WANAFOTO: NY

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12/09/25

The Bridges of Michael Kenna @ Robert Mann Gallery, New York

The Bridges of Michael Kenna

Robert Mann Gallery, New York

September 4 - October 18, 2025

Bridges span rivers, connect cities, and carry us over what once seemed impassable. Where once there was only a divide — a river too wide, a ravine too deep — now there is a line drawn through space. We drive over bridges, walk across them, sometimes without even thinking. Yet Michael Kenna impressively photographs these bridges stretching across the globe in a unique light of the feat of human construction through time.

Kenna’s first show with Robert Mann Gallery opened in 1997 around the time the movie, The Bridges of Madison County was released; a moving love story about a photographer on an assignment to shoot historic bridges. Michael Kenna shares this fascination in capturing these structures,

“Bridge structures are usually geometric and stationary with straight lines, verticals, horizontals and other angular constructs. The universe is constantly moving, flowing organic, uncontrollable and unpredictable. The abstract relationship between the two, almost like yin and yang, can be visually stunning and continues to fascinate and attract me.”--Michael Kenna

The bridges in this exhibition cross over bodies of water, from Sydney Harbour Bridge, Study 1, Sydney, New South Wales, Australia, to Brooklyn Bridge, Study 1, New York City, USA carrying multiple lanes of traffic, trains, and possibilities. While other small bridges such as Canal Bridge, Banbury, Oxfordshire, England and Ponte dei Sospiri, Venice, Italy stretch a short distance suitable only for individuals to journey across. Each bridge featured in the exhibition has its own historical significance and the possibility of one day being replaced. Michael Kenna beautifully captures the bridge’s story, often at dawn or dusk, along with often solidifying its place in the world.

What was once the end of the road becomes a place of crossing. What was once isolation becomes relationship. The landscape is no longer defined by separation, but by the possibility of reaching across. In The Bridges of Michael Kenna, the artist’s careful treatment of each composition is apparent from frame to frame, in which every detail is given its due consideration to express this relationship between the bridge and the land. The images in the exhibition represent over 50 years of Kenna’s exploration of this subject matter.

With dozens of monographs and hundreds of solo exhibitions held around the world, Michael Kenna is one of the most widely exhibited and beloved photographers working today. His work has been shown at the Tacoma Art Museum, the Palazzo Magnani Museum in Reggio Emilia, Italy, and Bibliothèque Nationale de France, to name a few. Kenna's photographs are included in many distinguished public collections including the National Gallery of Art, Washington, D.C.; Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Shanghai Art Museum; the Tokyo Metropolitan Museum of Photography; the National Museum of Modern and Contemporary Art, Seoul, Korea; the Museum of Decorative Arts, Prague; Museum of Art and Photography, Bangalore, India; and the Victoria and Albert Museum, London.

The Bridges of Michael Kenna is on view in conjunction with the artist’s exhibition, Japan: A Love Story, at the International Center of Photography through September 28, 2025.

ROBERT MANN GALLERY

508 West 26th Street, New York, NY 10001

www.robertmann.com

Jeffrey Gibson @ The Met Facade, NYC - The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am

The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am

The Metropolitan Museum of Art, New York

September 12, 2025 – June 9, 2026

Portrait of Jeffrey Gibson: Eileen Travell

Jeffrey Gibson (American, born 1972)

Installation view of The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

The acclaimed interdisciplinary artist JEFFREY GIBSON has transformed the iconic niches of the Museum’s Fifth Avenue facade with a series of four large-scale sculptures that explore the metamorphic relationships between all living beings and the environment. A member of the Mississippi Band of Choctaw Indians and of Cherokee descent, Jeffrey Gibson draws from his distinctive style fusing worldviews and imagery with abstraction, text, and color to create these new figurative works cast in bronze. On view through June 9, 2026, The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am marks Gibson’s first major exploration of this material at a monumental scale.

"Jeffrey Gibson is one of the most remarkable artists of his generation and a pioneering figure within the field of native and Indigenous art," said Max Hollein, The Met’s Marina Kellen French Director and Chief Executive Officer. "These new works are based on his signature use of unconventional materials and reimagined forms, employing them to explore often-overlooked histories and the natural world. We’re thrilled to have his monumental sculptures installed on The Met’s iconic Fifth Avenue facade."

David Breslin, Leonard A. Lauder Curator in Charge, Modern and Contemporary Art, said, "Jeffrey Gibson is an artist brilliantly attuned to the varieties of life that our world holds—the human, the animal, the land itself. His art vibrates and bristles with that life, the histories that never leave us, and the futures that his vision makes possible."

Jeffrey Gibson (American, born 1972)

Installation view of they carry messages between

light and dark spaces biakak / dawodv / hawk,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

Jeffrey Gibson (American, born 1972)

Installation view of they plan and prepare for

the future fvni / sa lo li / squirrel,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

Titled The Animal That Therefore I Am, the installation transforms the Museum’s neoclassical facade into a dynamic stage for Gibson’s ambitious vision of figural presence and ecological kinship. Each 10-foot bronze sculpture takes the form of a regional animal: a hawk, a squirrel, a coyote, and a deer. Using cast elements such as wood, beads, and cloth to build texture, Jeffrey Gibson embraces a new process that expands his sculptural vocabulary. From these reproduced wood supports emerge referential animal forms, with each sculpture formally fusing the animate and the inanimate. Intricately bold, patinated abstract patterning evokes beadwork and textiles drawn from a range of Indigenous visual languages—motifs that are seamlessly integrated into the sculptures’ surfaces.

