"Surface Streets" Group Exhibition Curated by Russell Ferguson @ Marian Goodman Gallery, Los Angeles

Surface Streets

Curated by Russell Ferguson

Marian Goodman Gallery, Los Angeles

6 September – 18 October 2025

Wilhelm Sasnal 

Berkeley Street, 2024 

Oil on canvas

© Wilhelm Sasnal, courtesy of Marian Goodman Gallery

Marian Goodman Gallery presents Surface Streets, curated by Russell Ferguson, a group exhibition of recent paintings made in Los Angeles. The title of the exhibition, a term that contextually denotes Los Angeles streets (but not freeways), is intended to evoke both the specificity of the local environment and the tactility that is integral to painting. The intergenerational group of artists chosen by Ferguson for this exhibition traces a variety of aesthetics, strategies, and traditions, yet at the same time pays close attention to the physicality of the painted surface which unites them. While many works in Surface Streets depict familiar scenes of everyday urban life, others reach beyond, to a movie set, to an ancient fossil, or even into spaces of fiction and fantasy. 

Surface Streets includes works by Hye-Shin Chun, Kirsten Everberg, Owen Fu, Anna Glantz, Robert Gunderman, James Iveson, Becky Kolsrud, Tidawhitney Lek, Manuel López, Nihura Montiel, Paige Jiyoung Moon, Paul Sietsema, Wilhelm Sasnal, Henry Taylor, and Tristan Unrau.

Hye-Shin Chun (b. 1983, Libreville, Gabon) graduated with a BFA from the School of the Art Institute of Chicago (2015). Her work has been exhibited at numerous group shows, including Elsewhere, Ivory Gate Gallery, Shanghai, China (2025); Now You Don’t, Five Churches, Los Angeles (2025); 12 Hour Day - 12 Hour, Helen J Gallery, Los Angeles (2023); and Smoke The Moon Gallery, Santa Fe, NM (2023, 2024). 

Kirsten Everberg (b. 1965, Los Angeles) received an MFA from UCLA in 2004. That same year, Everberg held her first solo exhibition at 1301PE and was included in Russell Ferguson's group exhibition, The Undiscovered Country at the Hammer Museum in Los Angeles. She has exhibited widely, including at the Scottsdale Museum of Art (2011); Pomona College Museum of Art, Claremont, CA (2013); and FRAC Champagne-Ardenne, Reims; Le Consortium, Dijon, France (2009); amongst others.

Owen Fu (b. 1988, Guilin, China) received a bachelor’s degrees in philosophy and art from the School of the Art Institute of Chicago, and in 2018, completed his MFA at the ArtCenter College of Design in Pasadena. Recent solo exhibitions include Balice Hertling, Paris (2021, 2023); and Mine Project, Hong Kong (2020). His work has also been featured in group exhibitions at the Hammer Museum, Los Angeles (2023); Beijing Biennale, China (2022); Sifang Art Museum, Nanjing, China (2022); and Redling Fine Art, Los Angeles (2021).

Anna Glantz (b. 1989, Concord, MA) has exhibited her work in solo shows internationally. Recent solo exhibitions include Knowing what you know, Chris Sharp Gallery, Los Angeles (2025); Lichens, The Approach, London (2023); Cement Answers, Chris Sharp Gallery, Los Angeles (2022); and Baby Grand, The Approach, London (2020). Group exhibitions include Untitled (for Jenni), Gordon Robichaux, New York, NY (2025); Trespass sweetly urged, Tanya Leighton, Berlin (2024); A Minor Constellation, Chris Sharp Gallery, Los Angeles (2022); Therein / Thereof /Thereto, Standard (OSLO), Oslo, Norway (2021); and A Love Letter to a Nightmare, Petzel Gallery, New York, NY (2020).

Robert Gunderman (b. 1963, Los Angeles) attended the Otis Parsons School of Art Los Angeles (1989). Recent solo exhibitions include Place Like You, Wilding Cran Gallery, Los Angeles (2023); The Quiet Beliefs, Diane Rosenstein Gallery, Los Angeles (2021); and Never Let Us Go, Desert Center, Los Angeles (2019). Group exhibitions include Ripe, Harper’s, Los Angeles (2023); LA ON FIREcurated by Michael Slenske, Wilding Cran Gallery, Los Angeles (2020); and Between Worlds, Edward Cella, Los Angeles (2021).

James Iveson (b. 1983, England) holds an MFA from University of California, Los Angeles (2016) and a BA from Goldsmiths University of London (2006). Selected solo exhibitions have taken place at South Willard, Los Angeles (2022); Norwich Outpost, Norwich, UK (2012); and Dicksmith Gallery, London (2010). Selected group exhibitions include Taking Care, Hannah Hoffman, Los Angeles (2025); 4 X 4, Karma, New York, NY (2024); South Willard, Gordon Robichaux, New York, NY (2023); 356 Mission Road, Los Angeles (2014); The Tetley, Leeds, UK (2014); and Kettles Yard, Cambridge, UK (2013).

