy Lewis

Nina Simone on a Sunday morning visit to the Wall of Respect

mural at 43rd and Langley in Chicago's

Black Belt (Nina's Prayer), 1967, printed 2025

Inkjet print

sheet: 48.3 x 33.0 cm (19 x 13 in.) / mat: 18 x 24 in.

frame: 18 7/8 x 24 7/8 in.

National Gallery of Art, Alfred H. Moses

and Fern M. Schad Fund, 2025.34.2

Bruce W. Talamon

David Hammons, Creating a Body Print,

Slauson Avenue Studio, Los Angeles, 1974, printed 2025

Gelatin silver print

image: 61 x 50.8 cm (24 x 20 in.)

Bruce W. Talamon

Drawing in part from the National Gallery's collection—with many newly acquired works—and from lenders in the US, Great Britain, and Canada, the exhibition presents the cultural and political titans of the era spanning 1955–1985, including civil rights leaders, artists, and musicians, as well as everyday people, scenes of daily life, and fashion and commercial photography. Structured around nine thematic sections—including explorations of the self, community, fashion and beauty, the media, and ritual—the exhibition weaves a holistic vision of the period and its cultural impact.

Ralph Arnold

Above This Earth, Games, Games, 1968

Collage and acrylic on canvas

overall: 114.3 x 114.3 cm (45 x 45 in.)

framed: 114.3 x 114.3 x 7.62 cm (45 x 45 x 3 in.)

Collection of Museum of Contemporary Photography

at Columbia College, Chicago

Photo: P.D. Young / Spektra Imaging

David C. Driskell

Woman with Flowers, 1972

Oil and collage on canvas

overall: 95.3 x 97.8 cm (37 1/2 x 38 1/2 in.)

Art Bridges

Courtesy of DC Moore Gallery, New York

Betye Saar

Let Me Entertain You, 1972

Wooden window frame with cut and pasted printed

and painted paper, photocopy transparency,

and wood veneer with found object

overall: 96.52 x 154.94 x 10.16 cm, 4.21 lb. (38 x 61 x 4 in., 1.91 kg)

On loan from National Afro-American Museum

and Cultural Center, Wilberforce, Ohio

Courtesy of the Artist and Roberts Projects, Los Angeles

Roland Charles

Untitled, 1978, printed 2024

Inkjet print

image: 26 x 38.1 cm (10 1/4 x 15 in.)

sheet: 29.7 x 41.9 cm (11 11/16 x 16 1/2 in.)

mat: 16 x 21 in. / frame: 16 7/8 x 21 7/8 in.

Tom & Ethel Bradley Center,

California State University, Northridge

Courtesy of the Tom & Ethel Bradley Center

at California State University, Northridge

Among the works in the first section of the exhibition is a collage by Romare Bearden, 110th Street Harlem Blues (1972). A dynamic mixture of painted paper and photographs, the work illustrates the ongoing vitality of Harlem's community, echoing the vibrancy and social content of the Harlem Renaissance, which Romare Bearden was exposed to in his early life. Moving into the section titled Picturing the Self / Picturing the Movement, self-portraits by Coreen Simpson, Alex Harsley, and Barkley L. Hendricks underscore a central theme of the exhibition: artists asserting their presence within the broader narrative of the movement and the era, along with the importance of self-representation in their art. A highlight of Representing the Community—a section filled with everyday scenes of people at work and at rest—is Ralph Arnold's Soul Box (1969), a mixed-media assemblage of found objects and collage, serving as a time capsule that captures stories of the Black Arts Movement.

Photographs were a crucial tool used to communicate the events of the civil rights movement to a national audience. Artists and news media understood the power of photographs to address inequality and advocate for civil and human rights, and some works in the exhibition are by photojournalists who captured the speeches, marches, and sit-ins that defined the era. A rarely seen 1965 photograph by Frank Dandridge captures Dr. Martin Luther King Jr. watching President Lyndon B. Johnson's televised address following the Selma, Alabama, marches—events that would ultimately lead to the passage of the Voting Rights Act. Depicting Dr. King in a private, domestic moment, the image underscores not just the personal gravity of the moment but the television's growing role in shaping public understanding of the era's historic events. One of several works featured in the In the News section, it reflects how photographers responded to the shifting landscape of news media—from still photography to the rise of television.

