Hans-Peter Feldmann @ 303 Gallery, NYC - Exhibition of photographs, sculptures and paintings

Hans-Peter Feldmann

303 Gallery, New York

November 5 - December 20, 2025

303 Gallery presents a solo exhibition dedicated to the work of Hans-Peter Feldmann (1941-2023). Coinciding with his retrospective at the Kunstpalast Düsseldorf (September 18, 2025 – January 11, 2026), this presentation brings together over 40 photographs, sculptures and paintings spanning the artist’s 60-year career.

Düsseldorf-based Hans-Peter Feldmann was a passionate collector of images and ephemera, an original thinker and one of the first conceptual artists. Hans-Peter Feldmann focused on photography and artist books since the late sixties. Often collaging found images from magazines, postcards, books, advertisements, and stamps, Feldman used familiar motifs to explore the boundaries between art and everyday life. Unmade beds, car radios – Feldmann focalized unattended moments for a contemplative narrative based on being rather than acting.

Influenced by the Dadaist, the Situationists, Fluxus and Vienna Actionists, Hans-Peter Feldmann viewed art as an impression rather than the object. Feldmann's practice was defined not by materiality but by ideas. On view are several works from Feldmann’s Time series which began in 1970, which use analogue film rolls to shoot continuously the same place, object, or person. Modest subjects and trivial themes are chronicled frame by frame, recording the passage of time. His methods focused on the sequence rather than a single frame; it was through repetition that ideas became more conscious and deeper insight could be gleaned. His work Beine consists of 30 photographs of women’s legs – where one photograph of a woman’s legs may simply be provocative, 30 photographs pinned together becomes something more. In Alle Kleider einer Frau, 70 pieces of woman’s garment are displayed one photo at a time, the woman hidden, the artist emotionally distant, opening up space for the viewer’s interpretation.

In 2007, Hans-Peter Feldmann returned to painting without assuming the traditional role of the painter. Modifying and appropriating 19th Century paintings sourced from auctions and flea markets, Feldmann would transform classical depictions into post-modern caricatures by adding red noses or smudged lipstick to portraits, tattoos or tan lines to nudes. Feldmann’s work Horizont consists of 11 landscape paintings from various time periods. Differing in size, the pictures are aligned with their horizon line to create a continuous thread and reveal a new genre of landscape. Several paintings on view are suspended from the ceiling, a call back to Lina Bo Bardi’s design for the Museu de Arte de Sao Paolo (1968), this ‘floating installation’ democratizes the experience of the artwork, putting the viewer on equal ground with the paintings. 

Hans-Peter Feldmann spent his career challenging the social role of images and subverting expectations, reframing notions of beauty and representation. Feldmann believed art isn't confined to a gallery or museum but woven into everyday life – his works are a reflection on looking, an ability that every viewer holds.

303 GALLERY

555 W 21 Street, New York, NY 10011

www.303gallery.com

Related Post:

Hans-Peter Feldmann: 100 Years

P.S.1, Long Island City, NY, October 15, 2004 - February 21, 2005

Kristin Oppenheim @ 303 Gallery, New York - Bang Bang

Kristin Oppenheim: Bang Bang

303 Gallery, New York

January 14 – February 19, 2022

303 Gallery presents its fifth solo exhibition by KRISTIN OPPENHEIM, featuring the premiere of her new installation, Bang Bang. 

The artist draws inspiration from the eponymous Nancy Sinatra song, in which a woman laments her lover’s abandonment and recalls a childhood game. Reimagining the song’s narrative, in Kristin Oppenheim’s refrain, “I shot you down / you hit the ground”, the female narrator is both the shooter and a celebratory survivor. The “La La” lyrics are woven into the narrative like a braid, referencing the narrator’s satisfactory revenge. Complexly layered in the artist’s signature style, Bang Bang is full of motion – the flashing lights of the film were edited and composed along with the soundtrack, to tie together the experience of movement and sound within the gallery space. 

Comprised of a melodic vocal recording and film that evoke the strange sublimity of losing consciousness, this immersive installation blurs the lines between memory, reality and abstraction. The flashing light clip, used to create the motion of the film, represents the psychological experience of hitting one’s head and seeing stars. The circumambient environment of the work is both physically and emotionally evocative, as Kristin Oppenheim captures the sereneness of immobility, and the desperation to return. 

303 GALLERY

555 W 21 Street, New York, NY 10011

www.303gallery.com

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Sam Falls @ 303 Gallery, NYC - Preservation

Sam Falls: Preservation 

303 Gallery, New York

Through December 18, 2021

303 Gallery presents Preservation, a new body of work by SAM FALLS, conceived during a 3-month road trip across the United States in the spring and summer of 2021, during Sam Falls’ move from Los Angeles, California to New York’s Hudson Valley. 

A contemplation of the sublimity and inherent melancholy of life, nature, love and death, the works offer an expansive chronology. Tracing the evolution of poppies, lupines, and desert blue bells blooming across the Southwest to the wild dogwoods, magnolias, and redbuds of the Northeast, Sam Falls follows the blossoming of the American landscape and its transient temporality.

Sam Falls captured the beauty of the season of rebirth, amidst the ever-expanding and dispirited American highway system, photographing and collecting the natural ephemera by day and painting under the stars by headlamp at night in National Forests. Free of the distractions of contemporary existence, Sam Falls' contemplative meditations fossilize the shape of these and other familiar flora and fauna - roses, tiger lilies, doves, dogwoods, nascent cherry blossoms and bleeding hearts are haloed by vibrant color.