The works are inspired by the French philosopher Jacques Derrida’s book The Animal That Therefore I Am, which examines the violence inherent in the human domination of animals—a theme Gibson connects to broader cycles of conflict. By selecting species native to the New York area, he reflects on how these creatures have been forced to adapt to human environments, inviting us to consider what they endure and what they might teach us. The Animal That Therefore I Am flanks the Museum entrance, the zoomorphic forms remaining in dialogue with the surrounding landscape, from the natural environment of the Hudson River Valley, where Jeffrey Gibson lives and works, to the urban ecology of Central Park encircling The Met.

Jeffrey Gibson (American, born 1972)

Installation view of they are witty and transform themselves

in order to guide us nashoba holba / wayaha / coyote,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

Jeffrey Gibson (American, born 1972)

Installation view of they teach us to be sensitive

and to trust our instincts issi / awi / deer,

for The Genesis Facade Commission:

Jeffrey Gibson, The Animal Therefore I Am, 2025

Silicon bronze with patina finish

Courtesy the artist

Image credit: The Metropolitan Museum of Art,

Photo by Eugenia Burnett Tinsley

This project is the latest in The Met’s series of contemporary commissions in which the Museum invites artists to create new works of art, establishing a dialogue between the artist's practice, The Met collection, the physical Museum, and The Met's audiences.

Artist Jeffrey Gibson

Jeffry Gibson is an interdisciplinary artist who grew up in the United States, Germany, and Korea. His expansive body of work ranges from hard-edged abstract paintings to a rich practice of performance and filmmaking to significant work as artist convener and curator. Since the 2000s, Gibson’s work—which often incorporates Indigenous aesthetic and material traditions—has consistently revealed new modalities for abstraction, the use of text, and color, with the artist applying his formal mastery to concepts such as human connection and collective identity. Notably, Gibson’s work has introduced a broad range of recurring sources, material elements, and imagery while offering a critique of the reductive ways in which Indigenous culture has been historically flattened and misappropriated.

Recent solo exhibitions include Jeffrey Gibson: the space in which to place me (The Broad, 2025); Jeffrey Gibson: POWER FULL BECAUSE WE’RE DIFFERENT (MASS MoCA, 2024); This Burning World: Jeffrey Gibson (ICA San Francisco, 2022); Jeffrey Gibson: The Body Electric (SITE Santa Fe, 2022); Jeffrey Gibson: They Come From Fire (Portland Art Museum, 2022); Jeffrey Gibson: INFINITE INDIGENOUS QUEER LOVE (deCordova Sculpture Park and Museum, 2022); and Jeffrey Gibson: Like a Hammer (Denver Art Museum, 2018). Jeffrey Gibson was selected to represent the United States at La Biennale di Venezia, the 60th International Art Exhibition, in 2024. Jeffrey Gibson also conceived of and co-edited the landmark volume An Indigenous Present (2023), which showcases diverse approaches to Indigenous concepts, forms, and media. His work is included in the permanent collections of the Denver Art Museum; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; National Gallery of Canada; National Gallery of Art, Washington, D.C.; Portland Art Museum; Smithsonian National Museum of the American Indian; and the Whitney Museum of American Art, among others. Jeffrey Gibson has received many distinguished awards, including the John D. and Catherine T. MacArthur Foundation Fellowship Award (2019), and is currently an artist in residence at Bard College, in Annandale, New York. He lives and works in Hudson, New York.

The Genesis Facade Commission: Jeffrey Gibson, The Animal That Therefore I Am is conceived by the artist in consultation with Jane Panetta, the Aaron I. Fleischman Curator in the Department of Modern and Contemporary Art at The Met. The exhibition is presented by Genesis.

METROPOLITAN MUSEUM OF ART

The Met Fifth Avenue Facade

www.metmuseum.org

07/09/25

Visual Language: The Art of Irving Penn - Auction @ Phillips, New York

Visual Language: The Art of Irving Penn

Phillips, New York

Auction viewing: 30 September – 7 October 2025

Auction: 8 October 2025

Irving Penn

Mouth (For L’Oréal) (A), New York, 1986

Estimate: $200,000 – 300,000

Irving Penn

Harlequin Dress (Lisa Fonssagrives-Penn), New York, 1950

Estimate: $200,000 – 300,000

Irving Penn

Ginkgo Leaves, New York, 1990

Estimate: $200,000 – 300,000

Phillips will host Visual Language: The Art of Irving Penn, a landmark auction of photographs and artworks from The Irving Penn Foundation. This standalone sale, featuring photographic prints and paintings that Penn made during his seven decades-long career, marks the first time that the foundation has offered the artist's work through auction. This historic event will celebrate Penn’s remarkable talents, highlighting his unique vision and masterful craftsmanship across a variety of photographic print processes. The 70-lot sale will take place on 8 October 2025 ahead of Phillips' seasonal Photographs sale on 9 October.

Tom Penn, Executive Director of The Irving Penn Foundation, said, “As stewards of Irving Penn's artistic legacy since 2010, this auction is a pivotal moment for The Irving Penn Foundation as we aspire to expand our charitable and educational program. My father would say to me, ‘whatever you do in life, do it with complete passion.’ It was with passion that he sought excellence in everything he did, and each object included in this sale reflects the innovation and exactitude that defined Penn’s practice. The artworks selected for the auction span the range of mediums and subjects Penn explored across his career, presenting rarely seen images alongside his most well-known photographs that provide a new perspective on the diversity of his production. Through this carefully considered sale, we demonstrate Irving Penn's mastery and enduring influence in the field of photography.”