The Black Arts Movement was instrumental in reshaping fashion, advertising, and media as tools of self-representation and cultural empowerment. A Kraft Foods advertisement (1977), photographed by Barbara DuMetz and featuring a young Black girl holding her doll, illustrates how the movement prompted advertisers to engage Black audiences more thoughtfully by hiring Black photographers and models in their campaigns. It is among the highlights of the Fashioning the Self section, along with an editorial photograph by Kwame Brathwaite, the photographer who helped coin the "Black is Beautiful" movement, and many depictions of women in beauty shops, showing the importance of these spaces to forming identity and community.

The exhibition's concluding section, Transformations in Art and Culture, reflects a shift in the Black Arts Movement's purpose—from its earlier focus on civil rights to a younger generation's engagement with more historical and conceptual ideas, while still drawing on the movement's visual language. Highlights include multimedia and time-based works by Ulysses Jenkins, Charles Gaines, and Lorna Simpson, which explore new and experimental ways to explore Black identity.

The exhibition is organized by the National Gallery of Art, Washington.

Photography and the Black Arts Movement, 1955–1985 - Curators

The exhibition is cocurated by Philip Brookman, consulting curator of the department of photographs at the National Gallery of Art, and Deborah Willis, university professor and chair of the department of photography and imaging at the Tisch School of the Arts and director of the Center for Black Visual Culture at New York University.

Photography and the Black Arts Movement, 1955–1985

Exhibition Publication

Book Cover Courtesy of the Yale University Press

Artwork by James E. Hinton

Mahalia Jackson Singing at Rally, Soldier Field, Chicago, 1963

Gelatin silver print

support: 47.63 x 36.83 cm (18 3/4 x 14 1/2 in.)

framed: 63.5 x 53.3 x 3.2 cm (25 x 21 x 1 1/4 in.)

High Museum of Art, Atlanta,

Purchase with funds from Jan P. and Warren J. Adelson

Published in association with Yale University Press, the fully illustrated catalog accompanying the exhibition examines the vital role photography played in the evolution of the Black Arts Movement, which brought together writers, filmmakers, and artists as they explored ways of using art to advance civil rights and Black self-determination. Edited by Philip Brookman and Deborah Willis, with a preface by Angela Y. Davis and contributions by Makeda Best, Margo Natalie Crawford, Romi Crawford, Cheryl Finley, Sarah Lewis, and Audrey Sands, this book reveals how photographs operated across art, community building, journalism, and political messaging to contribute to the development of a distinctly Black art and culture. Essays by these distinguished scholars focus on topics such as women and the movement, community, activism, and Black photojournalism, and consider the complex connections between American artists and the African diaspora, and the dynamic interchange of Pan-African ideas that propelled the movement.

NATIONAL GALLERY OF ART

West Building, 6th St and Constitution Ave NW, Washington, DC 20565

www.nga.gov

British Art Fair 2025: Spotlight on L.S. Lowry by Crane Kalman Gallery

Spotlight on L.S. Lowry

by Crane Kalman Gallery

@ BRITISH ART FAIR 2025

Modern and Contemporary British Art

@ Saatchi Gallery, London

25 - 28 September 2025

Crane Kalman Gallery, a new exhibitor at British Art Fair, reveals personal connections to L.S. Lowry, presenting a series of rare works by one of Britain’s most popular painters for sale.