Finishing the works upon reaching home in upstate New York, twinkling stars, rain water, and the lingering brush of petals lend themselves to the series - amidst the artist's nods to Ovid's Metamorphoses, Van Gogh, and Modernist philosophy. Some of the paintings are rendered over a unique printed photograph, a development in Same Falls' oeuvre. 

303 GALLERY

555 W 21 Street, New York, NY 10011

www.303gallery.com

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Tanya Merrill @ 303 Gallery, New York

Tanya Merrill

303 Gallery, New York

Through December 18, 2021

303 Gallery presents its first solo exhibition by TANYA MERRILL. With this new body of paintings, Merrill creates a mythological chronology of the natural world, spanning the origins of creation, the development of science, agriculture, art and industry, and the earth’s subsequent destruction.

Using symbolism from centuries of pop culture- including references to Dolly (the first genetically engineered sheep), the Virgin Mother, Galileo’s moon-mapping, and hobbyist beekeeping- Tanya Merrill incorporates a shared history into her riveting and intimate imagination of ecological demise. The artist utilizes art historical reference in aid of her premonition, reflecting on the evidence of human intervention in the record of painting through nods to Balthus, van Dyck, Constable and others.

The exhibition’s conceptual timeline begins with creation, both our world’s confounding beginning and the reverence of human creation that is motherhood and birth. In the first painting (pictured), a crow flies over rural farmland, an imagined origin story of how the world came to be. The crow, an invented subject within Tanya Merrill’s folklore, appears as the all-knowing observer – an enduring witness to society’s manipulation of the land. The verdant countryside is based on the Balthus painting Italian Landscape, now obscured by the artist’s addition of the wise, ushering crow.

Tanya Merrill’s tale continues with a focus on the looming loss of ecological diversity and species decline. Highlights include the painting Ash tree before it faced extinction, which comments on the fated history of the ash tree in North America, currently in rapid decline. Merrill references John Constable’s paintings of the Ash tree from the 1800s, and contemplates how in the coming years, his work could document an extinct fauna.

The exhibition delves further into a conceptualized, and disturbing, end of times – the product of societal ravage and earth’s biological disruption. Merrill’s timeline concludes with the painting The last fish on earth. Harkening Jan van Kessel the Elder’s Still life with fish in the harbor and the history of maritime art, Tanya Merrill’s memento mori reflects on the ocean crisis. Vesuvius, contrastingly, depicts the erupting volcano, mid-roar. The artist notes that while humans cannot rise from volcanic ash, ferns and algae do eventually emerge from the veil of soot left behind.

TANYA MERRILL

Tanya Merrill’s work invents narratives to examine humanity’s fraught relationship to nature and cultural portrayals of gender and sexuality through her own contemporary lens. Fantastic, consequential, and at times humorous scenes are populated by animals and characters caught amidst moments of introspection, fervor, or mischief. Gesture and movement are punctuated by sketched lines, lending her canvases a sense of effervescence and immediacy. Reinterpreting motifs drawn from throughout art history, Tanya Merrill imbues a sense of familiarity to her storytelling to decode 21st century concerns. Symbols and imagery make repeat appearances from one work to the next, building a mythology of personas and environments.

Tanya Merrill was born in New York City in 1987. She received her BA from Sarah Lawrence College and her MFA from Columbia University. Merrill presented a solo exhibition at Half Gallery, New York in 2020, and a solo exhibition at The Pond Society Shanghai in Summer 2021. Recent group exhibitions include Blum and Poe, Los Angeles; Gagosian Gallery, New York; and Clearing, New York. Tanya Merrill lives and works in New York City.

303 GALLERY

555 W 21 Street, New York, NY 10011

www.303gallery.com

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Stephen Shore @ 303 Gallery, New York - Instagram

Stephen Shore: Instagram

303 Gallery, New York

Through December 5, 2020

303 Gallery presents STEPHEN SHORE: Instagram, a selection of works originating from the artist’s personal social media feed. Presented as unique, dye sublimation prints on aluminum, the artworks preserve the square format and spontaneity of their digital source, while establishing themselves beyond the online platform as physical objects and individual moments to consider. 

From the very outset of his practice, Stephen Shore has continually challenged the traditional conventions of the photographic medium, pursuing instead pictures that convey the physical act of seeing. A pioneer of color photography and an originator of the snapshot aesthetic, Shore has consistently experimented with various means of popular photography, using Mick-a-Matic, Polaroids, 35mm point-and-shoot cameras, and now his iPhone, in tandem with large-format cameras throughout his career.

Stephen Shore’s Instagram feed harkens back to his early 1970s series, “American Surfaces” in which he sought to create a visual record of each day’s mundane experiences. Posting daily since joining the platform in 2014, Shore always adheres to Instagram’s default square format, and engages enthusiastically with the community through comments. His subjects fall under categories common to many users: pets, landscapes, and objects seen on the ground; yet his singular approach to visual thinking is ever present. Recontextualized as individual, physical prints isolated from the surrounds of a feed, the most ordinary scenes reveal their structural underpinnings. Defined by a formal rigor and harmony of light, color and form, the works convey Shore’s enduring motivation: the exploration of new possibilities within the photographic image.

STEPHEN SHORE's work has been widely published and exhibited for the past forty-five years. In 2017, the Museum of Modern Art opened a major retrospective spanning Stephen Shore's entire career. Recent solo exhibitions include C/O, Berlin; Fundación MAPFRE, Madrid; Aspen Art Museum; South African National Galley, Cape Town; Hammer Museum, Los Angeles, PS1, New York; and the International Center for Photography, New York. He has shown extensively in international venues dating back to a solo exhibition at the Metropolitan Museum of Art in 1971, the first solo photography show at the museum. Monographs of Shore's work have been published by Aperture, MACK, Phaidon, and Schirmer/Mosel, among others. His work is included in the collections of the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, San Francisco Museum Of Modern Art, Sprengel Museum, and the Library of Congress. Since 1982 he has been the director of the Photography Program at Bard College, Annandale-on-Hudson, NY, where he is the Susan Weber Professor in the Arts. Shore lives and works in New York.