Irving Penn

Black and White Hat, New York, 1950

Estimate: $25,000 – 35,000

Irving Penn

Untitled, circa 1987

Estimate: $30,000 – 50,000

Irving Penn

Miles Davis Hand on Trumpet,

New York, 1986

Estimate: $70,000 – 90,000

Irving Penn

Télégraphiste, Paris, 1950

Estimate: $30,000 – 50,000

Irving Penn was one of the 20th century’s most significant photographers, known for his arresting images, technical mastery, and quiet intensity. Though he gained widespread acclaim as a leading Vogue photographer for over sixty years, Penn remained a private figure devoted to his craft. Trained under legendary art director Alexey Brodovitch in Philadelphia, he began his career assisting at Harper’s Bazaar before joining Vogue in 1943, where editor and artist Alexander Liberman recognized Penn’s distinctive eye and encouraged him to pursue photography. Penn’s incomparably elegant fashion studies reset the standard for the magazine world, and his portraits, still lifes, and nude studies broke new ground. His 1960 book Moments Preserved redefined the photographic monograph with its dynamic layout and high-quality reproductions. In 1964, Penn began printing in platinum and palladium, reviving this 19th-century process to serve his own distinct vision. He was one of the first photographers to benefit from the burgeoning fine art photography market of the 1970s, and he earned a growing following of collectors and curators leading to major exhibitions at The Museum of Modern Art, The Metropolitan Museum of Art, Moderna Museet, Stockholm, Art Institute of Chicago, and National Portrait Gallery, London, among many other institutions.

Irving Penn

Irving Penn in a Cracked Mirror (Self-Portrait) (A),

New York, 1986

Estimate: $25,000 – 35,000

Irving Penn

Mud Glove, New York, 1975

Estimate: $50,000 – 70,000

Irving Penn

Three Tulips ‘Red Shine’, ‘Black Parrot’, ‘Gudoshnik’,

New York, 1967

Estimate: $70,000 – 90,000

Irving Penn

Marriageable Young Woman of Imilchil, Morocco, 1971

Estimate: $20,000 – 30,000

An innovator in every sense, Penn’s approach to photography was bold. Few photographers of his generation experimented as widely with both conventional and historic print processes, and none achieved Penn’s level of excellence in all. Phillips’ auction will feature work in a variety of photographic media, including Penn’s bravura gelatin silver prints, such as Coffee Pot, nuanced platinum-palladium prints like Harlequin Dress (Lisa Fonssagrives-Penn), and rare dye-transfer prints, led by the iconic Ginkgo Leaves.

Vanessa Hallett, Phillips’ Deputy Chairwoman and Worldwide Head of Photographs, said, “Irving Penn was one of the foremost photographers of our time, standing alongside the great contemporary artists who have come to define the 20th-century art historical canon. Today, Penn’s vision and skill remain unequaled. Phillips is honored to work with the foundation in its 20th-anniversary year, shining a spotlight on Penn’s technical genius, creative process, and extraordinary output while presenting this groundbreaking work to a new audience. These works were preserved for decades by the artist and his foundation, hence their incredible provenance and condition. We are thrilled to provide a platform that educates the next generation of collectors on Penn’s impact, while assisting the foundation further its mission of preserving and advancing Penn’s legacy for years to come.”

Irving Penn

Cracked Egg, New York, 1958

Estimate: $30,000 – 50,000

Irving Penn

Cigarette No. 37, New York, 1972

Estimate: $150,000 – 250,000

Irving Penn

Coffee Pot, New York, 2007

Estimate: $20,000 – 30,000

Heralding an exceptional opportunity for collectors, many of the works selected from the foundation's archives have never before appeared at auction; this includes several examples from Penn's influential 1950 Black and White series for Vogue, and the large-scale four-panel platinum-palladium print of Mud Glove with typography advertising his 1977 Street Material exhibition at The Met. In addition to his work as a photographer, Irving Penn was also an accomplished painter and draftsman. For the first time at auction, Phillips will also showcase his work in these mediums, taking the opportunity to set forth the full range of this remarkable artist's creative output.

The Irving Penn Foundation was established in 2005 to promote knowledge and understanding of Irving Penn’s artistic legacy, including the diversity of techniques, mediums, and subject matters the artist explored. It is the largest repository of Irving Penn's work.

PHILLIPS NEW YORK

432 Park Avenue, New York, NY 10022

Click here for more information:

https://www.phillips.com/auctions/auction/NY040425

Coco Fusco @ El Museo del Barrio, NYC - "Tomorrow, I Will Become an Island" Exhibition

Coco Fusco

Tomorrow, I Will Become an Island

El Museo del Barrio, New York

September 18, 2025 — January 11, 2026

Coco Fusco

Photo by Aurelio Fusco

Coco Fusco

Your Eyes Will Be an Empty Word (still), 2021

HD Video, 13:30 mins

Courtesy of the artist and Mendes Wood DM

Coco Fusco

A Room of One's Own: Women and Power

in the New America, 2006-2008

Performance documentation

Courtesy the artist and Mendes Wood DM

El Museo del Barrio presents Coco Fusco: Tomorrow, I Will Become an Island, the first U.S. survey of the influential Cuban-American interdisciplinary artist and writer COCO FUSCO (b. 1960, lives in New York). The exhibition is spanning more than three decades of Fusco’s groundbreaking career.

Widely recognized for her incisive explorations of the dynamics of politics and power, Fusco’s interdisciplinary practice spans video, performance, installation, photography, and writing. Tomorrow, I Will Become an Island traces her extensive practice through a selection of more than twenty of her works, created since the 1990s and extending to a new photographic series on view for the first time at El Museo del Barrio.

“Coco Fusco stands among the most provocative voices in contemporary art. Her work challenges conventions, sparks vital conversations, and continues to resonate powerfully at a time of profound social and political reckoning.” —Patrick Charpenel, Executive Director, El Museo del Barrio

Organized thematically, the exhibition explores central concerns that Coco Fusco has addressed across her practice, including immigration, military power and surveillance, post-revolutionary Cuban history, and the lasting legacies of colonialism. The presentation offers an expansive view of her multidisciplinary approach through key bodies of work, including:

• Immigration Narratives: Works addressing the perception of immigrants in the US and Europe, including Everyone Here is a New Yorker (2025), a new photographic suite that extends from Fusco's 2024 public art video animation commission by More Art, Inc.