Becky Kolsrud (b. 1984, Los Angeles) received an MFA from University of California, Los Angeles (2012) and a BA from New York University (2006). Important solo exhibitions include Elegies, JTT, New York, NY (2021); As Above, So Below, Make Room, Los Angeles (2020); and Yackety Yack Girls, Karma, New York, NY (2011). Her work has been included in group exhibitions at Aïshti Foundation, Beirut, Lebanon (2022); Gavlak Gallery, Los Angeles (2020); Stephen Friedman Gallery, London (2020); Magenta Plains, New York, NY (2018); Nino Mier Gallery, Los Angeles (2020); and Fredericks & Freiser, New York, NY (2019). Kolsrud’s work is in the permanent collection of the Hammer Museum, Los Angeles.

Tidawhitney Lek (b. 1992, Long Beach) completed her BFA at California State University, Long Beach in 2017. Solo exhibitions include Long Beach Museum of Art, Long Beach, CA (2023); Sow & Tailor, Los Angeles (2022); and Taymour Grahne Projects, London (2021). Her work has been included in group exhibitions at Museum of Contemporary Art San Diego, San Diego, CA (2024); Cantor Arts Center Stanford University, Stanford, CA (2024); ICA Miami, Miami, FL (2022); Anat Ebgi, New York, NY (2024); and Ben and Brown Fine Arts, London (2022). Institutional collections include the Whitney Museum of American Art, New York, NY; Los Angeles County Museum of Art, Los Angeles; K11 Art Foundation, Hong Kong; and Pérez Art Museum, Miami.

Manuel López (b.1983, East Los Angeles) attended East Los Angeles College and transferred to The School of the Art Institute of Chicago (SAIC) where he earned his BFA in painting and drawing in 2010. He has exhibited in institutions, galleries, and museums internationally and nationwide including Atkinson Gallery at Santa Barbara City College, Santa Barbara, CA (2022); Baik Gallery, Seoul, South Korea (2023); Vincent Price Art Museum, Monterey Park, CA (2018); Charlie James Gallery, Los Angeles (2023, 2022); and Self-Help Graphics, Boyle Heights, CA (2017); among others.

Nihura Montiel (b. 1988, Tijuana, Mexico) received her BFA from Roski School of Fine Arts, University of Southern California in Los Angeles (2023). Selected solo exhibitions include A Dog Named Masterpiece, Sebastian Gladstone Gallery, Los Angeles (2024); and The Object of My Object, In Lieu, Los Angeles (2022). She has exhibited at Mrs. Gallery, Maspeth, NY (2022); Carlye Packer, Los Angeles (2023); Ochi Projects, Dallas, TX (2023); Château du Marais, Le Marais, France (2021); and Amor Services, Los Angeles (2020). 

Paige Jiyoung Moon (b. 1984, Seoul, South Korea) received a BFA from ArtCenter College of Design in 2012 and graduated from the Seoul National University of Technology in 2007. Her work has been exhibited in solo presentations at Steve Turner, Los Angeles (2024, 2020, 2019), and Steven Zevitas Gallery, Boston (2017). Select group exhibitions include Kiaf Seoul, Steve Turner, Los Angeles (2024); Made in L.A. 2023:Acts of Living, Hammer Museum, Los Angeles (2023); and Ogdoad, La Luz de Jesus Gallery, Los Angeles (2018).

Paul Sietsema (b. 1968, Los Angeles) graduated from the University of California, Los Angeles (1999) and the University of California, Berkeley (1992). Solo exhibitions of his work have been held at the Museum of Contemporary Art Denver, Denver, CO (2014); the Museum of Contemporary Art Chicago (2013); Kunsthalle Basel, Switzerland (2012); the Museo Nacional Centro de Arte Reina Sofía, Madrid (2009); the Museum of Modern Art, New York, NY (2009); the San Francisco Museum of Modern Art, CA (2009); and the Whitney Museum of American Art (2003). Sietsema’s work has been exhibited extensively in biennials including Carnegie International (2008), Berlin Biennial for Contemporary Art, Germany (2008), and Istanbul Biennial, Turkey (2019).

Wilhelm Sasnal (b. 1972, Tarnów, Poland) studied architecture at the Kraków University of Technology (1992–1994) and painting at the Academy of Fine Arts in Kraków (1994– 1999). His works have been featured in major exhibitions worldwide, including solo presentations at the Stedelijk Museum, Amsterdam, the Netherlands (2024); and Longlati Foundation, Shanghai, China (2023). Institutional collections include The Art Institute of Chicago, Chicago, IL; Carnegie Museum of Art, Pittsburgh, PA; Centre Pompidou, Paris; Solomon R. Guggenheim Museum New York, NY, and the Museum of Modern Art, New York, NY, among others.