303 GALLERY

555 W 21st Street, New York, NY 10011

www.303gallery.com

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Dan Graham @ 303 Gallery, New York - Three Models, Three Sizes, Three Price Ranges

Dan Graham 

Three Models, Three Sizes, Three Price Ranges
303 Gallery, New York
November 2020

303 Gallery announces its first solo exhibition with Dan Graham.

Treating the gallery as a kind of automobile showroom, Dan Graham's installation of models allows the viewer to become both participant and spectator in perceiving the space physically and psychologically in relation to other spectators. As Dan Graham put it in a recent interview with Antoine Catala, "In my own work, walking around is important because not only do you see yourself seeing in the reflection, but you also see other people seeing each other as you see them."

In addition to the models, a video projection will be displayed of Dan Graham’s design for the runway for Celine’s SS17 collection (2016) at Paris Fashion Week, along with the large graphic of a park design using a curved hedge and curved two-way mirror; this design was renovation of a small city park in Culiacán, Mexico, the hometown of El Chapo, former head of the Sinaloa Cartel. Dan Graham’s artwork, beginning in 1965-66, originally consisted of “pre-conceptual art” magazine pages and his well-known color photos of suburban houses; these were forerunners of his pavilions. The pavilions can be seen as a hybrid between art, architecture, design and landscape architecture.

Relating both to landscape and corporate architecture, Dan Graham's pavilions sometimes create a kaleidoscopic, psychedelic experience relating to “child’s play,” recreating, as in works like the proposal for Skateboard Pavilion, apparatuses for children in a playground setting. Dan Graham says, “my use of two-way mirror glass in pavilions is not a critique of the alienation of the corporate building; in many ways the work I do tries to create a kind of pleasure area in relationship to the corporate office building, or to use Foucault’s notion, my wish being to create a kind of ‘heterotopia.'"

Dan Graham’s work is in the collections of various museums such as the Museum of Modern Art; the Metropolitan Museum of Art; and The Whitney Museum of American Art in New York, as well as the Centre Pompidou, Paris. In 2009, he had US retrospective exhibitions at The Museum of Contemporary Art, Los Angeles, The Whitney Museum of American Art, New York, and the Walker Art Center, Minneapolis. Previously, he has had European retrospectives at the Museo Serralves, Porto, Portugal; Paris Museum of Modern Art, Paris, and Kröller-Müller Museum in Holland. Important individual exhibitions include The Renaissance Society (1981), Chicago; Kunsthalle Bern (1983), and the Museum of Modern Art, Oxford (1997). One of the most important quasi-functional works that Dan Graham has done was a design for the mezzanine section of the Hayward Gallery in London, involving displays of classic and contemporary cartoons for children and adults of all ages. He has participated in various Documenta exhibitions; Skulptur Muenster, as well as two important Venice Biennials. Dan Graham lives and works in New York.

303 GALLERY
555 W 21 Street, New York, NY
www.303gallery.com

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Kim Gordon @ 303 Gallery, New York - The Bonfire

Kim Gordon: The Bonfire
303 Gallery, New York
Through February 22, 2020

303 Gallery presents its second solo exhibition of new work by KIM GORDON.

In a series of new works on canvas, Kim Gordon presents a world of safety and familial intimacy surreptitiously undermined by insidious, unseen forces. Photographs of a group of revelers huddling around a beach bonfire are softened and overlaid with digital framing marks around the human figures, suggesting surveillance technology or facial recognition software. These images are emblematic of a new reality where no moment goes uncaptured, and where even the most ordinary events are packaged and sold, like an Airbnb listing promising a branded experience of intimacy. Kim Gordon amplifies this phenomenon, referencing iconography from the world of music as it dovetails with youthful rebellion. The various crops and crosshairs allude to the logos of both Black Flag and Public Enemy, two groups emblematic of questioning authority and rising above structural oppression. Kim Gordon's emphases seem to echo their animosity, drawing the very same lines as our tyrannical tech overlords, yet with the express purpose of reasserting control of our own dominions.

Also on view is "Los Angeles June 6, 2019," a film in which Kim Gordon walks around Los Angeles with a guitar, utilizing handrails, plants, traffic implements, public sculpture and light poles as various accomplices in a performance that quite literally uses the city as a sounding board. Gordon assumes the role of interloper, unfazed by her happenstance audience while navigating the corporate territory of public spaces. Ironically, these scenes were surely also recorded by the various mechanisms of surveillance on the streets of LA, adding another layer of undisclosed viewership into the work's dissemination. We may know we are being watched, but it is up to us to transcend.

KIM GORDON studied at the Otis Art Institute in Los Angeles in the late 1970s and has continued to work as an artist since. Her first solo exhibition presented under the name ‘Design Office’ took place at New York’s White Columns in 1981. Recent solo exhibitions include "She Bites Her Tender Mind," Irish Museum of Modern Art Dublin (2019); "Lo-Fi Glamour," The Andy Warhol Museum, Pittsburgh (2019); Reena Spaulings Fine Art, Los Angeles (2018); Manifesta 11, Zurich (2016); and "Noise Name Paintings And Sculptures Of Rock Bands That Are Broken Up," Deste Foundation, Athens (2015). A two-person show with Rodney Graham was presented at Dijon's L'Académie Conti in 2017. For the past thirty years Kim Gordon has worked consistently across disciplines and across distinct cultural fields: art, design, writing, fashion (X-Girl), music (Sonic Youth, Free Kitten, Body/Head), and film/video (both as actress and director). Her first solo album "No Home Record" was released earlier this year on Matador Records.