• Intercultural Misunderstandings: A room dedicated to Fusco’s projects, created in counterpoint to the 500th anniversary of the so-called “discovery” of the Americas, including a reproduction of her iconic Two Undiscovered Amerindians Visit the West (1992/2025), originally performed in collaboration with Guillermo Gómez-Peña.

• Interrogation Tactics: Video, photographs, and performance documentation that consider military tactics, surveillance technologies, and the exploitation of female sexuality in the War on Terror.

• Poetry and Power: A focused selection of video, featuring several works that reflect on the history of artists’ challenges to the Cuban government—a central subject in Fusco’s oeuvre. Together, this selection illuminates the breadth and depth of Fusco’s artistic vision—one that remains acutely relevant in today’s national political and cultural climate.

Coco Fusco

La noche eterna (The Eternal Night), 2023

HD Video, 1:13:45 mins

Courtesy the artist and Mendes Wood DM

Coco Fusco

La plaza vacía (The Empty Plaza), 2012

HD Video, 11:53 mins

Collection of El Museo del Barrio, New York

Acquisition enabled by VEZA New Media Fund 2022

and headline supporters South SOUTH and Niio

Coco Fusco and Paula Heredia

The Couple in the Cage: A Guatinaui Odyssey, 2003

Video, 31 mins

Collection of El Museo del Barrio, New York

Acquired through "PROARTISTA: Sustaining the Work

of Living Contemporary Artists,"

a fund from the Jacques and Natasha Gelman Trust 2008.1

“El Museo del Barrio has been a steadfast supporter of Coco Fusco’s groundbreaking practice from early on, recognizing the power and potency of her work. This includes her participation in the groundbreaking 2008 exhibition Arte No es Vida, as well as her presence in recent collection-based shows such as Culture and the People and Something Beautiful. This survey extends that dialogue, offering audiences a deeper understanding of an artist whose voice remains as vital as ever.” —Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio

Tomorrow, I will Become an Island is organized by El Museo del Barrio in collaboration with MACBA Museu d’Art Contemporani de Barcelona.

Borrowing its title from the artist's recent monograph publication, Tomorrow, I will Become an Island is organized at El Museo del Barrio by Susanna V. Temkin, interim chief curator, and Rodrigo Moura, former chief curator, with support from Lee Sessions and Maria Molano Parrado. Exhibition design by Solomonoff Architecture Studio/SAS and graphic design by estúdio gráfico.

ARTIST COCO FUSCO

Coco Fusco is an interdisciplinary artist and writer based in New York. She is a recipient of a 2023 Free Speech Defender Award from the National Coalition Against Censorship, a 2021 American Academy of Arts and Letters Art Award, a 2021 Latinx Artist Fellowship, a 2021 Anonymous Was a Woman award, a 2018 Rabkin Prize for Art Criticism, a 2016 Greenfield Prize, a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts.

Fusco’s performances and videos have been presented at the 56th Venice Biennale, the Sharjah Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008, and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Walker Art Center, The Art Institute of Chicago, The Whitney Museum, the Centre Pompidou, and the Museum of Contemporary Art of Barcelona.

Coco Fusco is the author of numerous books, and she contributes regularly to The New York Review of Books and numerous art publications. Her monograph publication Tomorrow, I will Become an Island was published by Thames & Hudson in 2023.

Coco Fusco received her B.A. in Semiotics from Brown University (1982), her M.A. in Modern Thought and Literature from Stanford University (1985), and her Ph.D. in Art and Visual Culture from Middlesex University (2007). She is a Professor at the Cooper Union School of Art.

EL MUSEO DEL BARRIO, NEW YORK

1230 5th Avenue at 104th Street, New York, NY 10029

www.elmuseo.org

04/09/25

2025 Annual Exhibition @ The Campus, Hudson, NY - A platform for expansive thought and free-ranging artistic expression

2025 Annual Exhibition

The Campus, Hudson, NY

Through October 26, 2025

The Campus presents its second annual exhibition, on view through October 26, 2025. Organized by Timo Kappeller, this exhibition stretches over 35 rooms and the surrounding grounds of the former Ockawamick School in Claverack, NY, newly revived as a dynamic venue for contemporary art. As in the 2024 edition, The Campus seeks to build community and foster dialogue in upstate New York, and many of the included artists have ties to the region. Performances and programming are scheduled throughout the run of the exhibition.

A diverse group of artists has been invited to respond to the spatial rhythm of the site and layer new meaning atop existing associations and touchstones. Thirty solo and duo full-room installations anchor the show alongside focused group presentations of painting, photography and ceramics. These site-responsive activations, recently created artworks, and historical reevaluations were developed through a yearlong process-led and artist-driven curatorial strategy. Rather than situating these works within a thematic framework, The Campus functions as a platform for expansive thought and free-ranging artistic expression.

Selected highlights:

Recent large-scale paintings by Rita Ackermann take earlier work as a starting point to reexamine a scene from multiple angles. Relationships between bodies of work, camera and picture plane, and abstraction and figuration are layered in a state of continual flux.

Corydon Cowansage’s murals and paintings suffuse a former classroom with hypnotic color and sensual shapes, straddling the space between biological and botanical imagery.

Rarely seen sculptures by Ming Fay explore the symbolic resonance, shape, color, and texture of fruits, seeds, seashells, and other nature-inspired hybrid forms—enlarged to invite both encounter with and appreciation of the natural world.

Katharina Grosse, known for large-scale site interventions, has conceived two adjoining silk-draped rooms in visual dialogue with mirrored works by Daniel Buren and improvisational sculptures by Arlene Shechet.

