WANAFOTO: 10/2025

31/10/25

Charisse Pearlina Weston @ Jack Shainman Gallery, New York - 'mis-/mé- (squeeze)' Exhibition

Charisse Pearlina Weston

mis-/mé- (squeeze)

Jack Shainman Gallery, New York

October 30 – December 20, 2025

Jack Shainman Gallery presents mis-/mé- (squeeze), an exhibition of new work by Charisse Pearlina Weston, marking the artist’s first solo presentation with the gallery since joining the roster in 2024.

Encompassing sculpture, photography, painting and installation, this new body of work mobilizes pressure and ‘the squeeze’ to examine desire as a libidinal structure of ideological misrecognition. Through formal explorations, this series articulates the pressurized terms of displacement through which racialized recognition is constituted. For Black life, misrecognition is not abstract error but an intimate structure: a hidden compression of desire and a deformation of visibility that bears down on the interior. By warping reflective surfaces and imagery that promise clarity—the mirror, the photograph—the works in this exhibition stage how Black interior life persists in and against ‘the squeeze,’ holding open opacity, fracture and concealment as modes of resistant intimacy.

The English prefix mis- (from Old English mis-, ‘wrongly,’ ‘amiss,’ ‘astray’) and its French counterpart mé- (from Latin minus, ‘less’ and male, ‘badly’) both carry a sense of deviation. Each marks a linguistic force that bends its root off course. As such, its prefixal operation is not simply one of failure—it places its subject under duress, rendering it only ever able to receive less than what it seeks. In this sense, the very etymology of mis-/mé- enacts ‘the squeeze’: a constrictive illusion that erroneously transforms the distorted into the intelligible and the incomplete into the whole.

In Lacanian theory, méconnaissance (‘misrecognition’) occurs when a subject identifies with an image or symbol that, endowed through the subject’s desires, promises coherence but is, in fact, alienating. Althusser extends this concept through interpellation, where ideology hails individuals into subjecthood by offering identity and belonging through misrecognition. These are not passive operations: they apply pressure on the subject to conform to predetermined and often oppressive symbolic structures, pressures which are not evenly distributed. For Black life, misrecognition is never only alienation but also a violent intimacy where the demand to be seen and placed is bound to the risk of overexposed erasure.

The sculptures in this series—panes of glass pressed and held by one another and fused into precarious forms—materialize this ideological pressure and ‘the squeeze.’ The physical force exerted by the glass onto itself and the implied threat of its collapse onto the body, fix identity to incongruence. In this way, these uneasy structures echo how Black intimacy is regulated and foreclosed: spaces of tenderness and interiority are pressed to the brink of caving under the weight of surveillance and the risk of violence.

Each sculpture uses surveillance glass, whose material qualities of reflection and concealment have been deformed through differing processes and manipulations. These interventions correlate with and undo the ways in which surveillance enacts its own prefixal squeeze: where surveillance glass would otherwise frame in advance the sites at which the subject will be seen or heard, in this instance its surface becomes transparent where it shouldn’t and reflects in all directions rather than toward one focal point, never allowing the appearance of ‘wholeness’ to stabilize. Furthermore, the environmental conditions necessary for surveillance glass to operate (lighting, position, angle) are withdrawn, thus disabling it. These works gesture toward the racialized economies of visibility that shape Black life, where opacity and refusal preserve the possibility of interior life.

The works on canvas extend this inquiry. Beginning as collaged documentation photographs of earlier sculptures, they undergo recursive manipulations—etching, layering, recomposition and even literal squeezing. Each stage pushes the work further from its referent: the three-dimensional collapses into distorted photographs, which are then effaced by the actions of the hand, only to return to sculpture, now displaced and alienated from its originary self. Here, the subject and its image cannot stand still; they are caught instead in the refracting loop of desire’s racialized libidinal economies.

Through these unstable encounters, the sculptures and canvases presented in mis-/mé- (squeeze) demonstrate the persistence of Black intimacy and interiority under duress.

JACK SHAINMAN GALLERY

513 West 20th Street, New York, NY

jackshainman.com

Adolph Gottlieb and Kim Whanki @ Pace Gallery, Seoul - 'The Language of Abstraction, The Universe of Emotion' Exhibition

The Language of Abstraction, The Universe of Emotion

Adolph Gottlieb and Kim Whanki

Pace Gallery, Seoul

October 31, 2025 – January 10, 2026

Kim Whanki

Untitled, 1967

Oil on canvas, 177 x 127 cm

Pace presents The Language of Abstraction, The Universe of Emotion, a pair of exhibitions of works by American Abstract Expressionist Adolph Gottlieb and pioneering Korean painter Kim Whanki, at its Seoul gallery. On view across two floors of the gallery, these dual presentations—organized in collaboration with the Adolph and Esther Gottlieb Foundation and the Whanki Foundation—offer viewers an opportunity to witness how two 20th century figures with different cultural and philosophical backgrounds visualized their unique perspectives and forged a universal language through abstraction.

Gottlieb’s paintings fuse intuitive shapes with bold color fields to visualize emotion and the unconscious, while Kim’s canvases employ repeated dots and refined chromatic structures to evoke an Eastern sense of meditation and cosmic order. Deeply moved by his first encounter with Gottlieb’s work in the U.S. Pavilion at the São Paulo Biennale in 1963, Kim Whanki subsequently relocated to New York, where he embarked on one of the most intense periods of his career. Immersed in the city’s dynamic art scene, he gradually eliminated figurative references from his work, refining his language into dots, lines, and planes. His restrained compositions and luminous fields of meticulously placed dots evoke skies, seas, and constellations, transforming time and space into poetic abstractions. His celebrated Dot Paintings series, completed during these years, played a key role in the introduction of Korean Modernism to the global stage. Pace’s exhibition of Kim’s work from the late 1960s to the early 1970s focuses on the development of his Dot Paintings from structural compositions using crosses and quadrants (Sibjagudo).

A central figure of the New York School alongside Jackson Pollock and Mark Rothko, Adolph Gottlieb was at the vanguard of American Abstract Expressionism. His Pictographs of the 1940s used an all-over grid structure and invented symbols to give form to the unconscious, and in the 1950s he developed his signature Burst series: paintings that juxtapose a floating orb with explosive brushwork. These compositions dramatize the tensions between order and chaos, color, and form, inviting universal and intuitive responses rather than prescribing narrative meaning. Pace’s presentation in Seoul includes a selection of works produced by Adolph Gottlieb during the 1960s and 1970s, including the large-scale painting Expanding (1962), along with canvases from his Imaginary Landscapes series, which utilize the form of landscape painting to include unlimited perception.

Though their practices were rooted in distinct cultural contexts, Kim and Gottlieb are connected by a shared pursuit of universality—using color, symbol, and structure to explore humanity, the cosmos, and the realm of emotion. The Language of Abstraction, The Universe of Emotion is conceived as a dialogue, where the visual and emotional resonances between their works illuminate the boundless possibilities of abstraction and its enduring significance in art history.