303 GALLERY
555 W 21st Street, New York, NY 10011
303gallery.com

303 Gallery: 35 Years - Anniversary publication & exhibition

303 Gallery: 35 Years
Anniversary publication & exhibition celebrating 35 years of 303 Gallery, New York
July 18 - August 16, 2019

303 Gallery: 35 Years

© and courtesy 303 Gallery, New York

303 Gallery: 35 Years is a new hardcover publication chronicling the story of the gallery from its founding in 1984 through its history creating and mirroring developments in the New York and international art worlds, forming a portrait of the gallery as it stands in the present day. Edited by Kurt Brondo, designed by Common Name, and published by 303inPrint under the direction of Fabiola Alondra, the limited edition 448-page book is a culmination of years of research, collation, and unearthing of the gallery's archives in an attempt to construct a complete history. Documentation of early group shows, guest curatorial projects and provocations illustrate the collaborative nature of the program, where now-seminal artists, curators, gallerists, and writers exchanged ideas and roles in New York's fertile '80s heyday. It was a time where it would not be unusual for 303 Gallery's neighbor (American Fine Arts) to share a solo exhibition by an artist under a pseudonym (Richard Prince / John Dogg), or where 303 Gallery would host a group show for a like-minded but entirely separate gallery under both of their names (AC Project Room at 303 Gallery).

Texts from artists including Richard Prince, Collier Schorr, Karen Kilimnik, Kim Gordon, Mary Heilmann, Sue Williams, Rodney Graham, Doug Aitken, Nick Mauss and Alicja Kwade, among other important contributions, offer intimate and historically significant accounts of how 303 Gallery began, how it has progressed, and what it has meant to them.

A group exhibition of the same title accompanies the publication, with a selection of ephemera featured in the book alongside works that draw from the gallery's rich history and current program. Iconic works foregrounding the long relationships of many artists continuing to show with the gallery are exhibited here in conversation with recent works by artists who are newer additions to the roster. The show speaks to the continual evolution of the program over the years, creating a picture of what 303 Gallery has been, what it currently represents, and where it is headed.

ARTISTS IN THE EXHIBITION

Doug Aitken
Valentin Carron
Sam Falls
Hans-Peter Feldmann
Ceal Floyer
Karel Funk
Tim Gardner
Dominique Gonzalez-Foerster
Kim Gordon
Rodney Graham
Mary Heilmann
Jeppe Hein
Larry Johnson
Matt Johnson
Jacob Kassay
Karen Kilimnik
Alicja Kwade
Elad Lassry
Tala Madani
Florian Maier-Aichen
Nick Mauss
Mike Nelson
Kristin Oppenheim
Marina Pinsky
Richard Prince
Eva Rothschild
Collier Schorr
Stephen Shore
Sue Williams
Jane and Louise Wilson

303 GALLERY
555 W 21st Street, New York, NY 10011
www.303gallery.com

Valentin Carron @ 303 Gallery, New York - Sing Loud And Walk Fast

Valentin Carron: Sing Loud And Walk Fast
303 Gallery, New York
Through July 12, 2019

303 Gallery presents Sing Loud And Walk Fast, an exhibition of new work by Valentin Carron.

For all its promise of liberation from the gilded structures of exaltation surrounding the objet d'art, the readymade has become deflated by its own pressure. Found objects, assemblage and appropriation have been cunningly adopted and integrated into the mechanisms of taste, robbed of their subversive function and aestheticized into a polite paradigm. In a series of nine new collages upending these platitudes, Valentin Carron locates within his own psychology the entry points for the subconscious material of identity and freezes them, allowing for unexpected and arbitrary recombination that short-circuits accepted modes of explication.

Valentin Carron's scavenging instinct finds him adopting scenery from his daily travails and reframing it through parallel planes of focus to suit his own form of sensory-heightening interpretation. "The Big Modern Concert" uses a stock image of a multitude of hands reaching for the sky as its starting point, originally found on an announcement board outside a church near Carron's home in Switzerland. Meant to symbolize a type of everlasting hope through association and devotion, the hands as propaganda are a signifier for the kind of generic, technocratic pluralism that has become shorthand for the concept of community. A vision of hope and aspiration tempered by inherent desolation, Carron's laser cut MDF adaptation is glued directly onto a vermillion color field - a stand-in for itself, as if the function of an image could be simultaneously undermined and reified.  "One-Eyed In The Beaded Night" operates from a similar strategy, an example of decorative contact lenses from a window advertisement of a novelty shop. A combination of fantasy, personality and projection determines the utility of these lenses, a quick tint job on the windows to the soul.

Ontology dictates the difference between a person and a thing, if you insist. Valentin Carron's version of self-portraiture is aware of this implicit fallacy, an attempt to inscribe authorship and subjecthood into autonomous units. In "Wall Tile and Chromo", a circa-Y2K Carron is posing for Nan Goldin after a workshop she was giving at the Lausanne School of Art. She had shown him the photos and asked to publish them, which he declined. Valentin Carron finally finds a use for one, placing it at the center of a typical bistro wall tile, looking tinted by Nan Goldin's characteristic red light gels. Valentin Carron is in Tommy Hilfiger boxers with an American flag print, an iconography so pure it could only be made up - by whom is unimportant.

"The American Cap" is again a portrait without author, but also without a face. The floating cap was purchased at K-Mart, the crown on a mass produced identity that at one point represented personal expression but was swallowed whole by a marketing monolith. That it has been regurgitated as a transgressive choice through Normcore aesthetics is a further bruise on its potential. "The Lido Tower" is continental bad taste compounding itself, a painted replica of the flashy red marble at the entrance of Trump Tower, overlaid with a paper imitation of an art deco mirror at the Bar Le Lido in the Alpine town of Sion.