Henry Taylor (b. 1958, Ventura) graduated with a BFA from the California Institute of the Arts, Valencia (1995). A major survey exhibition dedicated to the artist, Henry Taylor: B Side, his largest to date, was exhibited at The Museum of Contemporary Art, Los Angeles and was then on view at the Whitney Museum of American Art, New York, NY (2024). Other select solo exhibitions include Henry Taylor. no title, Hauser & Wirth, New York, NY (2024); Jill Mulleady & Henry Taylor: You Me, Berlin (2024); and Here and There, Tokyo, Japan (2018). In 2018, Taylor was the recipient of The Robert De Niro, Sr. Prize in 2018 for his outstanding achievements in painting. Taylor’s work was presented at the Whitney Biennial at the Whitney Museum of American Art in 2017 and the 58th Venice Biennale in 2019.

Tristan Unrau (b. 1989, Brampton, Canada) holds an MFA from the University of California, Los Angeles and a BFA from Emily Carr University of Art + Design. His work has been the subject of solo exhibitions at Sebastian Gladstone, Los Angeles (2023); 56 Henry, New York, NY (2022); Unit 17, Vancouver, Canada (2021, 2018); and Towards, Toronto, Canada (2020), among others. Recent group exhibitions include 50 Paintings, Milwaukee Art Museum, WI (2023); Drawings, Clint Roenisch Gallery, Toronto, Canada (2018); and Cynthia Daignault: There is nothing I could say that I haven’t thought before, FLAG Art Foundation, New York, NY (2017), among others. 

Born in Glasgow, Scotland, Russell Ferguson has lived and worked in Los Angeles for many years. He joined the Museum of Contemporary Art, Los Angeles in 1991, and later became the Deputy Director for Exhibitions and Programs, and Chief Curator of the Hammer Museum from 2001-2007. Ferguson also served as a professor of the Department of Art at the University of California Los Angeles from 2007-2013. An established scholar and critic of contemporary art, his numerous writings have been published internationally.

MARIAN GOODMAN GALLERY LOS ANGELES

1120 Seward Street, Los Angeles, CA 90038

www.mariangoodman.com

Hauser & Wirth @ LOPF 2025 - London Original Print Fair - New releases, modern and contemporary highlights - Artists + Artworks

Hauser & Wirth @ Booth S9

London Original Print Fair 2025

20 — 23 March 2025

Thomas J Price 

Rood Boy (Untitled 2), 2024

Aluminum, 24ct gold leaf, walnut, acrylic

Ed. of 10 + 2 AP

70 x 50 x 9.5 cm / 27 1/2 x 19 5/8 x 3 3/4 inches 

Plate: 65 x 45 x 0.5 cm / 25 5/8 x 17 3/4 x 1/4 in

Shelf: 9.5 x 50 x 6.8 cm / 3 3/4 x 19 5/8 x 2 5/8 in

© Thomas J Price

Courtesy the artist & Hauser & Wirth

Photo: Eva Herzog

Rashid Johnson 

Untitled (Surrender), 2023

9-color silkscreen resist with hand-applied pigment

Co-published by Hauser & Wirth and Brand X Editions

Ed. of 51 + 15 AP

121.9 x 165.1 cm / 48 x 65 in

© Rashid Johnson

Courtesy the artist and Hauser & Wirth

Photo: Sarah Muehlbauer

Nicole Eisenman

Bar, 2012

Nine-color lithograph

AP 2/2, Ed. of 25 + 2 AP

78.1 x 59.7 cm / 30 3/4 x 23 1/2 in

© Nicole Eisenman

Courtesy the artist, Hauser & Wirth and Jungle Press Editions

Photo: Sarah Muehlbauer

Hauser & Wirth returns to London Original Print Fair for the 40th anniversary with an exceptional selection of works reflecting the gallery’s commitment to prints and editions. Featuring works by both contemporary and modern artists from the gallery’s roster, the booth highlights the importance of printmaking to the artists’ multifaceted practices and celebrates the collaborations between artists and master printers. The fair presentation complements the gallery’s ongoing work with printmaking, which is headquartered in a dedicated Editions space on 18th Street in New York. 

Hauser & Wirth @ LOPF 2025: New releases and contemporary highlights

US artist Rashid Johnson debuts ‘Untitled (Surrender)’ (2023), a large silk screenprint which has been newly released by Hauser & Wirth and Brand X Editions. Part of the artist’s Surrender series, the large print features ghostly white faces which trace the development of his renowned Anxious Men series. The presentation also brings to London for the first time a selection of Henry Taylor’s etchings, first shown at the gallery’s editions space in New York earlier this year, including the self-portrait ‘Fade to Black, I Did Not Pay the Electric Bill’ and still life ‘I Love Looking at You’ (2024). 