Adolph Gottlieb (b. 1903, New York; d. 1974, New York) is recognized as a key figure of the New York School. Initially informed by Italian Renaissance painting, Impressionism, and the European avant-garde, Gottlieb became an advocate of abstraction from the 1930s onward, notably organizing the protest of an exhibition at The Metropolitan Museum of Art, New York, in 1950, for which he and a group of fellow artists became known as the Irascibles. Producing paintings, drawings, prints, sculpture, and tapestries, Adolph Gottlieb developed an aesthetic vocabulary from Jungian theory, underpinned by aspects of automatism, primitivism, and Surrealism. He continued to refine these stylistic means throughout his career, pursuing images that evoke an immediate and visceral impact on the viewer, through his series of Pictographs, Imaginary Landscapes, and Bursts.

Kim Whanki (b. 1913, Jeollanam-do, Korea; d. 1974, New York) is recognized as one of the pioneers of abstract modernism in South Korea during the twentieth century. The artist studied at Nihon University, Tokyo, from 1933 to 1936, a period during which he began exploring abstraction. From 1946 to 1950, he served as a professor in the Department of Western Painting at Seoul National University, and from 1952 to 1955 as professor and dean of the Department of Western Painting at Hongik University, Seoul. He was appointed as President of the Fine Arts Association in 1963.

PACE SEOUL

267 Itaewon-ro, Yongsan-gu, Seoul

www.pacegallery.com

29/10/25

Faith Ringgold @ Jack Shainman Gallery, NYC

Faith Ringgold

Jack Shainman Gallery, New York

November 14, 2025 – January 24, 2026

Jack Shainman Gallery presents Faith Ringgold, its inaugural exhibition dedicated to the trailblazing American artist, author, educator and activist. Spanning Ringgold’s extraordinary career, the exhibition foregrounds her groundbreaking and multifaceted practice in textiles—from her earliest ‘tankas’ to her iconic story quilt paintings—alongside pivotal early paintings, sculptures and rarely seen works on paper.

Restlessly creative and formally ambitious, Faith Ringgold explored the expressive potential of diverse media to create an incisive narrative about the historical sacrifices and achievements of Black Americans. Her practice emerged from the political consciousness and activism she developed during the 1960s and 1970s in Harlem, New York. Ringgold’s early paintings and works on paper from this period combine her unique and graphic approach to figuration with a bold and innovative approach to constructing space, which she would continue to explore throughout her life. Through her desire to overcome the largely white, art historical tradition, Faith Ringgold sought out forms more suitable to the exploration of gender and racial identity that she so urgently pursued, leading her to travel abroad in the 1970s, first to Europe and then to Africa.

Faith Ringgold’s experimentation with textiles began with what she referred to as ‘tankas.’ Inspired by the religious and spiritually significant Tibetan thangkas she first encountered when visiting the Rijksmuseum in Amsterdam, Ringgold’s version manifested as paintings on unstretched canvas adorned with sewn fabric borders. It was the potential of these objects to explore the intersection of the craft and fashion traditions she inherited from her family with the history and techniques of European painting that inspired Faith Ringgold and formally initiated her investigation into the medium that would become an integral part of her practice. They additionally provided the flexibility to make art that could be easily transported around the world for exhibition, allowing her to circumvent some of the many practical and economic barriers regularly faced by women artists of her time.

Ringgold’s first tankas, the Feminist Series (1972), feature lush and vividly colored forest scenes paired with hand-painted quotations by Black female abolitionists and Civil Rights leaders. The format inspired her to create Political Landscapes and Love Poems, two series of works on paper from the same year that were odes to her experiences utilizing her own words. These were followed by the Slave Rape Series (1973), in which Faith Ringgold used the likenesses of herself and her daughters to embody the experiences of enslaved women—an act of both identification and reclamation.

Pushing the tankas into an increasingly abstract direction, Faith Ringgold developed the Window of the Wedding (1974) series, a collaboration with her mother Willi Posey. Inspired by Kuba textiles, these abstract compositions were conceived as hanging prayer rugs intended to bring happiness and protection to married couples. Perhaps Ringgold’s most formally daring tanka works—a series of paintings with raffia fringe titled California Dah—were made in response to her mother’s passing, attempting to bridge the gap between the earthly and the afterlife.

Her experiments with textiles soon extended beyond the two-dimensional plane into painted soft sculptures and performance masks, works that merged her visual and performative sensibilities. Drawing from African sculptural traditions and her own background in theater and education, these works transformed fabric into a medium for storytelling and political expression. The Atlanta Children (1981) soft sculptures, created in response to the murders of twenty-eight Black children in Atlanta, exemplify this shift. Combining sewn and painted fabric, these haunting figures memorialize the victims while confronting the violence of systemic racism—effectively turning textile into a medium of mourning, resistance and care.

Faith Ringgold’s later development of the story quilt in the 1980s both allowed her to work at successively larger scales and to connect with a global lineage of feminine creativity. Regularly combining her autobiography with scenes and episodes from the collective history of Black life in America, the story quilts are disarmingly intimate yet historically grand. The malleability of the form gave her the freedom to move between abstract and experimental series—such as the Politically Correct Sheets and Love Letters that she made in 1987—and more narratively grounded and figuratively descriptive ones, such as the Jazz Stories quilts made between 2004-2007.

In Politically Correct Sheets and Love Letters, Faith Ringgold melded the printmaking plates she created at Robert Blackburn’s legendary printshop with impressionistic segments of quilting surrounding it, sharply contrasting the graphic nature of the former with the painterly expressivity of the latter. The later Jazz Stories quilts, by contrast, saw Faith Ringgold draw upon her lifelong love of the genre while also centering female performers. By inverting the gendered hierarchies that historically privileged men, Ringgold proposed a vision of justice that would resonate beyond the arts.

Faith Ringgold returned to the history of slavery later in her career with the Coming to Jones Road (1999-2010) series, which recounted the imagined journey of enslaved people traveling north along the Underground Railroad. The title references Ringgold’s own move to a predominantly white suburb in New Jersey and the racial prejudice she experienced while living there at the turn of the 21st century. This fusing of personal and historically derived narratives challenged the conception of the Underground Railroad as being a linear story towards freedom and underscored the ongoing obstacles that persist at the end of a journey and alongside a new beginning.

“The significance of Faith Ringgold’s life continues to be felt and understood in new, urgent and relevant ways, from pedagogy to artistry, from the personal to the political," said Jack Shainman. “Just as she fought tirelessly against the prevailing sentiments of racial and gendered exclusion of both her time and our own, so too did her inimitable work in textiles provide an example of how life and art—so often presumed to be separate—are in fact deeply and fundamentally intertwined. This exhibition marks the beginning of our commitment to furthering the legacy of one of this country’s most important and vital artists.”

Artist Faith Ringgold

Faith Ringgold (1930-2024) is recognized as one of the most significant cultural figures of the twentieth and twenty-first centuries, whose impact and influence can be seen throughout the worlds of art and activism today. Over more than six decades, Ringgold distinguished herself as an artist, author, educator and organizer, as she understood the necessity of addressing the politics of race and gender in America in more ways than one. Restlessly creative and formally ambitious, Ringgold worked in a variety of media—from quilts and paintings to performances and children’s books—to create an incisive narrative about the historical sacrifices and achievements of Black Americans.