A floor to ceiling stack of apple crates poorly spray-painted black stands by imposingly, sleek American minimalism undermined by agricultural necessity and the hilarious pathos of emptiness. In "Nine Drops Of Blood", the reckoning of all these identity politics and the specter of America's cultural legacy is seen through the ritualistic scarification of teen angst, straight onto one of Carron's signature clocks, the closest he comes to a personal brand.

VALENTIN CARRON was born 1977 in Martigny, Switzerland, where he lives and works. Recent solo exhibitions include “Deux épaisseurs un coin”, Centre d’edition contemporaine, Genève (2016); Kunstverein Lübeck, Lübeck, Germany (2015); Kunsthalle Bern, Bern, Switzerland (2014); Palais de Tokyo, Paris, France (2010); Kunsthalle Zürich, Zurich, Switzerland (2007). Recent group exhibitions include "La velocità delle immagini", Istituto Svizzero di Rome, Rome, Italy (2016); Wanderlust, High Line, New York, USA (2016); Valentin Carron (curatorial), Swiss Institute, New York, USA (2015); “Champs Elysées”, Palais de Tokyo, Paris, France (2013); “Alone together”, Rubell Family Collection, Miami, USA (2012). In 2013, Valentin Carron represented Switzerland at the 55th Biennial of Venice.

303 GALLERY
555 W 21st Street, New York, NY 10011
www.303gallery.com

Elad Lassry @ 303 Gallery, New York

Elad Lassry
303 Gallery, New York
March 1 – April 6, 2019

303 Gallery announces its second exhibition of new work by ELAD LASSRY.

A boundary-straddling artist whose work problematizing the notion of a picture has carved out new dimensions in photographic discourse, Elad Lassry creates interruptions and tension in evaluating images and objects. Referring to his pictures as "units," his works establish and aggregate an archival syntax that pushes photographs into other things, a destabilization where each specific picture is both present and absent and simultaneously implicates other proposals.

For this exhibition, Elad Lassry shows photographs and sculptures that alternate between flat experience and dimensionality. Black and white photographs of ski sets and boots bear signs of erasure or intervention, and outtakes from an imaginary fashion shoot are pieces of information suggesting systems much larger than themselves. In the center of the gallery, a line of discarded hollow air compressors with incongruous lids made of cushiony polyester fiber gestures toward a proposed space of meaning, where what is experienced and documented have shifted. They exist in the realm of suggestion, where every possibility of intersection is valid, where the ghost of one system posits the limitations of the next. To this effect, the photographs of boots in a different series of pictures are studded with steel and collide with categorical images of sea life. Large stacks of carpet function as stations of oscillation, interrupting sightlines for viewing the photographs while compressing their own existence in space.

Elad Lassry's work questions whether a picture can have dimension, whether an object can be flat. In Photoshop, flattening an image is the final step before printing, a collapsing of layers into one plane. This counterintuitive gesture can be seen reclaimed in Elad Lassry's work. As images have proliferated beyond comprehension, as doubt has been sown into the veracity of any picture, Elad Lassry suggests that each layer suggests another layer, that images should become objects while reality and representation become more aleatory.

ELAD LASSRY was born in Tel Aviv, Israel and he lives and works in Los Angeles. He has exhibited internationally including solo shows at Le Plateau, Paris (2018); Vancouver Art Gallery, Canada, curated by Jeff Wall (2017); Museum Boijmans Van Beuningen, Rotterdam (2014); Kunstnernes Hus, Oslo (2012); and Kunsthalle Zurich, Switzerland (2010). Group exhibitions include Walker Art Center, Minneapolis (2016); Solomon R. Guggenheim Museum, New York (2015); The Museum of Modern Art, New York (2014); Turner Contemporary, Margate, UK (2013); The Jewish Museum, Vienna (2012); 54th Venice Biennale (2011); The Photographers Gallery, London (2011); Aspen Art Museum, Colorado (2011); Sculpture Center, New York (2010); and New Museum, New York (2009).

303 GALLERY
555 West 21st Street, New York, NY 10011
www.303gallery.com

Rodney Graham @ 303 Gallery, New York

Rodney Graham
303 Gallery, New York
January 11 - February 23, 2019

303 Gallery announces their ninth exhibition of new work by Rodney Graham.

In a suite of new lightbox works, Rodney Graham continues to probe the semi-conscious creation of cultural archetypes. Begun in 2007, Rodney Graham's lightboxes synthesize and expand upon his practices in painting, photography, sculpture and film, using highly detailed set design and arcane conceptual inspirations to point to the paradigmatic functioning of stock characters from the realms of art, Hollywood film, music, history and the social world.

For Vacuuming The Gallery, 1949, 2018, Rodney Graham's monumental piece takes as its inspiration a photograph of New York gallerist Samuel Kootz smoking a pipe in his own gallery during a Picasso exhibition in 1949. On the walls in this image are a series of Rodney Graham's own abstract paintings, part of a series of variations based on a single watercolor by Alexander Rodchenko (Abstract Composition, 1941). Rodney Graham inhabits a role based on the image of Kootz, vacuuming the floors of his apartment-cum-gallery in a quaint-seeming gesture of domesticity. His taciturn, smug expression seems to translate not only the uptown art dealer persona, but the upending of that persona in performing a menial, unusually gendered task. Rodney Graham's Rodchenko-inspired paintings hang in the current exhibition as well, their anachronistic expressionist tendencies magnified by the contextual disconnect between the tableau the lightbox portrays and the contemporary tendency to view art in a sleek white cube.