Exploring the unknowability of his own body, Naotaka Hiro presents a bronze sculpture along with a pair of new paintings—maps of a body’s workings as it grapples with the painting’s surface from above and below.

Char Jeré’s layered installation draws on Afro-fractalist theory, her own autobiography, and a background in data analytics to examine the ways in which the built networks of our world enact a complicated relationship between race and technology.

A group of vibrant soft sculptures by Marta Minujín epitomize her ongoing pursuit of a radically dynamic and temporal art, implicating the body of the artist, the viewer, and the body politic.

Drawing sessions hosted by Oscar Murillo Studio took place throughout the opening weekend (end of June), and visitors of all ages were invited to draw freely on canvases in a celebration of collective spirit. The canvases will go on to become part of a collaborative artwork for the 36th São Paulo Biennial.

Naudline Pierre debuts new paintings and works on paper in a large former classroom, inviting viewers to step into her immersive and otherworldly landscapes that situate personal mythology and transcendent intimacy alongside canonical narratives of devotion.

Dana Schutz and Ryan Johnson—partners in life and studio—present an exchange between their practices, combining Schutz’s paintings with Johnson’s sculptural forms in a spirited interplay.

Kiki Smith’s dreamlike photographs, sculptures, and textile works illustrate a multifaceted reflection on how the literal and symbolic meanings of light and sight affect the human condition.

A compelling group of sculptural wooden wall works by Richard Tuttle, recently made in New Mexico and on view for the first time, offer insight into the artist’s ongoing investigation of material and form.

An immersive, museological display by Francis Upritchard features sculpture and works on paper that tread the line between realism and fantasy, fusing her idiosyncratic blend of references from literature, ancient sculptures, burial grounds, science fiction, folklore, miniatures, and frescoes.

Participating artists include: Rita Ackermann, Lisa Alvarado, Jean Arp, Tauba Auerbach, Trisha Baga, Ranti Bam, Ernie Barnes, Huma Bhabha, Blinn & Lambert, Katherine Bradford, Daniel Buren, William Copley, Corydon Cowansage, Sarah Crowner, Carmen D’Apollonio, Michael Dean, Mark Dion, Hadi Falapishi, Monir Shahroudy Farmanfarmaian, Ming Fay, Jason Fox, Magdalena Suarez Frimkess, Vanessa German, Ann Gillen, Jan Groover, Katharina Grosse, Nicolás Guagnini, Daniel Guzmán, Maren Hassinger, Cynthia Hawkins, Paula Hayes, Lena Henke, Naotaka Hiro, Marcus Jahmal, Xylor Jane, Ann Veronica Janssens, Char Jeré, Ryan Johnson, Allison Katz, Byron Kim, Zak Kitnick, Andrew Kuo, Alicja Kwade, Dr. Lakra, Jim Lambie, Liz Larner, Margaret Lee, Fernand Leger, Richard Long, Liz Magor, Sylvia Mangold, Marta Minujín, Oscar Murillo, Aliza Nisenbaum, Mary Obering, Virginia Overton, Paul Pfeiffer, Naudline Pierre, Charles E. Porter, Nancy Rubins, Dana Schutz, Nancy Shaver with Wolf, Arlene Shechet, Dana Sherwood, Elias Sime, Skuja Braden, Kiki Smith, Monika Sosnowska, Vivian Suter, Toshiko Takaezu, Cynthia Talmadge, Richard Tuttle, Francis Upritchard, Nari Ward, Lawrence Weiner, Jordan Wolfson, Stanley Wolukau-Wanambwa, Molly Zuckerman-Hartung.

The Campus is owned and operated by a consortium of six galleries: Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps, and kurimanzutto.

The exhibition is curated by Timo Kappeller, Artistic Director of The Campus. Curatorial team: Jesse Willenbring and Shira Schwarz. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for cultural exchange.

THE CAMPUS

341-217 Hudson, NY

www.thecampusupstate.com

2025 Annual Exhibition @ The Campus, Hudson, NY, June 28 - October 26, 2025

03/09/25

Yuan Fang @ Skarstedt Gallery, NYC - "Spaying" Exhibition

Yuan Fang: Spaying

Skarstedt Gallery, New York

September 4 – October 25, 2025

Skarstedt Chelsea presents Spaying, Yuan Fang’s second solo exhibition with the gallery (the previous one was in London). In this deeply personal and formally rigorous body of work, Yuan Fang turns inward, offering a meditation on illness, identity, and the intricate architecture of womanhood. In addition to her large-scale canvases, Yuan Fang debuts a suite of smaller, more intimate paintings—what the artist refers to as “subplots,” fragments of a larger, lived narrative.

The exhibition’s title alludes to the medical and emotional ramifications of Fang’s recent breast cancer diagnosis and subsequent treatments, functioning as a reference not only to the potential biological consequences of her treatment, but also the literal act of cutting—a gesture central to her process. Through cycles of modification, layering, and erasure, Yuan Fang pares down each composition until a dominant “entity” emerges. These central forms, always abstract yet bodily, function as torsos, anchoring each painting with a visceral sense of presence. “I need my paintings to be confrontational,” Yuan Fang notes, and indeed, each image carries that charge, meeting the viewer with both the emotional weight of her experience and a visual strength that builds like a storm on the horizon.

New to this body of work is Fang’s embrace of negative space. Informed by the tradition of “leaving blank” in Chinese painting, these compositional voids focus the viewer’s attention on what remains. Separately, the rhythm of her studio practice has slowed, inviting longer periods of contemplation and greater attention to detail. The resulting compositions feel more deliberate with each painting charged with quiet intensity.