Henry Taylor

I Love Looking at You, 2024

Color sugarlift aquatint

Ed. of 35 + 12 AP

123.2 x 106.7 cm / 48 1/2 x 42 in

© Henry Taylor

Courtesy the artist and Hauser & Wirth

Photo: Sarah Muehlbauer

William Kentridge

I Look In The Mirror, I Know What I Need, 2024

Lithograph on handmade Korean paper

Ed. of 26 + 4 AP + 4 PP + 1 Archives + 1 BNF 128 x 168 cm /

50 3/8 x 66 1/8 in

© William Kentridge

All Rights Reserved

Photo: Nicolas Brasseur

Other major highlights include William Kentridge’s lithograph on handmade Korean paper ‘I Look In The Mirror, I Know What I Need’ (2024), featuring iconic motifs from the artist’s practice, such as the coffee pot. London-based artist Thomas J Price also debuts ‘Rood Boy (Untitled 2)’ (2024), which revisits an earlier print made in 2019 using 24ct gold leaf of a fictional character whose unflinching gaze meets directly with the viewer’s. Also based in London, artist Sonia Boyce’s ‘She is Benevolent’ (2024) takes inspiration from her latest video work ‘Benevolence’, a project for Palazzo della Ragione in Italy which examines traditional Italian folksongs as a powerful form of social commentary. 

The booth also features recent prints by contemporary artists, including a delicate copperplate etching by London-based artist Anj Smith from 2022 titled ‘Misleading, Like Lace,’ a selection of hardground etchings from George Condo and ‘Bar,’ a nine-colour lithograph print by Nicole Eisenman from 2012 made with Jungle Press Editions. 

Hauser & Wirth @ LOPF 2025: Historical modern masterworks

Philip Guston

Rug, 1981

Lithograph

AP 4/11, Ed. of 50 + 11 AP

49.5 x 73.7 cm / 19 1/2 x 29 in

© The Estate of Philip Guston

Courtesy the Estate and Hauser & Wirth

Photo: Sarah Muehlbauer

Complementing the gallery’s contemporary offering, the booth highlights historic works by modern masters. Philip Guston’s ‘Rug’ (1980) depicts the groundbreaking figurative style which defines the artist’s late works and the recurring symbolic motif of shoes. The booth also includes a selection of prints by Takesada Matsutani from the 1960s – 1970s—during which time he worked at Atelier 17 in Paris, Stanley William Hayter’s printmaking studio. Additional 20th-century highlights include prints by Dieter Roth, Günther Förg and Eduardo Chillida. 

HAUSER & WIRTH

www.hauserwirth.com

Henry Taylor Exhibition @ Whitney Museum of American Art, New York - "B Side"

Henry Taylor: B Side

Whitney Museum of American Art, New York

October 4, 2023 - January 28, 2024

Henry Taylor 

i'm yours, 2015 

Acrylic on canvas, 73 1/8 × 74 1/4 in. (185.74 × 188.6 cm). 

Institute of Contemporary Art, Boston; 

acquired through the generosity of the Acquisitions Circle. 

© Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Sam Kahn

Henry Taylor 

Huey Newton, 2007 

Acrylic and collaged photocopies on canvas, 94 9/16 × 76 1/4 in. (240.2 × 193.7 cm).

Whitney Museum of American Art, New York; gift of Martin and Rebecca Eisenberg in honor of Adam D. Weinberg 2016.86f. 

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Henry Taylor 

Untitled, 2020. 

Acrylic on canvas, 60 1/8 × 84 1/8 in. (152.7 × 213.7 cm). 

Private collection. 

© Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Zachary Balber

Henry Taylor 

the dress, ain't me, 2011.

Acrylic on canvas, 84 1/4 × 72 in. (214 × 182.9 cm). 

Private collection; courtesy Irena Hochman Fine Art Ltd. 

© Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Serge Hasenböhler

Henry Taylor

Homage to a Brother, 2007 

Acrylic and collage on linen, 85 1/2 × 78 1/2 in. (217.2 × 199.4 cm). 

The Studio Museum in Harlem; gift of Martin and Rebecca Eisenberg. 

© Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Fredrik Nilsen

The Whitney Museum of American Art presents the landmark retrospective, Henry Taylor: B Side. As the first large-scale New York survey of leading contemporary artist Henry Taylor (b. 1958, based in Los Angeles), the exhibition celebrates the artist’s unique aesthetic, social vision, and freewheeling experimentation. Through paintings, rarely seen drawings, sculpture, and a newly conceived installation, Henry Taylor: B Side captures an over thirty-year career and features many of the artist’s most recognizable works, including paintings of family, fellow artists, legends, and public figures including Barack and Michelle Obama, JAY-Z, Martin Luther King, Jr., and more. Informed by the artist’s life experience and immediate environment, his work conveys urgency and fundamental empathy through close examination and sharp social critique.

With over 130 works, Henry Taylor: B Side is the largest exhibition of Taylor’s work to date. Though renowned for his figurative paintings, Taylor’s work encompasses many genres and a wide range of art-historical influences. Within this stylistic diversity, Taylor’s storytelling offers a juxtaposition between depictions of his family, friends, fellow artists, and the art world and his portrayal of the incarceration, poverty, and often deadly interactions with police that are disproportionality experienced by Black Americans.

“We are honored to welcome Henry Taylor back to the Whitney after his significant appearances in our Biennial and collection galleries,” said Scott Rothkopf, Senior Deputy Director and Nancy and Steve Crown Family Chief Curator. “His paintings brilliantly balance a sense of tenderness, care, and community with keen wit, pointed critique, and a sense of broad social awareness.”