Tattooed Man on Balcony, 2018, follows from a poem Rodney Graham penned in the style of Mallarme that was intended as an instructional guide for a tattoo artist. The image described, in which Popeye is clad in a deep-sea diving suit battling a giant squid, has been extended to an entire phalanx of characters from Popeye's compatriots in the Thimble Theater. The man's pompadour and spread-collar, open to the chest 50s-style shirt suggest an aging rockabilly fan whose most whimsical and hardscrabble years are behind him. Perched on the balcony of an apartment featuring a particularly Vancouver-centric brand of vernacular modernism, Graham again creates a strange kind of third-person self-portrait, as if this character is simultaneously himself, a model, and a type of standardized, unconscious prototype - an 'extra' of sorts.

A different type of stock character emerges in Remorseful Hunter, 2019, inspired by a found thrift store painting. Rodney Graham takes the guise of a mountain man with a rifle apparently in the midst of a remorseful existential crisis, sitting on a rock overlooking a Caspar David Fridrich-style landscape. He appears overtaken by sentimentality, a kind of existential Elmer Fudd who suddenly finds himself identified only with a sympathetic squirrel. Another type of "man with beast" portrait exists in Central Questions of Philosophy, 2018, a lightbox work inspired by two versions of the Pelican paperback cover for the philosopher AJ Ayer's titular book. In one version, the philosopher poses stoically in his home with a learned smirk, and in the other, he assumes the same pose, this time with a dog on his lap. The work nods to Ayer's work as a logical empiricist, positing two versions of reality: in one, a philosopher sits in a chair; and in the other, a philosopher and a dog sit in a chair. Graham is Ayer, Ayer is Graham, a dog is a dog is a dog.

RODNEY GRAHAM was born in Abbotsford, British Columbia, Canada in 1949. Solo exhibitions include Museum Frieder Burda, Baden-Baden, Germany (2017); Museum Voorlinden, Wassenaar, Netherlands (2017); BALTIC Centre for Contemporary Art, Gateshead, UK (2017); Le Constortium, Dijon, France (2016); Sammlung Goetz, Munich, Germany (2015); Vancouver Art Gallery, Canada (2012); Museum der Moderne, Salzburg, Austria (2011); and the Museu D’Art Contemporani de Barcelona, Spain (2010). He has participated in group exhibitions such as the Carnegie International, Pittsburgh, USA (2013); the 13th, 14th and 17th Sydney Biennales, Australia (2002, 2006, 2010); the Whitney Biennial, New York, USA (2006); and the Biennale d’Art contemporain de Lyon, France (2003). He represented Canada at the 47th Venice Biennale, Italy (1997). He has received the Gershon Iskowitz Prize, Toronto, Canada (2004), the Kurt Schwitters-Preis, Niedersächsiche Sparkassenstiftung, Germany (2006), and the Audain Prize for lifetime achievement in visual arts, British Columbia, Canada (2011). In 2016, Rodney Graham was appointed as an Officer of the Order of Canada, for his contributions to Canadian contemporary art. He lives and works in Vancouver.

Upcoming: ELAD LASSRY, March 2019, his second exhibition at 303 Gallery.

303 GALLERY

555 West 21st Street, New York, NY 10011

www.303gallery.com

Tala Madani @ 303 Gallery, New York

Tala Madani, Corner Projections
303 Gallery, New York

November 1 - December 15, 2018

303 Gallery presents their first exhibition of new work by Tala Madani.

Tala Madani's work posits a world where primal desires are unrestrained by convenient norms. Her works are subsumed by light that points both outward and inward, at human instinct and upended social ritual. Paintings can be grotesque, violent, tender, obscene, and hilarious.

For this exhibition, Tala Madani presents new paintings and animation works. In two large corner paintings, men point handheld projectors at the wall, screens flashing in the distance. Behind the wall, short films combine live imagery with painted animations. In one of them, a group of men struggle to prevent themselves from being crushed by a giant pink penis that has fallen from the sky. In another, a man is trapped in a loop of stairs and escalators in a faceless atrium, eventually caught and dismembered by a crowd. This is one step removed, cinematic, there is an audience looking on; there's something natural in it all.

In a group of paintings, infants are portrayed innocently discovering their imagination. One child crawls toward a light source with his hand outstretched, projecting a mammoth shadow of himself. Another canvas shows a billboard of a child carving glowing lacunae into a body, multiplying the sun. These base instincts hold a puerile allure, where a lack of inhibition is infantile and callow, but also human and liberating. You find these humans crawling into glowing gas ovens to stick their heads inside, returning to a fetal posture of sincere and relatable ignorance. Exploring from beginning to end.

Born in Tehran in 1981, Tala Madani received her MFA from the Yale University School of Art in 2006. Recent solo exhibitions include: La Panacée, Montpellier, 2017; First Light, MIT Visual Arts Center, Cambridge, 2016; Centro Andaluz de Arte Contemporáneo, Seville, 2014; Nottingham Contemporary, 2014; Rip Image, Moderna Museet Malmö & Stockholm, 2013; The Jinn, Stedelijk Museum Bureau, Amsterdam, 2011. Tala Madani has also been included in: The 2017 Whitney Biennial, New York; Hope and Hazard: A Comedy of Eros (Curated by Eric Fischl), Hall Art Foundation, New York 2017; Los Angeles – A Fiction, Musée d’art Contemporain de Lyon, 2017; Zeitgeist, MAMCO, Geneva, 2017; Invisible Adversaries, The Hessel Museum of Art, Bard College, Annandale-on-Hudson, 2016; The Great Acceleration: Art in the Anthropocene, Taipei Biennial (curated by Nicholas Bourriaud), 2014; Made in L.A. 2014, Hammer Museum, Los Angeles; Where are we Now?, 5th Marrakech Biennale, Marrakech, 2014; Speech Matters, La Biennale di Venezia, 2011; Greater New York, P.S. 1, New York, 2010; Younger than Jesus, New Museum, New York, 2009. Tala Madani lives and works in Los Angeles.