Autobiographical threads run throughout. Several works incorporate the artist’s own medical imaging subtly embedded in the compositions, such as Accumulating, Breaking Through the Defense Line. Others channel the psychic toll of external expectation and all of the rage, pressure, and fatigue that accompany it.

Throughout the show, Yuan Fang navigates the porous boundaries between vulnerability and strength, life and death. This emotional duality is echoed in the palette of deep burgundies, forest greens, and indigos, and in the evocative titles of works such as Standing, Injured Horse and Bloody Meteorite Falling from the Sky. In the ease of her oil transitions and the fluidity of her lines, there is a quiet but profound sense of release. The works in Spaying may emerge from pain, but they insist on clarity. Though anchored in personal experience, Spaying broadens Fang’s ongoing investigation into the construction of feminine identity and the quiet rebellions required to reclaim it. Confronting her own mortality has yielded a new lucidity, and with it, a sharpened resolve to live on her own terms.

SKARSTEDT NEW YORK CHELSEA

547 West 25th New York, NY 10001

www.skarstedt.com

02/09/25

Jangueando: Recent Acquisitions, 2021-2025 Exhibition @ El Museo del Barrio, New York

Jangueando: Recent Acquisitions, 2021-2025

El Museo del Barrio, New York

August 28, 2025 — Summer 2026

Laura Aguilar

Plush Pony #25, 1992

Gelatin silver print

Collection of El Museo del Barrio, New York

Gift of the Acquisitions Committee

Photo by Matthew Sherman

william cordova

2 tienes santo pero no eres Babalawo, 2023

Mixed media

Collection of El Museo del Barrio, New York

Gift in memory of Rudy Perez

Danielle De Jesus

Loyalty like this doesn't exist anymore, 2021

Oil on linen

Collection of El Museo del Barrio, New York

Gift of Noah Roy

Photo by Dario Lasagni

Mundo Meza

Kuikuro Jakui Flutes, 1976

Acrylic on canvas

Collection of El Museo del Barrio, New York

Gift of the Estate of the artist

Photo by David Frantz

El Museo del Barrio in New York presents Jangueando: Recent Acquisitions, 2021–2025, a dynamic exhibition showcasing 39 newly acquired works by 36 artists that reflect the Museum’s ongoing commitment to representing the cultural vibrancy and complexity of Latinx and Latin American communities. This exhibition marks a bold and celebratory moment for El Museo’s evolving Permanent Collection.

“Jangueando embodies El Museo del Barrio’s unwavering commitment to artists whose work captures the complexities, resilience, and brilliance of our Latine culture. In this moment of heightened threats, this exhibition becomes more than a celebration—it asserts the power of gathering—of hanging out—as a form of resistance, healing, and transformation.” —Patrick Charpenel, Executive Director, El Museo del Barrio.

The title is a play on words. It looks to janguear, Puerto Rican slang for socializing with friends. From hanging out to hanging art, here it uses the museum context to create a space of dialogue and gathering. At a time when many of the communities represented by El Museo del Barrio are under attack—through immigration raids, backlash against DEI initiatives, and the cancellation of federal grants—these multiple interpretations imply both solidarity and a political call to action through holding space and kinship.

Hiram Maristany

The Gathering, 1964/2022

Silver gelatin print

Collection of El Museo del Barrio, New York

Museum Purchase

Carlos Motta with Higinio Bautista

Shaman Boa, 2023

Carved wood

Collection of El Museo del Barrio, New York

Gift of the Acquisitions Committee

Benjamin Muñoz

Contract Labor, 2024

Chine collé woodcut on paper

Collection of El Museo del Barrio, New York

Gift of Benjamin & Julianna Muñoz

Jaime Muñoz

Metal Only, 2022

Acrylic, glitter, paper, and velvet on wood panel

Collection of El Museo del Barrio, New York

Gift of Lio Malca

El Museo del Barrio’s Permanent Collection of more than 8,500 artworks was shaped by the Museum’s unique history as an artist-led, community-focused institution from when it was first established in 1969. The founding community of the Museum faced extreme racism and economic hardship and insisted that art had the power to help communities connect in the face of these trials and, together, imagine alternative ways of being.

Jangueando brings together 39 works by artists at various stages in their careers, representing a range of generations, cultural perspectives, and media—including painting, photography, sculpture, and video. Organized into thematic clusters, select groupings build on the museum’s historical strengths, such as Puerto Rican and Nuyorican portraiture, Latinx photography, and printmaking. The exhibition also highlights the evolution of the museum’s collecting strategy, with renewed focus on queer artists and those of Indigenous descent.

“Ever evolving, El Museo del Barrio’s distinct Permanent Collection stands as a testament to the artists, cultural workers, donors, and community members who have helped build and shaped it over time,” says Susanna V. Temkin, Interim Chief Curator, El Museo del Barrio. “Jangueando marks an exciting new chapter in the Museum’s evolution as a collecting institution—serving not only as a platform to debut new acquisitions, but also as a reflection of our shared, collective spirit. The exhibition offers both a framework and a provocation to what is at stake in being together.”