In 2022, Faith Ringgold was the subject of a major retrospective, Faith Ringgold: American People, which opened at the New Museum, New York, before then traveling to the de Young Museum, San Francisco and the Museum of Contemporary Art, Chicago. In 2019, Serpentine Galleries, London opened Faith Ringgold, which then travelled to both the Bildmuseet Umeå, Sweden and Glenstone Museum, Potomac. From 2010 to 2013, American People, Black Light: Faith Ringgold’s Paintings of the 1960s opened at the Neuberger Museum of Art, New York and traveled to the Perez Art Museum, Miami, Spelman College Museum of Fine Art, Atlanta, and the National Museum of Women in the Arts, Washington, D.C.

Faith Ringgold is included in numerous public collections, including the Brooklyn Museum, New York; Crystal Bridges Museum of American Art, Bentonville, AR; High Museum of Art, Atlanta; The Metropolitan Museum of Art, New York; Museum of Modern Art, New York; National Gallery, Washington, DC; National Museum of Women in the Arts, Washington, DC; National Museum of African American History and Culture, Washington, DC; Neuberger Museum of Art, New York; Philadelphia Museum of Art; Public Art for Public Schools, New York; Schomburg Center for Research in Black Culture, New York; Smithsonian American Art Museum, Washington, DC; Solomon R. Guggenheim Museum, New York; St. Louis Art Museum, Missouri; Studio Museum, Harlem, New York and The High Museum, Atlanta.

JACK SHAINMAN GALLERY

46 Lafayette Street, New York, NY 10013

jackshainman.com

28/10/25

View Finding: Selections from The Walther Collection @ Metropolitan Museum of Art, New York

View Finding: Selections from The Walther Collection

Metropolitan Museum of Art, New York

October 28, 2025 – May 3, 2026

Délio Jasse (Angolan, born 1980)

Untitled, from the series "Terreno Ocupado", 2014

Cyanotype

Sheet: 22 1/16 × 29 15/16 in. (56 × 76 cm)

The Metropolitan Museum of Art, New York,

Promised gift of the Walther Family Foundation

Luo Yongjin (Chinese, born 1960)

Oriental Plaza, Beijing, 1998–2002

Inkjet print

Unrolled: 14 9/16 in. × 13 ft. 10 15/16 in. (37 × 424 cm)

Box: 3 3/4 × 17 5/16 × 3 15/16 in. (9.6 × 44 × 10 cm)

The Metropolitan Museum of Art, New York,

Promised gift of the Walther Family Foundation

The Metropolitan Museum of Art presents View Finding: Selections from The Walther Collection, a preview of a landmark promised gift of photographs from Artur Walther. Assembled over three decades and across five continents, Walther’s vast collection of over 6,500 photographs and time-based media is regarded as among the finest in the world. The 40 works in View Finding introduce his landmark gift and considers how artists across the globe use the camera to navigate shifting terrain.

“This remarkable promised gift from The Walther Collection marks a watershed moment at The Met,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “View Finding’s carefully curated selection brings iconic works into conversation with new and emerging artistic voices. We are deeply grateful to Artur and his foundation for this gift that profoundly expands our ability to tell a global history of photography.”

Jeff L. Rosenheim, Joyce Frank Menschel Curator in Charge of the Department of Photographs, added, “At The Met, The Walther Collection will become an essential resource for scholars and museum goers. Introducing its phenomenal range of works, this exhibition situates the camera as a powerful tool for social critique, reflection, and change.”

Aida Silvestri (Eritrean, born 1978)

Awet. Eritrea to London by car, boat, lorry, train

and aeroplane, 2013

Image: 34 7/16 × 24 13/16 in. (87.5 × 63 cm)

Text: 11 × 8 1/8 in. (28 × 20.7 cm)

The Metropolitan Museum of Art, New York,

Promised gift of the Walther Family Foundation

Kohei Yoshiyuki (Japanese, born 1946)

Untitled, from the series "The Park", 1971

Gelatin silver print

Image: 12 5/16 × 18 3/8 in. (31.2 × 46.7 cm)

Sheet: 15 7/8 × 19 13/16 in. (40.3 × 50.4 cm)

The Metropolitan Museum of Art, New York,

Promised gift of the Walther Family Foundation

The modern and contemporary photographs in View Finding highlight photographic practices across Asia, Africa, Europe, and North America. Both inventive and politically urgent, these projects engage the pressing issues of their time. Responding to transformations of the landscape and built environment, they investigate the effects of architecture and spatial planning on identity and social order. In apartheid-era Johannesburg, as in industrializing Shenzen and post-colonial Dakar, they register and reshape environments in flux, looking anew at how we traverse them.

The exhibition introduces many new artists to the Museum and celebrates their Met debut. Works by Santu Mofokeng, François-Xavier Gbré, Luo Yongjin, and others expand and enrich the collection and testify to the dynamic role of the camera in contemporary art making across the globe. Much of their work serves an intermediary role and reflects broader histories of creative work: Delio Jasse reprises the 19th-century cyanotype process to make new views of industrializing Angola, and Aida Silvestri stitches embroidery thread into her prints to chart the perilous migratory paths of Eritrean refugees. In a time-based media presentation, collaborators Mikhael Subotzky and Patrick Waterhouse explore an infamous Johannesburg apartment building as an emblem of apartheid and its aftermath. Artur Walther commissioned their 12-channel slideshow, Windows, Ponte City (2008–11), which appears at The Met in a bespoke installation.

View Finding explores a spectrum of photographic practice, from the formal to the applied. The show features street scenes by Lisette Model and Nobuyoshi Araki, and cool-eyed conceptual projects by Bernd and Hilla Becher, Günther Förg, and Thomas Ruff. The work of these lauded practitioners keeps company with that of emerging artists and endeavors far outside the realm of fine art—among them, views by French and American photographers for hire and NASA dispatches from deep space. Such vernacular materials are a recent focus of The Walther Collection, and their inclusion here testifies to the scope of the medium’s artistic, scientific, and commercial aims.

“When Artur Walther began to acquire photography, he aimed to expand the parameters of the field,” said Virginia McBride, Assistant Curator in the Department of Photographs. “In turn, View Finding presents international perspectives on hyperlocal subjects. With inventive eyes, the photographers in View Finding study the sidewalks of Nairobi and storefronts of Fifth Avenue. They search public parks from Tokyo to Tangier. In private bedrooms, parking lots, and other places easy to overlook, they focus in, finding—here and there—unlikely sites of self-reflection and social change.”