L.S. LOWRY

Sunday Morning, 1938

Oil on canvas, 18 x 24 inches / 46 x 61 cms

Courtesy of Crane Kalman Gallery

L.S. LOWRY

Farm Buildings, Worsley, 1914

Courtesy of Crane Kalman Gallery

L.S. LOWRY

Woman Walking, 1965

Oil on canvas, 28 x 22.9 cms / 11 x 9 inches

Courtesy of Crane Kalman Gallery

L.S. LOWRY

A Group of Seven, 1965

Courtesy of Crane Kalman Gallery

“In 1949 Andras Kalman opened The Crane Gallery in a basement air-raid shelter in South King Street, Manchester, where the weekly £2 rent was paid by the regular pawning of his typewriter. With persuasion and charm, he managed to obtain for his first exhibition, works by Sir Jacob Epstein, Matthew Smith, Lucien Freud and John Craxton; despite sending invitations to every influential name he could discover, no one came.” Writes Shelley Rodhe in her biography, A Private View of L.S. Lowry (Collins, London 1979). The author takes us to the first meeting between Lowry and Kalman in 1950: “Lowry appeared at the second exhibition, bought a picture and as Kalman recalls ‘it cost him about £20 and I think he bought it only to give my morale a boost’. Visits to the gallery ensued, as did many hours in conversation about artists and the artworld, leading to a lifelong friendship.”

Andras Kalman at the Crane Gallery, Manchester, 1956,

tying a painting by Graham Sutherland to the roof of his Alvis.

That evening, on the trunk road to London, it blew off. After a s

Courtesy of Crane Kalman Gallery

Andras Kalman with Sir Ian McKellen below, c. 2000’s

talking to children on their school trip to

Crane Kalman Gallery about Lowry’s work

Courtesy of Crane Kalman Gallery

L.S. LOWRY and Lord Richard Attenborough

at the opening of the artists exhibition

A Tribute to L.S. Lowry at Crane Kalman Gallery, London, 1966

Courtesy of Crane Kalman Gallery

Kalman first exhibited L.S. Lowry’s work in 1952 and Crane Kalman has continued to exhibit his work ever since, hosting a 70th anniversary exhibition at their Knightsbridge gallery in 2022.

Laurence Stephen Lowry RBA RA (1887 – 1976) is best known for painting the daily lives of Northern British people, often against the background of the modern industrial city. He also painted timeless seascapes and country landscapes that were often empty and even desolate. Collections that hold Lowry’s work include The Tate, London; The Royal Academy of Arts; London; The Hepworth, Wakefield; The Lowry, Salford; Kettles Yard, The University of Cambridge; National Galleries of Scotland, Edinburgh; Museum of Modern Art, New York; and Setagaya Museum, Tokyo.

Crane Kalman Gallery will be exhibiting seven works by L.S. Lowry for sale at British Art Fair 2025, including examples of his best known city scenes, landscapes, a portrait and a series of his later, more haunting and comic works. The price range is £25,000 to £1million. You will find them on the ground floor at Saatchi Gallery, 25-28 September 2025.

L.S. LOWRY

Houses and Fencing, c. 1925

Courtesy of Crane Kalman Gallery

L.S. LOWRY

Crowded Street Scene, 1933

Pencil on paper, 6.5 x 8.75 inches / 16 x 22 cm

Courtesy of Crane Kalman Gallery

L.S. LOWRY

Portrait of a Man, 1920

Courtesy of Crane Kalman Gallery

Andrew Kalman, son of Andras Kalman and director of Crane Kalman Gallery said: ”To celebrate our debut participation at the British Art Fair, Crane Kalman Gallery is delighted to present a selection of paintings and works on paper by L.S. Lowry. Arguably, no exhibition of Modern British Art would be complete without featuring Lowry, who remains deeply popular with the general public, feted and collected by lovers of 20th-century British art.”

BRITISH ART FAIR 2025 - Modern and Contemporary British Art

Saatchi Gallery, Duke of York HQ, King’s Road, London SW3 4RY

www.britishartfair.co.uk

CRANE KALMAN GALLERY

178 Brompton Road, London, SW3 1HQ

www.cranekalman.com

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

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