Juan Sánchez

Still from Unknown Boricua Streaming:

Nuyorican State of Mind, 2011

Video, color with sound, 8:09 mins

Collection of El Museo del Barrio, New York

Gift of Javier Lumbreras

Ethel Shipton

Change Cambio, 2020

House paint and vinyl on wooden panel

Collection of El Museo del Barrio, New York

Gift of the artist and Ruiz-Healy Art

Daiara Tukano

Hori, 2023

Acrylic on canvas

Collection of El Museo del Barrio, New York

Gift of Daiara Tukano and Millan

Artists whose works are on view in the exhibition include:

Eduardo Abaroa (1968, Mexico City, Mexico; lives in Mexico City)

Laura Aguilar (1959, San Gabriel, CA – 2018, Long Beach, CA)

José Alicea (1928, Ponce, Puerto Rico; lives in Río Piedras, Puerto Rico)

Lola Álvarez Bravo (1903, Lagos de Moreno, Mexico - 1993, Mexico City, Mexico)

assume vivid astro focus (formed in New York, NY in 2001)

Myrna Báez (1931, Santurce, Puerto Rico – 2018, Hato Ray, Puerto Rico)

Higinio Bautista

Eloy Blanco (1933, Aguadilla, Puerto Rico – 1984, New York, NY)

Luis Carle (1962, San Juan, Puerto Rico; lives in New York, NY)

Los Carpinteros (formed in La Havana, Cuba in 1992)

Manuel Chavajay (1982, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

william cordova (1971, Lima, Peru; lives in North Miami Beach, FL)

Abraham Cruzvillegas (1968, Mexico City, Mexico; lives in Mexico City)

Danielle De Jesus (1987, Brooklyn, NY; lives in Brooklyn)

Sandra Gamarra Heshiki (1972, Lima, Peru; lives in Madrid, Spain)

Luis Gispert (1972, Jersey City, NJ)

Matías González Chavajay (b. 1959, San Pedro La Laguna, Guatemala, lives in San Pedro La Laguna)

Pedro Rafael González Chavajay (b. 1956 in San Pedro la Laguna, Guatemala, lives in San Pedro La Laguna)

Julia Isidrez (1967, Itá, Paraguay; lives in Itá)

Antonio C. Ixtamer (b. in 1968 in San Juan la Laguna, Guatemala, lives in San Juan la Laguna, Guatemala)

Lidia Lisbôa (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

Marepe (Marcos Reis Peixoto) (1970, Santo Antônio de Jesus Bahia, Brazil; lives in Santo Antônio de Jesus)

Hiram Maristany (1945, New York, NY – 2022, St. Petersburg, FL)

Maria Teodora Mendez de González

Mundo Meza (1955, Tijuana, Mexico - 1985, Los Angeles, CA)

Carlos Motta (1978, Bogota, Colombia; lives in New York, NY)

Benjamin Muñoz (1993, Dallas, TX; lives in Dallas)

Jaime Muñoz (1987, Los Angeles, CA; lives and works in Pomona, CA)

Paula Nicho Cúmez (1955, Comalapa, Guatemala, lives in Comalapa)

Miguel Pou y Becerra (1880, Ponce, Puerto Rico - 1968 San Juan, Puerto Rico)

Juan Sánchez (1954, Brooklyn, NY; lives in Brooklyn)

Ethel Shipton (1963, Laredo, TX; lives in San Antonio, TX)

Valeska Soares (b. 1957, Belo Horizonte; lives in Brooklyn)

Laureana Toledo (1970, Ixtepec, Mexico; lives in Mexico City, Mexico)

Rigoberto Torres (1960, Aguadilla, Puerto Rico; lives in New York, Puerto Rico, and Florida)

Daiara Tukano (1970, Guaira, Brazil; lives and works in São Paulo, Brazil)

The exhibition is organized by the Curatorial Department of El Museo del Barrio: Zuna Maza, Lee Sessions, and Susanna V. Temkin, with María Molano Parrado.

EL MUSEO DEL BARRIO, NEW YORK

1230 5th Avenue at 104th Street, New York, NY 10029

www.elmuseo.org

01/09/25

Wayne Ngan @ James Cohan Gallery, NYC - "Spirit and Form" Ceramics Exhibition

Wayne Ngan: Spirit and Form

James Cohan Gallery, New York

September 5 — October 4, 2025

Wayne Ngan

Yellow Vase with Lugs, 2016, Rust Coloured Vase, 2017

Yukon Black Jar with Geometric Lugs, c. 2000s,

Thin Vase with Cast Iron Glaze, 2014, White Vase, 2016

Photo courtesy of James Cohan Gallery

Wayne Ngan (b. 1937 Guangdong, China - d. 2020 Hornby Island, BC, Canada) is recognized as one of Canada’s premier ceramic artists. Ngan’s lengthy career spanned over six decades. At the age of thirteen, Wayne Ngan moved from Guangdong, China to a vastly different British Columbia, Canada. Wayne Ngan was determined to make a name for himself as an artist despite challenging circumstances. His practice drew influence from traditional Chinese, Korean, and Japanese pottery, as well as Modernist painting, pre-Columbian and ancient Egyptian art. Ngan’s extensive knowledge of these historic precedents and his connection to the natural beauty of Canada’s Hornby Island informed his abstract sculptural forms. This exhibition at James Cohan spotlights a selection of cornerstone works, created in the 1990s and the last decade of the artist’s life.

Inspired by the back-to-the-land movement, popularized in the 1960s and 70s, Wayne Ngan centered his life and artistic practice around a harmonious relationship with the environment anchored in self-sufficiency. Ngan sourced natural materials both to build his home and studio on Hornby Island, and also to fuel his artmaking, experimenting with creating various glazes from clay like Yukon black, a deep noir glaze with high shine. Ngan was committed to exploring process, using the wealth of knowledge he gained from his regular travels to China and Japan as well as independent research to refine techniques such as raku, hakeme (coarse brush decoration), and salt glazing. Waynes Ngan built his forms by throwing and altering pieces of clay, then sculpting them together. He would occasionally fashion elements that extend outwards and generate curvilinear, spouted openings in others. Here, elegantly elongated vessels in earth tones are in dialogue with compact lidded forms, which seem to contain the energy Ngan expended to render them. Their surfaces are varied – ranging from textural and patterned to slick and smooth. According to Wayne Ngan, “There are two ways of looking at pots: one is the actual clay pot, but the real pot to me is all around me—the spirit of the pot.”