Santu Mofokeng (South African, 1956–2020)

Winter in Tembisa, 1991

Gelatin silver print

Image: 14 15/16 × 22 13/16 in. (38 × 58 cm)

The Metropolitan Museum of Art, New York,

Promised gift of the Walther Family Foundation

François-Xavier Gbré (Ivorian, born France, born 1978)

Salle des avocats, Palais de Justice, Cap Manuel, Dakar, 2014

Chromogenic print

Image: 39 3/8 × 59 1/16 in. (100 × 150 cm)

The Metropolitan Museum of Art, New York,

Promised gift of the Walther Family Foundation

The Walther Collection Overview

The Walther Collection is principally known for its photographs by 20th-century and contemporary artists from across the African continent. Walther conceived the collection to explore how photographers documented the enormous social change that has unfolded over the last century. Highlights include photographs by Santu Mofokeng and Yto Barrada, whose works are shown in View Finding, along with Seydou Keïta, Malick Sidibé, Samuel Fosso, Zanele Muholi, Lebohang Kganye, and J. D. ‘Okhai Ojeikere. These and other artists in the collection use the camera to explore shifting roles of identity and interrogate experiences of migration, colonialism, war, and industrialization. The collection holds superb photographs by the most prominent African photographers in South Africa, Namibia, Nigeria, Mali, Senegal, Zimbabwe, Kenya, Congo, Uganda, Eritrea, Ethiopia, and Morocco.

The Walther Collection is equally rich in late 20th-century and contemporary photographs and video from China. These works show the widespread adoption of the camera by successive generations of Chinese artists after the Tiananmen Square events of 1989. The photographers respond to transformative changes not only to the urban landscape but also to social relations and everyday life. Notable examples include works by Luo Yongjin and Weng Fen, whose works are presented in View Finding. Other preeminent practitioners include Ai Weiwei, Hai Bo, and Yang Fudong. The collection also includes a significant group of Japanese photographs, with large holdings of works by Nobuyoshi Araki, whose intimate visual diary of Tokyo appears in the exhibition.

Bernd and Hilla Becher (German, active 1959–2007)

Grain Elevators, 1982–2001

15 gelatin silver prints

22.17 x 18.23 x 1.1 in. (56.3 x 46.3 x 2.8 cm), each

The Metropolitan Museum of Art, New York,

Promised gift of Artur Walther

Walther first began to build a collection of photographs from his homeland of Germany. A key early acquisition—an outstanding typology by Bernd and Hilla Becher—is featured in View Finding, illustrating a visual framework that would come to shape his subsequent interests. The conceptual legacy of the Bechers runs through the collection and the exhibition.

In 2010, The Walther Collection presented its inaugural exhibition, Events of the Self: Portraiture and Social Identity, organized by the late curator Okwui Enwezor, at its newly designed museum campus in Neu-Ulm, Germany. Since then, the collection has organized nine major thematic and monographic exhibitions at its museum. Several of these exhibitions traveled widely, including to museums in Europe, Mexico, and West Africa. From 2011 to 2021, the Walther Family Foundation also operated The Walther Collection Project Space in New York City’s Chelsea neighborhood, introducing photographers from Africa and Asia to American audiences for the first time through solo and thematic exhibitions, public programs, and symposia co-organized with Columbia University and New York University. The collection co-published 20 books with Steidl, all of which have broadened the scholarship about modern and contemporary photography by spotlighting artists who have made a substantial contribution to the history of the medium.

About Artur Walther

Artur Walther began collecting photography in the late 1990s, initially focusing on German modernist photography before expanding to contemporary photography and video. In 2010, he established the Walther Family Foundation. The foundation, which operates a large exhibition space in Neu-Ulm, Germany, presents thematic and monographic exhibitions drawn from the collection’s expansive range of photography and media art, including African, Chinese, Japanese, and European holdings of modern and contemporary works, 19th-century photography from Europe and Africa, and vernacular lens-based artwork from across the globe. Walther is the recipient of the 2016 Trustee Award from the International Center of Photography (ICP) and the 2021 Kulturpreis of the Deutsche Gesellschaft für Photographie (DGPh). Born in Neu-Ulm, Germany, he received his MBA from Harvard Business School and was later a partner at Goldman Sachs.

Displays in The Michael C. Rockefeller Wing and Tang Wing

Select works from the promised gift have been integrated into The Met’s reimagined galleries for the Arts of Africa, part of the redesigned Michael C. Rockefeller Wing. Concurrent with View Finding, an inaugural display explores self-portraiture in the work of artists including Seydou Keïta, Zanele Muholi, and Samuel Fosso. In his acclaimed African Spirits series (2008), Fosso pays tribute to heroes of the African diaspora by adopting the personae of Martin Luther King Jr., Tommie Smith, Angela Davis, Patrice Lumumba, Léopold Senghor, and Aimé Césaire, among others.

Works from The Walther Collection will also be featured in the forthcoming Tang Wing, where they will enrich presentations of modern and contemporary art from around the world. Designed by architect Frida Escobedo, the 126,000-square-foot, five-story wing is set to open in 2030, with more than 70,000 square feet for the presentation of art and approximately 18,500 square feet of outdoor space spread across the fourth- and fifth-floor terraces.

View Finding: Selections from The Walther Collection is co-organized by Jeff Rosenheim, Joyce Frank Menschel Curator in Charge, and Virginia McBride, Assistant Curator, both in the Department of Photographs.

METROPOLITAN MUSEUM OF ART

The Met Fifth Avenue, New York

Joyce and Robert Menschel Hall for Modern Photography, Gallery 851

www.metmuseum.org

27/10/25

Ed Ruscha @ Gagosian, Paris - Exposition 'Talking Doorways'

Ed Ruscha

Talking Doorways

Gagosian, Paris

22 octobre – 3 décembre, 2025

Ed Ruscha

Talking Doorways, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

Gagosian présente actuellement l'exposition Ed Ruscha: Talking Doorways à la galerie de la rue de Castiglione à Paris. Dans ces nouvelles peintures, Ed Ruscha délaisse les façades tournées vers l’espace public pour explorer le drame silencieux des intérieurs privés. Talking Doorways coïncide avec Ed Ruscha: Says I, to Myself, Says I, une exposition d’une autre série de travaux de l'artiste présentée à la galerie Gagosian de Davies Street à Londres.

Depuis plus de six décennies, Ed Ruscha revient fréquemment à l’architecture et aux infrastructures comme sujets, représentant stations-service, immeubles, parkings, musées, maisons ou des sites industriels vus depuis la rue ou du ciel. Avec Talking Doorways, il délaisse pour la première fois les extérieurs au profit d’intérieurs, utilisant de subtils dégradés en pointillés pour représenter des pièces nues, décorées uniquement de moulures et d’encadrements de portes. Chaque œuvre présente en outre une porte à travers laquelle apparaît une phrase peinte, franchissant le seuil, accompagnée de bandes linéaires évoquant à la fois des faisceaux lumineux et les ondes sonores de paroles prononcées.

Ed Ruscha

Talking Doorways, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

L’intérêt de Ed Ruscha pour les intérieurs a, en partie, été suscité par l’oeuvre du peintre danois Vilhelm Hammershøi (1864–1916). Célèbre pour ses tableaux énigmatiques de pièces baignées de lumière, vides ou habitées par une seule figure, Hammershøi a créé des oeuvres à la palette restreinte, empreintes d’une observation minutieuse, évoquant une attention silencieuse. En évoquant sa réflexion sur les peintures de Hammershøi, Ed Ruscha explique:

J’ai commencé à voir l’intérieur des murs, avec des moulures, des lambris, des petites corniches, des détails qui m’ont intrigué. Et bien que mon travail ne ressemble en rien au sien, je peux dire qu’il m’a inspiré. Il est plus direct, franchement rigide comparé à ce que font les artistes aujourd’hui. Formel, rigide et froid, mais porteur d’un véritable propos.