This exhibition was originally organized by the Museum of Contemporary Art (MOCA) in Los Angeles, and curated by Bennett Simpson, Senior Curator, with Anastasia Kahn, Curatorial Assistant, at MOCA. The presentation at the Whitney Museum of Art is organized by Barbara Haskell, Curator at the Whitney, with Colton Klein and Caroline Webb, Whitney Curatorial Assistants.

“Henry Taylor is guided by his deep-seated empathy for people and their histories,” says Barbara Haskell. “Painted with kinetic intensity from memory, newspaper clippings, snapshots, and in-person sittings, his portraits capture the humanity, social milieu, and mood of his subjects. They combine flat planes of vibrant, saturated color with areas of rich, intimate detail and loose brushstrokes to create paintings that really feel alive.”

Organized thematically, Henry Taylor: B Side highlights several of the artist’s major subjects. Among them are his family members and artistic community, street scenes from Los Angeles and beyond, icons of politics, literature, sports, and the music world, and encounters with anti-Black racism, policing, and American history. In addition to paintings, the exhibition features a new installation created specifically for the Whitney, a selection of Taylor’s assemblage sculptures, rarely seen early drawings, and a large grouping of his “painted objects,” which include pointed observations rendered on recycled cigarette packs, cereal boxes, and other everyday objects.

Henry Taylor: Legends

Historically, portraits have been used to communicate authority, achievement, and social standing. Taylor’s depictions of iconic figures within the Black community who have achieved significant political, artistic, or athletic success are in this tradition. Works like I Am a Man (2017) and It's H. I. M. (2012) are powerful visual symbols of Black accomplishment and aspiration. In honoring his subjects, Taylor points to their ambition and overcoming that have inspired his own life.

Henry Taylor: Social Critique

Within Taylor’s subject matter are numerous works that delve into political and social allegory and current events. In some, he addresses actual events in ways that can be terrifyingly direct but also suggestive of daily reality. Several paintings memorialize young men murdered by the police, while others reference the United States penal system through images of prison walls, guard towers, and citizens with their hands up. Works like THE TIMES THAY AINT A CHANGING, FAST ENOUGH! (2017), which was part of the 2017 Whitney Biennial, That Was Then (2013), and Warning shots not required (2011) extend a long tradition of socially charged paintings marking moments in history and signaling an emotional message of outrage and grief.

Henry Taylor: Family Portraits

Henry Taylor returns repeatedly to his most familiar subjects—his mother, father, siblings, aunts, uncles, cousins, and three children. In 1944, Taylor’s parents moved from the East Texas town of Naples to Oxnard, California, making them among the millions of Black Americans who left the South in the mid-twentieth century as part of the Great Migration. Their experiences, and the stories he heard from them growing up, instilled in Taylor a sensitivity to the cultural and political currents that affected his community. Painted from memory, during in-person sittings, or from snapshots, works like i'm yours (2015), Cora, (cornbread) (2008), The Love of Cousin Tip (2017), and the dress, ain't me (2011) form a continuum with the figurative paintings of earlier artists such as Bob Thompson, Alice Neel, and Philip Guston.

Henry Taylor: Camarillo and CalArts

From 1984 to 1995, Taylor worked as a psychiatric technician at the Camarillo State Mental Hospital, caring for adults with developmental disabilities and mental illness as well as those seeking substance abuse treatment. Taylor's rarely seen pencil sketches of patients in the psychiatric ward during this period are among his earliest artworks. Among these “Camarillo Drawings,” many include quotes from the sitters or notes from Taylor’s own stream-of-consciousness. Taken as a whole, the sketches reveal Taylor’s empathetic observation of physical and psychological states—hallmarks of his work in general. While working the night shift at Camarillo State Mental Hospital, Taylor was also a student at Oxnard Community College (1985–1990) and the California Institute of the Arts (1990–1995). The paintings he made during this period merge his sensitivity to emotional states with bold color and the vocabulary of popular culture, particularly comic strips.

Henry Taylor: Downtown LA

After graduating from CalArts in 1995, Taylor moved to downtown Los Angeles where he developed a significant rapport with his community. Some he would invite into his studio to have their portraits painted; others he depicted using intimate, informal snapshots. In more recent years, Taylor’s extensive international travels have provided an equally rich source for his street scenes. Works like Fatty (2006), Too Sweet (2016), and emery lambus (2016) showcase Henry Taylor’s extended community through images that capture each subject’s humanity and personality.

Henry Taylor: Painted Objects

In the early 1990s, Henry Taylor began treating commonplace materials like cigarette cartons, butter containers, and cereal boxes as painting surfaces. Often he would trade or sell these works to his neighbors and fellow artists. Executed quickly, these small-scale, painted cardboard objects function like sketches, providing an inexpensive way for Taylor to work out compositional and thematic ideas and to experiment with language, text, and abstraction.