303 GALLERY
555 West 21st Street, New York, NY 10011
www.303gallery.com

Elad Lassry @ 303 Gallery, New York

Elad Lassry
303 Gallery, New York 
September 12 - October 26, 2013

303 Gallery presents their first exhibition of Elad Lassry’s new work.

What is the philosophical location of a picture? Working with images culled from textbooks, manuals, advertising, films, illustrated magazines, and commercial catalogues, Elad Lassry lifts them out of their original contexts, alters them, and radically destabilizes their function. He not only points to the processes of photographic production and reproduction (underscoring the idea that a picture de facto relates to other pictures), but also to the material attributes of the picture as an object. In his rigorously formatted photographs, which never exceed the dimensions of a magazine page or spread, Lassry elaborates on the potential of a photograph to exist as a sculpture. Often displayed in frames that derive their saturated colors from the dominant hues in the pictures, or more recently featuring pleated sheets of 4-ply silk affixed to the frame, his works “stretch” the concept of image-making. Taken as a whole, Elad Lassry's works create an archive of significations, of images that critically investigate other images, which leads to more elastic ways of articulating representation.

Over the last several years, Elad Lassry has distinguished himself as an outstanding thinker and experimenter within the expanded field of contemporary art. Mining the relationship between traditional modes of analogue production and digital intervention within an unprecedented “blitz” of image proliferation, Elad Lassry has creatively reassessed what it means to make pictures in the post-photographic age. His image-driven, interdisciplinary practice – including photographs, films, sculptures, performances and site-interventions is positioned within an art historical genealogy that taps the readymade, post-appropriative practices, structuralist filmmaking and relational modes of exhibition display.

In 2014, Elad Lassry’s work will be the subject of a major exhibition at Museum Boijmans Van Beuningan in Rotterdam. Solo exhibitions devoted to his work have also been held at The Kitchen, New York; Kunsthalle Zurich, Switzerland; The Whitney Museum of American Art, New York; Padiglione d’Arte Contemporanea, Milan; and the Contemporary Art Museum, St. Louis. Recent group exhibitions include "Film as Sculpture", WIELS Contemporary Art Centre, Brussels; "Beyond. International Curator Exhibition of Tallinn Month of Photography", KUMU Art Museum, Tallinn, Estonia; "The Anxiety of Photography", Aspen Art Museum; ILLUMInations, the International Pavilion at the 54th Venice Biennale; "Time Again", SculptureCenter, New York; and "New Photography 2010", Museum of Modern Art, New York. Elad Lassry was born in Tel Aviv in 1977; he lives and works in Los Angeles. 

303 GALLERY
www.303gallery.com

Ceal Floyer @ 303 Gallery, New York

Ceal Floyer
303 Gallery, New York
September 16 - October 29, 2011

303 Gallery presents their third exhibition of new work by Ceal Floyer. Floyer’s varied installations employ sound, found objects and sculpture, often subtly manipulating common objects in the exploration of a more ambiguous, contextual reality.

In “Do Not Remove,” a single sign featuring a red diagonal cross bar and the words “Do Not Remove” is affixed to the wall. Surrounding the sign is a grid of small holes of the type that would be left in the wall after the removal of the sign itself. Only one sign remains, orphaned from its implied neighbors, an instruction as well as its own negation. This dry, vaguely maudlin humor is employed again in “Line Busy,” a wall of speakers playing the uninterrupted busy signal tone of a failed telephone call. The black line of speakers is a visual exponent of the pure tone itself, a seeming void from which a signal emanates. Floyer’s dialectical transformations engage the viewer in a sensory game, as the known, expected, and reified jarringly compete in an attempt to parse some sort of tangible certainty.

The exhibition also includes “Page 8680 of 8680,” a stack of 8,680 sheets 8.5 x 11 printer paper stacked as if to resemble a plinth that would normally support a sculpture or vitrine. Each sheet is imprinted with a number, from 1 through 8,680, an identifying marker of the logical atomism into which all objects break down. A wry send-up of minimalism, as well as the institution of art itself, the piece becomes an absurdist paean to materials themselves, as well as a nod to the polemics of simplicity. The deceptively simple “Ladder” treads similar ground - a standard industrial ladder from which all the rungs except the top and bottom have been removed. Turning a functional object into minimalist sculpture is standard practice, but the sly aesthetic reflection on the powers of “high and low” in a social art context bespeak a certain subversion of the understood.

Ceal Floyer was born in 1968. She graduated from Goldsmiths College in 1994 and has exhibited widely throughout the world. Her work has been seen in solo exhibitions at Palais de Tokyo, Paris, MADRE, Naples, KW Institute for Contemporary Arts, Berlin, MoCA Miami and CCA Tel Aviv, Isreal. In 2007 she was awarded the Nationalgalerie Prize for Young Art. Her work is in major museum collections including Tate Modern, London, MoMA, New York and Koc Family Foundation, Istanbul. Ceal Floyer lives and works in Berlin. 

303 GALLERY
547 West 21st Street, New York, NY 10011
www.303gallery.com

Eva Rothschild at 303 Gallery, New York

Eva Rothschild
303 Gallery, New York
April 14 – May 26, 2007

303 Gallery presents its first exhibition of sculpture by EVA ROTHSCHILD. Rothschild’s work, made from industrial materials such as Plexiglas, leather, wood or tiles, elaborate on the formal vocabulary of 60’s minimalism while resonating with symbolic and pictorial meanings.