Ed Ruscha

Says I To Myself Says I, 2025

Acrylic and graphite on canvas

54 x 120 inches (137.2 x 304.8 cm)

Photo: Jeff McLane

Courtesy Gagosian

Ed Ruscha

Talking Doorways, 2025, installation view

Photo: Maris Hutchinson

Courtesy Gagosian

Les nouvelles œuvres de Ed Ruscha expriment elles aussi une forme d’intériorité, bien que leur quiétude soit perturbée par les textes peints, suggérant une conversation ou un monologue. Says I to Myself Says I (2025), une toile de trois mètres de long, met en avant la phrase éponyme tirée du langage vernaculaire, divisée en trois bandes qui soulignent la répétition palindrome (mot ou groupe de mots qui peut se lire indifféremment de gauche à droite ou de droite à gauche en gardant le même sens) de « Says I ». Cette œuvre, qui représente la parole franchissant un encadrement de porte, constitue aussi une nouvelle déclaration de l’artiste sur l’art et le langage.

Gagosian publiera un catalogue dédié à ces nouvelles œuvres de Ed Ruscha à l’occasion de l’exposition.

Pour consulter la biographie d’Ed Ruscha ainsi que l’historique de ses expositions, rendez-vous sur gagosian.com.

GAGOSIAN PARIS

9 rue de Castiglione, 75001 Paris

gagosian.com

26/10/25

Otherworldly Journeys: The Fantastical Worlds of Bosch and Bruegel @ Speed Art Museum, Louisville

Otherworldly Journeys: The Fantastical Worlds of Bosch and Bruegel

Speed Art Museum, Louisville

October 17, 2025 — February 1, 2026

Pieter van der Heyden (Netherlandish, about 1530–about 1572)

After Pieter Bruegel the Elder (Netherlandish, about 1526/27–1569)

The Fall of the Magician Hermogenes, 1565

Engraving, 8 13/16 × 11 7/16 in.

Collection Museum Boijmans Van Beuningen, Rotterdam

From the estate of Dr. J.C.J. Bierens de Haan, inv. BdH 7580 (PK)

Pieter van der Heyden (Netherlandish, about 1530–about 1572)

After Pieter Bruegel the Elder (Netherlandish, about 1526/27–1569)

Big Fish Eat Little Fish, 1557

Engraving, 9 1/16 × 11 13/16 in.

Collection Museum Boijmans Van Beuningen, Rotterdam

From the estate of Dr. J.C.J. Bierens de Haan, inv. BdH 8007 (PK)

The Speed Art Museum presents Otherworldly Journeys: The Fantastical Worlds of Bosch and Bruegel, marking the first time that this exceptional exhibition has been displayed in the U.S. Drawn from the internationally renowned collection of the Museum Boijmans Van Beuningen in Rotterdam, the exhibition features 85 rare engravings and etchings. The show offers a fascinating voyage into the most bizarre corners of art history, exploring the visionary and satirical works inspired by Renaissance masters Hieronymus Bosch and Pieter Bruegel the Elder.

Organized by Peter van der Coelen, Curator of Prints and Drawings at the Museum Boijmans Van Beuningen, and locally curated by the Speed’s Curator of Works on Paper Kim Spence, Otherworldly Journeys spotlights 16th-century Netherlandish prints that broke from artistic convention through their focus on everyday people and the absurdities of human behavior Through the media of engraving and etching, these inventive designs reached a wider, urban audience of merchants, scholars, and artists across The Netherlands and beyond. In creating visual art that was satirical, moralizing, and widely accessible, Bosch and Bruegel provided the first modern lens through which the public could view themselves and their world.

“Museum Boijmans Van Beuningen is one of the few museums in the world where the work of Bosch and Bruegel—and the Surrealists they later inspired—are so strongly represented. Otherworldly Journeys is the first exhibition devoted entirely to the prints inspired by Bosch and created by Bruegel and his contemporaries,” said Peter van der Coelen. “These works reveal the imagination and innovation that defined Netherlandish art in the 15th and 16th centuries. Bosch and Bruegel invented new imagery and shared ideas that traveled far beyond their studios, inviting us to see the world in new ways.”

Pieter van der Heyden (Netherlandish, about 1530–about 1572)

After Pieter Bruegel the Elder (Netherlandish, about 1526/27–1569)

Summer, 1570

Engraving, from the series The Four Seasons, 8 7/8 × 11 5/16 in.

Collection Museum Boijmans Van Beuningen, Rotterdam

From the estate of Dr. J.C.J. Bierens de Haan, inv. BdH 8017 (PK)

Though created 500 years ago, the themes in Otherworldly Journeys feel strikingly contemporary. These intimate prints invite guests to come close and explore every detail. Many images conceal tiny, humorous and even disturbing scenes that turn viewing into a visual treasure hunt through the artists’ imaginations. Teeming with peasants and demons, folly and faith, they transform everyday life, dreams, and nightmares into reflections on what it means to be human. In an age defined by memes and digital sharing, Otherworldly Journeys reminds us that the urge to tell stories through images—and to see ourselves reflected in them—is timeless.

“This exhibition is a celebration of two of the most creative artistic geniuses of the 16th century and a generation of printmakers they inspired,” said Kim Spence. “Hieronymus Bosch completely reimagined familiar subjects, populating them with fantastic creatures never seen before. His vision was so unique that demand for ‘Boschian’ art continued decades after his death. Pieter Bruegel, too, was equally innovative. He developed new genres—such as mountainous landscapes, seascapes, and depictions of everyday life—that laid the groundwork for artists of the Golden Age of Dutch art and later.”

A fully illustrated catalog written by Peter van der Coelen and published by The Speed Art Museum accompanies the exhibition.

SPEED ART MUSEUM

2035 South Third Street, Louisville, KY 40208

www.speedmuseum.org

Lucy Williams: Radiant City Exhibition @ Berggruen Gallery, San Francisco + Book

Lucy Williams

Radiant City

Berggruen Gallery, San Francisco

November 6, 2025 – January 8, 2026

Berggruen Gallery presents Radiant City, an exhibition of new work by London-based artist LUCY WILLIAMS. This exhibition will mark the gallery’s third solo presentation with the artist

Williams’s works are fastidiously engineered to produce uncanny miniature worlds suspended between the second and third dimensions—facades that are simultaneously industrial and tactile. Drawing on modernist buildings and interiors, Lucy Williams redefines collage through intricately crafted mixed-media bas-reliefs. Her sleek, serene scenes of period architecture ripple with texture and aqueous reflections. She simulates the tiled surfaces of swimming pools, the austere facades of Brutalist buildings, and the regimented rows of libraries and bookcases. Painstakingly hand-crafted, Lucy Williams constructs her works in ascending layers of varying materials such as paper, Plexiglas, wood veneer, fabric, piano wire, and thread.