Henry Taylor: Artists / Art World

Taylor’s portraits of artists, critics, and curators comprise a significant thread running through his work. Among his portrait subjects are a number of artists whose work is in the Whitney Museum collection, including Andrea Bowers, Deana Lawson, and Robert Pruitt. Taylor’s personal network is joined by a collection of art-historical influences that Taylor invokes by reinterpreting or “covering” their art just as a musician would in performing a remix or adaptation of a previously recorded song. Works like Before Gerhard Richter there was Cassi (2017), Hammons meets a hyena on holiday (2016), and Portrait of Kahlil Joseph (2019) map Taylor’s social and artistic circles and influences to suggest the range of styles and periods.

HENRY TAYLOR was born in Ventura, California, in 1958 and grew up in nearby Oxnard. While studying art at Oxnard Community College from 1984–1990 and the California Institute of the Arts (CalArts), he worked on the night shift at Camarillo State Mental Hospital as a psychiatric technician. After graduating from CalArts in 1995, he moved to downtown Los Angeles where he became a mainstay of that area’s burgeoning art community. While continuing to maintain studios in downtown Los Angeles, Taylor has in more recent years traveled and painted widely in New York, the Caribbean, and Africa, extending the international scope of his career. In 2017 Taylor’s work THE TIMES THAY AINT A CHANGING, FAST ENOUGH! (2017), was featured in the seventy-eighth installment of the Whitney Biennial, the longest-running survey of American art.

Henry Taylor: B Side

An accompanying exhibition catalogue, Henry Taylor: B Side, was co-published by The Museum of Contemporary Art, Los Angeles, and DelMonico Books and distributed by ARTBOOK | D.A.P. . Edited by Bennett Simpson, the catalogue features contributions by Wanda Coleman, Karon Davis, Charles Gaines, Harmony Holiday, Bob Kaufman, Walter Price, Bennett Simpson, and Frances Stark, along with a conversation between Henry Taylor and Hamza Walker. The publication includes illustrations of nearly three decades of Taylor’s work in all media. Copies is available for purchase online and in the Whitney Shop ($60).

Whitney Museum of American Art

99 Gansevoort Street, New York, NY 10014

whitney.org

Henry Taylor @ Hauser & Wirth Paris – FROM SUGAR TO SHIT

Henry Taylor. FROM SUGAR TO SHIT 

Hauser & Wirth Paris 

14 October 2023 – 7 January 2024 

Henry Taylor

I got brothers ALL OVA the world but they forget we’re related, 2023

Acrylic on canvas, 213.4 x 243.8 x 7.9 cm / 84 x 96 x 3 1/8 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Keith Lubow

Henry Taylor

Father, Son, Fun, 2022

Acrylic on canvas, 182.9 x 152.4 x 4.4 cm / 72 x 60 x 1 3/4 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

Hauser & Wirth’s inaugural exhibition in Paris debuts new works by critically acclaimed Los Angeles artist HENRY TAYLOR, whose major career survey arrives at The Whitney Museum of American Art in New York today. Henry Taylor’s exhibition in Paris comprises a wide range of paintings and sculpture encompassing the remarkable breadth of his practice. Throughout his four-decade long career, Henry Taylor has consistently and simultaneously embraced and rejected the tenets of traditional painting, as well as any formal label. Combining figurative, landscape and history painting, alongside drawing, installation and sculpture, Henry Taylor’s vast body of highly personal work is rooted in the people and communities closest to him, often manifested together with poignant historical or pop-culture references. In this exhibition, with a guiding sense of human connection, Henry Taylor leads us through a multifaceted narrative in sculpture and painting.

In the lead up to this show, Henry Taylor extended his studio practice to Paris for a residency in the city during the months of June and July 2023. During this time, Taylor has drawn inspiration from the unparalleled array of historical art collections contained in the city, such as the Musée d’Orsay where he was surrounded by the work of French Impressionists, Expressionists and Fauvists who have inspired him since an early age. Henry Taylor’s studied awareness of his art historical predecessors is continually prevalent throughout his work, having previously painted versions of works by Pablo Picasso, Marcel Duchamp, Philip Guston, Gerhard Richter, David Hammons and Glenn Ligon, among others. 

Henry Taylor

One tree per family, 2023

Mixed media, 457.2 x 152.4 x 121.9 cm / 180 x 60 x 48 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

Henry Taylor

Rimmed Up, 2022

Mixed media, 320 x 167.6 x 154.9 cm / 126 x 66 x 61 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

Sculpture plays an important role in this exhibition and as part of Henry Taylor’s practice. The process involves energetically building, stacking and affixing a vast array of collected objects together, from bottle caps to toilet paper rolls, to create a holistic record of his everyday routine and the materials that define them. Referring to this highly intuitive process as ‘hunting and gathering,’ the artist is able to simultaneously merge multiple references—historic and contemporary—into sharp focus. Examples featured in the Paris show include assemblages made using milk bottles, bicycle wheels and baseball bats which recode the forms and symbolisms of found materials to comment on enduring art historical tropes, echoing an almost Duchamp-esque approach to readymade sculpture. When paired with Taylor’s paintings depicting various figures throughout history, these works reveal the artist’s voracious sourcing of subjects and materials, as well as his encyclopaedic command of historical knowledge. Also on view in the exhibition is a monumental sculpture entitled ‘One tree per family’ (2023), a towering 15ft tree trunk with a large afro for foliage. 