Eva Rothschild’s New York premier consists of several new sculptures and wall works that behave as signifiers from countercultures, protest and fetishes that function to reflect on the reasons why certain objects amount to more than just their purely material properties. She is interested in the possibility that objects can achieve a transcendent materiality.

Many of Eva Rothschild’s new sculptures are continuous forms made from discontinuous parts. The only ‘solid’ form in the exhibition, a large boulder-like object, is mosaic with hi-gloss black tiles and punctuated by a long forked arch that emanates from its center. “Ordinary Me and Magical You” is a black corner Plexiglas sculpture that uses 2- dimensional elements to build an optically perplexing 3-dimensional form. In another piece the more organic form of a excessively long woven leather snake is intertwined with a small cube. “White Wedding” is a white braded circle that appears to be hovering overhead with a trail of leather straps following behind. The simplicity of such a basic form, coupled with the wide possibility of ideas that a circle represents, touches on Eva Rothschild’s interest in “the ways of looking that go with concepts of faith and with how we invest inanimate objects with power."

EVA ROTHSCHILD will have a solo exhibition at the South London Gallery, London this September and will be included in “Unmonumental: Falling to Pieces in the 21st Century” the inaugural exhibition of the New Museum, New York, November 2007. Eva Rothschild has had solo exhibitions at the Kunsthalle Zurich, and the Douglas Hyde Gallery Dublin, Ireland in 2005, both with catalogues and at the Artspace Woolloomooloo, Australia in 2004. In 2006, her work was been included in the 2006 Tate Triennial: New British Art, Tate Britain, London, “Strange Powers” with Creative Time, New York, and the British Art Show 6, 2005, the 54th Carnegie International, 2004, “Objects in the Mirror are Closer than they appear” at the Badischer Kunstverein, Karlsruhe, Germany in 2003 and in “Early One Morning”, at The Whitechapel Art Gallery, London, in 2002. 

303 GALLERY, NEW YORK
www.303gallery.com

Florian Maier-Aichen, 303 Gallery, New York

Florian Maier-Aichen
303 Gallery, New York
January 14 - February 25, 2006

303 Gallery presents the New York debut of photographic work by Florian Maier-Aichen.

Florian Maier-Aichen works with varying degrees of "straight" photography and digital intervention to create work that challenges our visual understanding of the photographic image. For this exhibition, Florian Maier-Aichen has chosen primarily views of the sea and landscapes as subject matter. In the work "Untitled (Insel Vilm)", an ocean liner is on the way to its destination on very still waters. After closer examination, the scale of the ship appears much too small and the ocean appears much too still, establishing a structure of disbelief.

"Above June Lake" 2005, an aerial view of a mountain, recalls a detail of an abstract painting. The ski trails carved in the earth could be understood as a simple cryptic drawing. These and other works highlight Florian Maier-Aichen's unique preoccupation with the ambiguity of space in the viewer's perception. In addition, Florian Maier-Aichen utilizes photographic methods ranging from the Albumen print process, that dates back to the 19th century, up through contemporary computer based means. In this way, Florian Maier-Aichen begins to dismantle the heritage of German color photographers with his intimate use of digital technology and labored handmade attention.

Florian Maier-Aichen was included in "Set Up: Recent Acquisitions in Photography", at The Whitney Museum of American Art, New York, NY in March 2005. In 2002 his work was included in "Anti-Form: New Photographic Work from Los Angeles", curated by James Welling at the Society for Contemporary Photography, Kansas City, MO. In 2001, Florian Maier-Aichen was included in "Snapshot: New Art from Los Angeles' at the UCLA Hammer Museum in Los Angeles, CA. Florian Maier-Aichen lives and works in Cologne, Germany and Los Angeles, California. His work will be included in the upcoming Whitney Museum of American Art Biennial, 2006 and he will have a one-person exhibition at the Los Angeles Museum of Contemporary Art in 2007.

303 GALLERY
525 West 22nd Street, New York, NY 10011
www.303gallery.com

Tim Gardner at 303 Gallery, New York

Tim Gardner
303 Gallery, New York
April 19 - May 25, 2001

303 Gallery presents Tim Gardner's second solo exhibition. Known for his watercolors of post-adolescent males reveling in juvenile behavior, we see this same cast of characters. Because it is clear that he is exploring his subjects from the outside, the viewer gets the feeling of having caught the subject in the middle of a dare such as streaking or a drinking game. There are inside jokes and secrets here that are never fully understood both by the viewer and Gardner himself. Unanswered questions keep the work and images in a state of motion, constantly evolving in their realm of possibility.

The watercolors are painted from photographs given to him by his brothers, their friends, or his parents. In this new body of work he continues to push the medium, making a more explicit reference to his watercolor's origin as photographs in their breathtaking accuracy. Exploring the complexity of his characters is done through his technicality, as if creating a more accurate facial expression will bring him, or you, closer to what is going on inside his subject. "I like to think of the images I paint, as if the subjects are perfectly self-conscious of their own theatricality and content in their banality."

Tim Gardner's place as voyeur is clear through his consistent examination of this group of young males, as well as through his images of people alone in nature. What brings together these two worlds is that his subjects are all depicted in leisure, what they are choosing to do in their "free time". One can easily deduce that Gardner himself identifies more closely with the isolated subject in nature, his self portraits have often been depicted as such; yet, the voyeuristic nature of the other work is an equal counterpart , in that one can just as easily be defined in what they are not or in what they are fascinated by.

303 GALLERY
525 West 22nd Street, New York, NY 10011
www.303gallery.com