Beginning with a full-scale pencil drawing, Lucy Williams creates a digital copy from which she laser cuts the structural base and hand-cuts colored paper to form curtains, blinds, books, vases, pots, and lampshades. Each piece is laid on top of the drawing until she is ready to collage within a shallow space, adding paper home furnishings as she builds the work. Panels are over-stitched with thread, and a Perspex layer is used to replicate the windows, all of which have been etched and hand-painted to add further detail. Of her process, she says: “You have to give it as much time as possible, it’s really important, because in time is the transformation.”

Through embroidery and a warm tonal palette, Williams’s work exploits the tension between the humane, intimate spaces she produces and the hard-edge geometric buildings she references. The perceived depth and inherent flatness of the work occupy the liminal space between painting and sculpture. “Her work resonates with the textures and geometries of Anni Albers and Jean Arp, Alexander Calder and Ruth Asawa—not just in their forms, but in the energy, dedication, and intentionality they brought to their work,” said Joseph Becker, Curator of Architecture and Design at the San Francisco Museum of Modern Art.

The exhibition title Radiant City comes from Le Corbusier's unrealized architectural proposal for a utopian megalopolis that would seamlessly integrate humankind with nature and the technological innovations of the twentieth century. The concrete apartments—composed of modular units, imposing towers, and symmetry—were conceived to address urgent housing needs and to use modern architecture as a tool for societal reform. While Radiant City itself was never realized, its principles came to life in the Unité d’Habitation in Marseille. The patchwork play of color and light across the façade of what might otherwise have been a monotonous expanse resulted in one of modern architecture's most iconic designs. In Radiant City, Lucy Williams captures the delicate balance of materiality, shape, and color that made Unité d’Habitation so visually resonant. She does this through multiple iterations, probing the tension between social egalitarianism and a dehumanizing uniformity.

Radiant City features both representational and abstract works by Lucy Williams. During the pandemic, she began experimenting with non-representational compositions to explore the rhythmic, repetitive visual qualities of form. This experimentation allowed her to develop new threading techniques, which she then brought into her representational works, along with miniature versions of the abstractions themselves. “Slate, aubergine and rose triangles float over vertical threads of different colours and thicknesses, adding a lyrical stringed element to the already dynamic forms. In these, Lucy Williams controls space like the modernists Naum Gabo and Barbara Hepworth before her,” said art critic Charlotte Mullins. Though the figure never appears in her work, one need only view it in person to experience the narrative power of her spaces—how they draw the viewer in, both baffled by their fabrication and longing to occupy their meditative worlds.

Lucy Williams was born in Oxford, England, in 1972. She earned her Bachelor of Arts in Fine Art from Glasgow School of Art in 1996 and her Postgraduate Diploma in Fine Art from Royal Academy Schools in 2003. The artist has since exhibited her work internationally, with solo shows including Pavilion at Timothy Taylor Gallery, London (2012), Festival at McKee Gallery, New York (2014) and Pools at Berggruen Gallery, San Francisco (2017). Lucy Williams’s work has also been represented in major group exhibitions, such as Painting the Glass House: Artists Revisit Modern Architecture at The Aldrich Contemporary Art Museum, Connecticut (2008), After curated by Marjolaine Levy at Galerie Mitterand, Paris (2013), and Cut & Paste | 400 Years of Collage at the National Galleries of Scotland, Edinburgh (2019). Lucy Williams currently lives and works in London.

Lucy Williams – Radiant City

By Lucy Williams

Contributions by Ben Street, Salena Barry, Kathryn Lloyd

and Charlotte Mullins / Edited by Matt Price /

Foreword by Joseph Becker

Published by Hurtwood Press Ltd

Distributed by Simon & Schuster

Book Cover courtesy of Simon & Schuster

264 pages featuring 160 illustrations (colour and black & white)

Hardback, 290 x 245 mm portrait

Available at Berggruen Gallery or on its Website

The exhibition coincides with Lucy Williams’s new publication, Radiant City. The gallery will host an artist discussion, moderated by Joseph Becker, Curator of Architecture and Design at SFMOMA, and a book release event at 4:30 p.m. on Thursday, November 6, 2025, followed by an opening reception from 5 to 7 p.m.

BERGGRUEN GALLERY

10 Hawthorne Street, San Francisco, CA 94105

www.berggruen.com

Larry Sultan: Homeland Exhibition @ Yancey Richardson, New York

Larry Sultan: Homeland

Yancey Richardson, New York

October 30 – December 20, 2025

Yancey Richardson presents Homeland, an exhibition featuring photographs from Larry Sultan’s series of the same name and the third exhibition of his work with the gallery. In his expansive photographs of Latino day laborers set against the backdrop of a suburban California landscape, Larry Sultan explores the liminal spaces between actions, the moments that exist as time passes. Though he borrows from the tradition of landscape painting, with its presumption of order through perspective, Sultan’s photographs emphasize the indeterminate and the ambiguous instead, revealing the sense of possibility that remains embedded in the act of waiting.

Over the course of a two year period Sultan drove to lumber yards and hardware stores in the Bay Area and Simi Valley, California, where every day hundreds of men waited for temporary employment. Rather than hire them as laborers, Larry Sultan employed them as actors, working with them to choreograph their movements in landscape on the outskirts of suburbia, rehearsing and doing take after take, creating picture after picture. Just as they originally occupied the marginal and transitional zones within the landscape—those that remain overlooked and passed over—Larry Sultan cast these men in similar roles for Homeland, asking them to carefully pose and sit, to cast their gaze outward from the picture frame. Instead of depicting dynamic motion or dramatic action, Larry Sultan created meticulous tableaux that express the interrelated experiences of looking for, leaving and coming home. The notes of longing and melancholy that are present in these photographs are counterbalanced by one of emergent possibility, where the familiarity of the banal can give way to the unforeseen and unexpected.

It was in the act of exploring truths in storytelling, notions of identity and the influence of home that Sultan returned to time and again in his work, regardless of subject matter or setting. The lasting imprint of his childhood and the spaces that defined it—the empty fields behind strip malls and the borderlands of the LA river that ran behind his home in the San Fernando Valley—were areas that represented a small and diminishing stretch of refuge that existed just outside the boundaries of private property. By investigating these spaces in Homeland, Larry Sultan sought to complicate the stereotype of what suburbia was and can be with pictures suff used with anticipation and a quiet reverence for the ordinary.

LARRY SULTAN grew up in California’s San Fernando Valley, which became a source of inspiration for a number of his projects. His work blends documentary and staged photography to create images of the psychological as well as physical landscape of suburban family life. Sultan’s pioneering book and exhibition Pictures From Home (1992) was a decade long project that features his own mother and father as its primary subjects, exploring photography’s role in creating familial mythologies. Using this same suburban setting, his book, The Valley (2004) examined the adult film industry and the area’s middle-class tract homes that serve as pornographic film sets. Katherine Avenue (2010), the exhibition and book, explored Sultan’s three main series, Pictures From Home, The Valley, and Homeland alongside each other to further examine how Larry Sultan’s images negotiate between reality and fantasy, domesticity and desire, as the mundane qualities of the domestic surroundings become loaded cultural symbols.