Through his work in clay, Wayne Ngan fused East and West, the past and the present, collapsing disparate chronologies and geographies into intimate, evocative objects.

CERAMIC ARTIST WAYNE NGAN

Wayne Ngan studied at the Emily Carr University of Art and Design, formerly the Vancouver School of Art. The influential teachings of British potter Bernard Leach and Soetsu Yanagi, founder of the Mingei, a Japanese folk art movement (prioritizing beauty in the everyday) resonated strongly with ceramic artists in British Columbia, including Wayne Ngan. In 1967, Wayne Ngan settled on Hornby Island, where he lived and worked until his passing in 2020.

Wayne Ngan’s work has been exhibited in numerous solo and group exhibitions since the 1960s at venues including the Vancouver Art Gallery; the National Gallery of Canada; the Gardiner Museum, Toronto; Hanart Art Gallery, Taipei, Taiwan; Nathalie Karg Gallery, New York; the Art Gallery of Greater Victoria; The Apartment in Vancouver; and the American Crafts Museum, Concord, Massachusetts, among others. Ngan’s ceramics are in notable public collections such as the Vancouver Art Gallery, the Montréal Museum of Fine Art, the Gardiner Museum, the National Palace Museum (Taipei, Taiwan), the Art Gallery of Greater Victoria, the Canadian Museum of Civilization, and the Morris and Helen Belkin Art Gallery, University of British Columbia.

JAMES COHAN

48 Walker Street, New York, NY 10013

www.jamescohan.com

31/08/25

Ana Cláudia Almeida @ Stephen Friedman Gallery, NYC - "Over Again" Exhibition

Ana Cláudia Almeida: Over Again

Stephen Friedman Gallery, New York

5 September - 18 October 2025

Ana Cláudia Almeida

Licking, 2025

Stephen Friedman Gallery, New York, presents Over Again, an exhibition of new paintings and drawings by Brooklyn-based, Brazilian artist ANA CLAUDIA ALMEIDA. This marks the artist’s first solo exhibition in New York.

Ana Cláudia Almeida is an artist whose work explores materiality through movement and mark-making, incorporating a range of media including paper, plastic, oil pastels, paint, video, and sculpture. Her practice seeks to disrupt the functional role of objects by examining the dynamic tension between interior and exterior, individual and environment. The fluttering nature of her works on fabric, the shifting quality of her sculptures, and the kaleidoscopic fragmentation of her large-scale paintings transform intangible memories into physical form.

In Over Again, drawing, oil painting, sculpture, and plastic collide in what Ana Cláudia Almeida describes as an “ecosystem of pieces,” where each medium leaks into the next—a monotype that wants to be a drawing, a drawing that yearns to be a painting, and plastic remnants that refuse to be cast aside. Processes coexist and collide across surfaces, embodying the changeability that sustains both life and artistic practice. Her work reflects the cyclical nature and plasticity of life, tracing the ways in which every action leaves an imprint that shapes what comes next.

Ana Cláudia Almeida’s new body of work—and the exhibition’s title—draws inspiration from Brazilian musician Tim Maia’s song Over Again, which she embraces as a mantra urging liberation from rigid patterns in mind, body, and daily life. Literature, music like Maia’s, and the people she’s met have opened her to alternative ways of living, offering a vision of a less harsh existence. “Precisely in the moments when everything felt more urgent than fabulation, allowing myself that exercise was one of the greatest experiences of freedom I could have had… and now my new pleasure is to lean into the place that hope occupies in the lives of us, Black people.”

In works like Cascata II (2025), Ana Cláudia Almeida revisits the notion of freedom—inseparable, for her, from hope. The largest work in the exhibition is composed of vividly painted fabric that cascades from the gallery ceiling. Its free-flowing brushstrokes unfurl in winding swaths of color, a stunning display of the artist’s intuitive process. This sense of unrestrained movement extends throughout the exhibition: in Dew (gripe) and Belly full of liquids (both 2025), Almeida uses expanses of white space to frame and amplify her vibrant, expressive line drawings.

For Over Again, Ana Cláudia Almeida assembles a constellation of works that speak to difference, resilience, and the radical act of imagining otherwise. Together, they form what she calls “an essay for a world of differences and complexities”—a defiant refusal of the “machine of existence-flattening” and an invitation to inhabit a space where freedom and hope are lived, shared possibilities.

Artist Ana Cláudia Almeida

Ana Cláudia Almeida (b. 1993, Rio de Janeiro, Brazil; lives in Brooklyn, New York) is a multidisciplinary artist whose practice spans painting, sculpture, and video. Her work has been exhibited widely in Brazil and internationally. Notable presentations include a two-person exhibition with Tadáskía at the Nevada Museum of Art as part of the Joyner/Giuffrida Visiting Artists Programme; Guandu Paraguaçu Piraquara at Fortes D’Aloia & Gabriel, Rio de Janeiro; Buracos, Crateras e Abraços at Quadra, Rio de Janeiro; and Wasapindorama at Fundação de Arte de Niterói, Niterói. Group exhibitions include Ensaios sobre a Paisagem at Instituto Inhotim, Brumadinho; Olhe bem as montanhas at Quadra, São Paulo; Essas Pessoas na Sala de Jantar at Casa Museu Eva Klabin, Rio de Janeiro; Crônicas Cariocas at Museu de Arte do Rio; and Casa Carioca at Museu de Arte do Rio.

Ana Cláudia Almeida holds a BFA from Universidade do Estado do Rio de Janeiro and an MFA from the Yale School of Art.

Her work is held in the public collections of Museu de Arte do Rio, Instituto Inhotim, Sesc Rio de Janeiro, and the Nevada Museum of Art.

STEPHEN FRIEDMAN GALLERY NEW YORK

54 Franklin Street, New York 10013

www.stephenfriedman.com