Henry Taylor’s work is primarily about relationships and how they impact our lives. While people figure prominently in his work, the artist rejects the label of portraitist. The paintings in this exhibition include subjects from all walks of life and historical context, frequently featuring family members, as seen in ‘I got brothers ALL OVA the world but they forget we’re related’ (2023), a group portrait of Taylor’s brothers painted against a graphic backdrop displaying the word ‘VICTORY,’ resembling the logo of the classic American bubble gum brand. Taylor is known for his playful visual and verbal punning, as symbols slip between different representations in his work: the allusion to bubblegum is a nod to the subjects’ youth, while also celebrating their graduation day. Additionally on show, ‘Father, Son, Fun’ (2023) depicts Martin Luther King Jr. playing baseball with a child, ‘‘Another country,’ Ben Vereen’ (2023) portrays American actor, dancer and singer Ben Vereen and a painting made during Henry Taylor’s time in Paris in homage to Josephine Baker, the American-born French dancer, singer and actress, often considered to be the first Black superstar. Taylor’s choice of subject—from memory and archival materials to the live sitter—is firmly dependent upon his sense of connection driven by empathy. His sumptuous depictions, painted rapidly and loosely, capture his subject’s nuances and mood with gestures and passages of flat, saturated acrylic colour offset by areas of rich and intricate detail. The intensity with which he paints is reflected by his brushwork: a network of kinetic strokes that seek to capture a feeling before it flees. Taylor’s subjects, which range from members of the Black community to symbolic objects representative of historical struggle, span the breadth of the human condition; each work is a holistic visual biography and permanent record of a person or people’s history.

Henry Taylor

For those... who ask, ‘Do you paint white people?’, 2022

Acrylic on canvas, 122.2 x 91.4 x 3.8 cm / 48 1/8 x 36 x 1 1/2 in

© Henry Taylor. Courtesy the artist and Hauser & Wirth

Photo: Jeff McLane

HENRY TAYLOR lives and works in Los Angeles CA. Taylor’s work has recently been featured in US group exhibitions ‘i’m yours: Encounters with Art in Our Times,’ at the Institute of Contemporary Art Boston, Boston MA and ‘Grief and Grievance: Art and Mourning in America’ at New Museum, New York NY. In 2022, a major survey exhibition dedicated to Henry Taylor, ‘Henry Taylor: B Side,’ his largest to date, was recently exhibited at The Museum of Contemporary Art, Los Angeles CA and will travel to The Whitney Museum of American Art, New York NY from 4 October 2023 until 28 January 2024. Henry Taylor has been the subject of numerous exhibitions in the United States and internationally, and his work is in prominent public collections including the Bourse de Commerce – Pinault Collection, Paris, France, The Bronx Museum of the Arts, Bronx NY, Carnegie Museum of Art, Pittsburgh PA, The Fondation Louis Vuitton, Paris, France, Hammer Museum, Los Angeles CA, Institute of Contemporary Art, Boston MA, Los Angeles County Museum of Art, Los Angeles CA, The Metropolitan Museum of Art, New York NY, Museum of Contemporary Art, Los Angeles CA, Museum of Fine Art, Houston TX, Museum of Modern Art, New York NY, Nasher Museum of Art at Duke University, Durham NC, Pérez Art Museum, Miami FL, San Francisco Museum of Modern Art, San Francisco CA, The Studio Museum in Harlem, New York NY, and Whitney Museum of American Art, New York NY. In 2018, Henry Taylor was the recipient of The Robert De Niro, Sr. Prize in 2018 for his outstanding achievements in painting. Hnery Taylor’s work was presented at the Whitney Biennial at the Whitney Museum of American Art, New York NY in 2017 and the 58th Venice Biennale, Venice, Italy in 2019.

HAUSER & WIRTH PARIS

26 bis rue François 1er, 75008 Paris

www.hauserwirth.com

Henry Taylor @ Hauser & Wirth Somerset

Henry Taylor 

Hauser & Wirth Somerset 

Through 6 June 2021 

HENRY TAYLOR 

2020 

Photo: Fredrik Nilsen 

© Henry Taylor 

Courtesy the artist and Hauser & Wirth 

HENRY TAYLOR

Untitled, 2021

Acrylic on linen

Photo: Ken Adlard

© Henry Taylor

Courtesy the artist and Hauser & Wirth

Henry Taylor culls his cultural landscape at a vigorous pace, creating a language entirely his own from archival and immediate imagery, disparate material and memory. Through a process he describes as ‘hunting and gathering,’ Henry Taylor transports us into imagined realities that interrogate the breadth of the human condition, social movements and political structures.