Larry Sultan’s work has been exhibited and published widely and is included in the collections of the Los Angeles County Museum of Art, the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Solomon Guggenheim Museum, the Tate Modern, the National Gallery, London, the Stedelijk Museum, Musée de l’Elysée, Centre Pompidou, the National Gallery of Art, DC, and the San Francisco Museum of Modern Art, where he was also recognized with the Bay Area Treasure Award in 2005. Larry Sultan served as a Distinguished Professor of Photography at California College of the Arts in San Francisco. Born in Brooklyn, New York in 1946, Larry Sultan passed away at his home in Greenbrae, California in 2009.

The exhibition will be on view in the project gallery. An opening reception will be held on Thursday, October 30 from 6–8PM.

YANCEY RICHARDSON

525 West 22nd Street, New York, NY

www.yanceyrichardson.com

Jane Hammond @ Berggruen Gallery, San Francisco - 'Chocolate Cosmos, String of Pearls' Exhibition

Jane Hammond

Chocolate Cosmos, String of Pearls

Berggruen Gallery, San Francisco

October 23, 2025 – January 8, 2026

Berggruen Gallery presents Chocolate Cosmos, String of Pearls, an exhibition of new work by New York–based artist JANE HAMMOND. This exhibition marks the gallery's third solo exhibition with the artist.

Chocolate Cosmos, String of Pearls features mixed-media botanical assemblages composed of images acquired through a rigorous process of research and collection, yet arranged improvisationally. Hammond's hyper-detailed compositions probe the relationships between ecology, observation, and knowledge. Through a system of images shaped by the poetics of language, Jane Hammond produces lavish arrangements of vivid and fantastical forms drawn from the natural world. Using several printmaking techniques such as relief printing and linocut, as well as combining painting and drawing, Hammond’s compositions employ myriad methodologies. Jane Hammond often prints from hand-made plates on painted and collaged grounds.

Jane Hammond’s works draw on both found and personal photographs she has collected over many years. She recontextualizes these images, often dramatically altering color, scale, and resolution, and builds her arrangements based on symbolic and physical associations. Her botanical arrangements brim with flora and fauna from disparate species across continents and temporalities, resulting in bouquets that exist outside the realm of possibility. While beautiful and meticulously arranged, these are not traditional botanicals. Hammond’s works—made up of both living and extinct flora and fauna—present a plentitude both ravishing and increasingly threatened by ecological destruction.

Shaped by the aesthetics of post-minimalism in 1970s New York, Jane Hammond avoided botanical subjects for decades, though an interest in the natural world was a throughline in her childhood, education, and later life. Of the work in Chocolate Cosmos, String of Pearls, Jane Hammond has said: “It’s a different enterprise to make these botanicals now than it would have been 30 years ago because the environment from which all this plentitude emanates is now intensely jeopardized."

Jane Hammond also has a keen interest in the history of material culture. She mines the traditions of ceramics, glass, and metalwork across the globe for her containers, as well as the world of artisanal papermaking for the handmade grounds she crafts for each piece. These unique compositions are made of many heterogeneous and often conflicting elements, yet ultimately resolve harmoniously. Hammond's rigorous compositional process involves constant readjustments of placement, scale, and color until she achieves a desired “harmony built from tension and difference.” These tensions impart power and vitality to their final resolution. Hammond's works play with language, allegory, and games to invite the viewer into a mythical world blooming with an encyclopedic collection of images, where edification comes from searching and surprise.

Jane Hammond was born in 1950 in Bridgeport, CT. She received her B.A. from Mount Holyoke College in 1972, an MFA from Arizona State University in 1974, and a second MFA from the University of Wisconsin–Madison in 1977. Her work is in the permanent collections of over eighty museums, including the National Gallery of Art, SFMOMA, the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Museum of Modern Art. In 2019, she was awarded a Guggenheim Fellowship. Her work has been featured in The New York Times, ARTnews, Art in America, and more. Jane Hammond currently lives and works in New York City.

Jane Hammond’s forthcoming publication, Chocolate Cosmos, String of Pearls, will be released in spring 2026.

* * * * *

Berggruen Gallery also presents Interiors, a group exhibition of paintings and works on paper depicting interior spaces. The exhibition is on view through January 8, 2026.

The works in Interiors reveal a range of artistic engagement with physical and psychological space. Drawing from distinct painterly vocabularies—realism, abstraction, and Bay Area Figuration—Interiors brings together diverse contemplations of space, light, and memory. Whether probing the spatial drama of the domestic—a place of routine, leisure, and introspection—or conveying architectural tropes such as windows, doorways, and hallways, Interiors offers various contemporary reflections on the inhabited worlds around us, both real and imagined.

BERGGRUEN GALLERY

10 Hawthorne Street, San Francisco, CA 94105

www.berggruen.com

Daniel Arsham @ Perrotin Dubai - 'What Remains' Inaugural Exhibition of the New Gallery

Daniel Arsham

What Remains

Perrotin Dubai

October 30, 2025 – January 10, 2026

Daniel Arsham

Members of the Future, Cenote Exploration, 2024

Acrylic on canvas panel

Unframed: 121.9 × 147.3 × 5.7 cm | 48 × 58 × 2.25 in.

Framed: 110.5 × 134.6 × 5.7 cm | 43 1/2 × 53 1/2 × 2.25 in.

Photo: Guillaume Ziccarelli

Daniel Arsham

Audio Bonsai 003, 2025

Copper wire, wood, speakers

153 × 132.1 × 101.6 cm | 60 1/4 × 52 × 40 in

Perrotin Dubai presents a debut solo exhibition What Remains by American artist Daniel Arsham. This exhibition marks the first solo show since the opening of the Perrotin Dubai gallery. What Remains features several new series from Arsham's extensive practice, including sculpture, painting and drawing, and a new sound installation, focusing on themes of cultural memory, and the passage of time.

Daniel Arsham transforms the gallery into a sonic installation with his latest sculptural series of copper wrapped bonsai tree sculptures. Doubling as functional stereo speakers, these works will play ambient music throughout the exhibition. This new series pays homage to Japanese Zen Buddhist culture and Arsham’s past presentations of sand zen gardens, which he has exhibited around the world at the Lotte Museum, South Korea and the Musée Guimet, France, among others.

Daniel Arsham

Stairs in the Labyrinth, 2025

Sand. 72 × 44.5 × 45.7 cm | 28 3/8 × 17 1/2 × 18 in.

Daniel Arsham also unveils a new suite of works relating to his recent Labyrinth series. Composed in cast sand, Arsham’s Stairs in a Labyrinth draws influence from artists like M.C. Escher and Renee Magritte’s maze-like works to create a sculptural double portrait. From head-on the work appears as a portrait bust of a sitter, transforming in the profile view into a maze of architectural levels and stairwells. Alongside the sculpture, Daniel Arsham presents a stilllife painting of another labyrinth bust and a selection of charcoal prepatory drawings. In this series, Daniel Arsham beckons viewers to navigate intricate compositions, suggesting an interplay of layers and pathways reminiscent of archeological sites where the past reveals itself in unexpected ways.

Alongside these new series, Daniel Arsham expands his decades-long project of “Fictional Archaeology,” where the artist examines objects from the twentieth century that are containers for collective cultural memory. Cast in his signature materials of geologic crystals and pigmented hydrostone, patinated bronze, and fiberglass, Daniel Arsham presents objects like a Rolling Stone magazine eroded with pink quartz crystals, a NY Yankees hat that appears to be emerging out of the architecture of the wall, and a bronze scaled replica of a 1985 DMC Delorean car - immortalized in the film Back to the Future.

Daniel Arsham has spent over twenty years cultivating an artistic universe that challenges conventional perceptions of time and reality. His works often evoke a sense of nostalgia and imaginative exploration, encouraging viewers to reflect on our collective history and the artifacts that shape our cultural identity.

Artist Daniel Arsham Biography

Born in Cleveland, Ohio, in 1980, New York based artist Daniel Arsham’s work explores the fields of fine art, architecture, performance, design and film. Raised in Miami, Daniel Arsham attended the Cooper Union in New York City where he received the Gelman Trust Fellowship Award in 2003. Soon thereafter Daniel Arsham toured worldwide with the Merce Cunningham Dance Company as the company’s stage designer. The experience led to an ongoing collaborative practice which continues as Arsham works with world renowned artists, musicians, designers, and brands including Moët & Chandon, Tiffany’s, Porsche and Dior, among others. In 2021 Arsham was appoint ed the role of creative director of the Cleveland Cavaliers, becoming the first ever fine artist to hold a position of this nature.

Arsham’s uchronic aesthetics revolves around his concept of fictional archaeology. Working in a multitude of disciplines he creates and crystallizes ambiguous in-between spaces and situations, and stages what he refers to as future relics of the present. Always iconic, most of the objects that he turns into stone refer to the late 20th century or millennial era, when technological obsolescence unprecedentedly accelerated along with the digital dematerialization of our world. While the present, the future and the past poetically collide in his haunted yet playful visions between romanticism and pop art, Arsham also experiments with the timelessness of certain symbols and gestures across cultures.

Daniel Arsham has presented solo exhibitions at the Lotte Art Museum in Seoul, South Korea; Sculpture Center, Cleveland, Ohio; Orange County Museum of Art, Costa Mesa and the Petersen Automobile Museum, Los Angeles, California; Yorkshire Sculpture Park, Leeds, U.K.; Musée Guimet, Paris and MAMO Cité Radieuse Arts Center, Marseille, France; UCCA Center for Contemporary Art, Dune, Beidaihe, and HOW Museum, Shanghai, China; MOCO Museum London and Amsterdam; Contemporary Arts Center Cincinnati, Ohio; and the High Museum of Art in Atlanta, Georgia, among others.His work has been presented at MoMA PS1, The New Museum and LongHouse Reserve in New York, Norton Museum in Palm Beach, The Athens Biennale in Athens; Musée Fenaille in Rodez, La Defense in Paris, and Carré d’Art de Nîmes in France, and SCAD Museum of Art in Savannah, Georgia, among others.

Arsham’s works are in the public collections of Blanton Museum of Art, Texas; Centre Pompidou, Paris; Georgia Museum of Art, Athens; ICA Miami, Florida; Musée Guimet, Paris; National Gallery of Victoria, Melbourne, Australia; National Museum of Qatar, Doha; Pérez Art Museum Miami (PAMM), Florida; Rhode Island School of Design (RISD); and the Walker Art Center, Minneapolis.

PERROTIN DUBAI

DIFC, Gate Village, Building 5, Unit 1, Podium Level, Dubai

www.perrotin.com

Philemona Williamson @ Jenkins Johnson Gallery, San Francisco - 'Disproportionate Upheavals' Exhibition of Paintings

Philemona Williamson

Disproportionate Upheavals

Jenkins Johnson Gallery, San Francisco

November 1 - December 20, 2025

Philemona Williamson

Uneven Terrain, 2025

Oil on canvas, 48 x 56 in (121.9 x 142.2 cm)

Jenkins Johnson Gallery, San Francisco, presents Disproportionate Upheavals, the gallery’s second solo exhibition with narrative painter Philemona Williamson. The presentation includes eight paintings created between 2024 and 2025, along with a significant piece from 2016.

Philemona Williamson, based in New Jersey, is known for her figurative paintings. Williamson’s narratives of childhood and adolescence create a space of fable and memory investigating the dissonance, possibility, and liminal state of transition. With a career spanning over forty years, she creates an iconography both personal and universal.

Figures are dynamic, passionate, volatile, familiar, and strange—moving through moments of uncertainty and landscapes beyond control. Toys and objects act as repositories of emotion and memory. Poetic and open-ended, the paintings invite viewers to tap into their own stories of change, chaos, and possibility.

Philemona Williamson

Dwelling in Discord, 2025

Oil on canvas, 36 x 40 in (91.4 x 101.6 cm)

Dwelling in Discord (2025) interweaves two very different places from her childhood: the upscale Upper East Side NYC apartment where her parents worked and lived, and a small room in a Harlem hotel with a communal kitchen. From a young age, she had to navigate these contrasting worlds. Philemona Williamson affirms that the longing for home, safety, and a sense of belonging in the world never diminishes.

The paintings are visually and technically fluid, with brushstrokes moving through saturated fields of color. The underlying hues in each piece emerge strongly through the figures; ambiguous gestures blur the boundaries between figures and their surroundings. Every plant, animal, object, and landscape feels resonant—as if recalling a half-remembered dream or a return to childhood memories.

Philemona Williamson

A Crooked Line, 2016

Oil on canvas, 55 x 80 in (139.7 x 203.2 cm)

A Crooked Line (2016) was inspired by Williamson’s 2015 artist-in-residence experience at the Joan Mitchell Center in New Orleans. She explains, “I would often witness the Second Line parades held for important occasions, both joyful and somber. Here, I conjured that heightened revelry, both public and private, that seems to burst forth when one is free to be their authentic self.”

Philemona Williamson’s (b.1951, New York, NY) work is in institutional collections including: Baltimore Museum of Art, MD; Montclair Art Museum, NJ; The Kalamazoo Art Institute, MI; the Sheldon Museum of Art, NE; CNAP: The French National Contemporary Art Collection; and Fondation Francès, Clichy, France. Museum exhibitions include the Queens Museum of Art, NY; the Mint Museum, Charlotte, NC; the Bass Museum, Miami, FL; and Contemporary Art, St. Louis, MO. In 2019, a mid-career survey was held at the Montclair Art Museum, New Jersey.

Upcoming in 2026: a group exhibition at the Newark Museum and an exhibition curated by Camilo Alvarez, opening in March 2026 at the Mattatuck Museum, Waterbury, CT. Her work is currently on view at Fondation Villa Datris, Vaucluse, France. In 2024, Philemona Williamson exhibited in Century: 100 Years of Black Art at the Montclair Art Museum, New Jersey.

Philemona Williamson is the recipient of numerous awards including Anonymous Was A Woman; Joan Mitchell Foundation Award in Painting; Pollock-Krasner Foundation Grant; National Endowment for the Arts; and New York Foundation for the Arts. Williamson has taught painting at numerous colleges, including Pratt Institute and Hunter College, New York City, and served on the Advisory Board of the Getty Center for Education in California.

JENKINS JOHNSON GALLERY

1275 Minnesota Street #200, San Francisco, CA 94107

www.jenkinsjohnsongallery.com