For his inaugural exhibition with Hauser & Wirth, the American artist has taken over all five galleries in Somerset to present a major body of sculptural work and paintings evolving in unison across the spaces. Throughout his four-decade long career, Henry Taylor has consistently and simultaneously both embraced and rejected the tenets of traditional painting as well as any formal label. He has amassed a staggering body of highly personal work rooted in the people and communities closest to him, often manifested alongside poignant historical or pop-cultural references. In preparation for the exhibition, Taylor extended and unraveled his studio practice within the galleries at Hauser & Wirth Los Angeles, followed by an artist residency at Hauser & Wirth Somerset this winter – energetically building, stacking and affixing a vast array of collected objects together to create a holistic record of his everyday routine and the materials that define them. With a guiding sense of human connection, Henry Taylor layers reoccurring visual cues associated with his own personal experiences and broader cultural references that lead us through a multifaceted narrative in sculpture and painting.

Although his subjects are wildly diverse – family members, peers and acquaintances – Taylor’s ability to seek out the truest sense of a person and their sociocultural framework is evident throughout. This sharp focus has shifted inwards during the UK’s national lockdown with two new self-portraits. The first, a head and shoulder profile, depicts a regal-looking Taylor as Henry V and is a play on the artist’s childhood nickname of Henry VIII, since he is the youngest of eight children. The second is a full body image of Taylor in Somerset adorning pinstripe pyjamas and flanked by sheep, placing him firmly in his new rural environment.

Henry Taylor’s lean towards standalone sculpture over the past decade has allowed him to reconfigure commonplace objects into stories of his own lived history. Throughout the first two galleries we journey through new installations made over the past six months, including a series of tabletop sculptures that relate directly to the landscape of a city, urban planning and an altered perspective looking down into housing projects. Repetitive objects connected to voyage, sense of place and locality evolve from the first to the last gallery, alongside materials synonymous with Taylor such as heavily painted black milk bottles, a wall sculpture made of toilet paper rolls and a return to horses as a symbol of freedom and power, or alternatively of power restrained and fenced in. Taylor’s heightened awareness of art historical predecessors is continually prevalent throughout, ranging from references to Philip Guston, Bob Thompson, Yayoi Kusama, Louise Nevelson and Cy Twombly.

A series of miniature box paintings in the Pigsty gallery act as a conduit between Henry Taylor’s painting and sculpture, serving as a continuous thread in his studio practice. This will be the first time these works have been presented on a scale of this size in Europe. The earliest, made in the 1990s while Taylor was still a student, are painted on cigarette, cracker, and cereal boxes, surfaces that were on hand at the time. Acting as fleeting thoughts and records, the miniature works span intimate domestic scenes to prison visits and playful reinterpretations of the boxes’ original logos. Tactile, expeditious, and recognizable, Taylor repurposes the box both as substrate and subject.

Several miniatures exist more fully in the realm of sculpture, with painting extending across multiple sides, whilst others act as a starting point for the manifestation of large-scale works. Such is the case for Henry Taylor’s first outdoor bronze sculpture placed within Oudolf Field, relating to a conversation he had with his older brother Randy in the 1980s. Randy was a founding member of the Black Panther chapter in Ventura County, California and was faced with an explicit bumper sticker using a racial slur. The memory of this encounter stayed with Taylor and was realised in both a miniature work in the Pigsty gallery and the more recent outdoor bronze.

HENRY TAYLOR lives and works in Los Angeles, CA. Taylor’s work is currently featured in US group exhibitions ‘i’m yours: Encounters with Art in Our Times’, at the Institute of Contemporary Art Boston, Boston MA and ‘Grief and Grievance: Art and Mourning in America’ at New Museum, New York NY. The Museum of Contemporary Art, Los Angeles CA is preparing a major survey exhibition of his work for 2022.

Henry Taylor has been the subject of numerous exhibitions in the United States and internationally, and his work is in prominent public collections including the Bourse de Commerce – Pinault Collection, Paris, France, The Bronx Museum of the Arts, Bronx NY, Carnegie Museum of Art, Pittsburgh PA, The Fondation Louis Vuitton, Paris, France, Hammer Museum, Los Angeles CA, Institute of Contemporary Art, Boston MA, Los Angeles County Museum of Art, Los Angeles CA, The Metropolitan Museum of Art, New York NY, Museum of Contemporary Art, Los Angeles CA, Museum of Fine Art, Houston TX, Museum of Modern Art, New York NY, Nasher Museum of Art at Duke University, Durham NC, Pérez Art Museum, Miami FL, San Francisco Museum of Modern Art, San Francisco CA, The Studio Museum in Harlem, New York NY, and Whitney Museum of American Art, New York NY.

In 2018, Henry Taylor was the recipient of The Robert De Niro, Sr. Prize in 2018 for his outstanding achievements in painting. Taylor’s work was presented at the Whitney Biennial at the Whitney Museum of American Art, New York NY in 2017 and the 58th Venice Biennale, Venice, Italy in 2019.

HAUSER & WIRTH SOMERSET

Durslade Farm, Dropping Lane

Bruton, Somerset BA10 0NL

www.hauserwirth.com