Showing posts with label NYC. Show all posts
Showing posts with label NYC. Show all posts

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
Irving Penn
Mouth (For L’Oréal) (A), New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Irving Penn
Irving Penn
Harlequin Dress (Lisa Fonssagrives-Penn), New York, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $200,000 – 300,000

Irving Penn
Irving Penn
Ginkgo Leaves, New York, 1990
© The Irving Penn Foundation, © Condé Nast
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
Irving Penn
Black and White Hat, New York, 1950
© The Irving Penn Foundation, © Condé Nast
Estimate: $25,000 – 35,000

Irving Penn
Irving Penn
Untitled, circa 1987
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn
Irving Penn
Miles Davis Hand on Trumpet,
New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $70,000 – 90,000

Irving Penn
Irving Penn
Télégraphiste, Paris, 1950
© The Irving Penn Foundation, © Condé Nast
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
Irving Penn in a Cracked Mirror (Self-Portrait) (A)
New York, 1986
© The Irving Penn Foundation, © Condé Nast
Estimate: $25,000 – 35,000

Irving Penn
Irving Penn
Mud Glove, New York, 1975
© The Irving Penn Foundation, © Condé Nast
Estimate: $50,000 – 70,000

Irving Penn
Irving Penn
Three Tulips ‘Red Shine’, ‘Black Parrot’, ‘Gudoshnik’
New York, 1967
© The Irving Penn Foundation, © Condé Nast
Estimate: $70,000 – 90,000

Irving Penn
Irving Penn
Marriageable Young Woman of Imilchil, Morocco, 1971
© The Irving Penn Foundation, © Condé Nast
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
Irving Penn
Cracked Egg, New York, 1958
© The Irving Penn Foundation, © Condé Nast
Estimate: $30,000 – 50,000

Irving Penn
Irving Penn
Cigarette No. 37, New York, 1972
© The Irving Penn Foundation, © Condé Nast
Estimate: $150,000 – 250,000

Irving Penn
Irving Penn
Coffee Pot, New York, 2007
© The Irving Penn Foundation, © Condé Nast
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: 

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
Coco Fusco
Photo by Aurelio Fusco

Coco 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
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
Coco Fusco 
La noche eterna (The Eternal Night), 2023
HD Video, 1:13:45 mins
Courtesy the artist and Mendes Wood DM

Coco Fusco
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 - Paula Heredia
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

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

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
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
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
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
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
Hiram Maristany
The Gathering, 1964/2022
Silver gelatin print
Collection of El Museo del Barrio, New York 
Museum Purchase

Carlos Motta - Higinio Bautista
Carlos Motta
with Higinio Bautista 
Shaman Boa, 2023 
Carved wood 
Collection of El Museo del Barrio, New York 
Gift of the Acquisitions Committee 

Benjamin Munoz
Benjamin Muñoz 
Contract Labor, 2024 
Chine collé woodcut on paper 
Collection of El Museo del Barrio, New York 
Gift of Benjamin & Julianna Muñoz

Jaime Munoz
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 Sanchez
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
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
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 

01/09/25

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

Wayne NganSpirit and Form
James Cohan Gallery, New York
September 5 — October 4, 2025 

Wayne Ngan Ceramics
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

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 Claudia Almeida
Ana Cláudia Almeida
Licking, 2025
© Ana Cláudia Almeida, courtesy Stephen Friedman Gallery

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

Jordan Nassar @ James Cohan Gallery, NYC - "REVELATION" Exhibition

Jordan Nassar
REVELATION
James Cohan Gallery, New York
September 5 - October 4, 2025

Jordan Nassar
Jordan Nassar
Photo by Takamasa Ota

James Cohan presents REVELATION, an exhibition of new work by JORDAN NASSAR at the gallery’s 48 Walker Street location. This is Nassar’s fourth solo exhibition with James Cohan. 

In REVELATION, Jordan Nassar reimagines traditional craft techniques across expansive multipanel embroideries and transportative mosaics to explore inherited nostalgia, history, and heritage. His recent embroideries are poignant meditations on color, as well as light and darkness; they reveal and conceal brilliantly-hued landscapes. In the front gallery, mosaics echoing Byzantine ruins wrap around the walls, eliciting the past in a contemporary site.

Jordan Nassar’s intricately hand-stitched works were made with the participation of Palestinian craftswomen living and working in Bethlehem, Ramallah, and Hebron. Notably, the geometric motifs extend across the entire plane of the canvases, creating dense walls of patterning that obscure imagined vistas. The shadowy palette of these works reflects a somber reverence, one that is punctuated by moments of brightness. A valley lit by a glowing crimson sun emerges from shades of gray in the aptly named Between Two Hedges of Silence, 2025. The artwork titles, as well as that of the exhibition, were inspired by Etel Adnan’s epic poem, The Arab Apocalypse. Jordan Nassar draws on the close linguistic connection between the Greek etymology of apocalypse with the act of unveiling [from apokaluptein, ’to uncover, to reveal’]. Viewers are granted a window of what lies beyond from multiple vantage points and perspectives. 

Alongside these embroideries, the artist has reconstructed two archaeological antiquities, employing the ancient method of hand-cutting glass. The originals are displayed in the arrivals corridor at the Ben Gurion Airport in Tel Aviv as a welcome marker. The first is a fragment of a mosaic floor from a 5th-6th century Byzantine structure attributed to BethLehem of the Galilee; in this installation it is intentionally flipped on its side. Jordan Nassar has depicted its flora and fauna, mirroring its design and formal qualities, to vividly bring this ruin to life. He also asserts his own aesthetic choices, filling in eroded areas with exotic animals and curving grape vines that nod to the intricate Shellal mosaic excavated from the Wadi Ghuzze riverbed and now housed in the Australian War Memorial. 

Jordan Nassar describes “the act of remaking them as a tender gesture,” reframing the historical lineage of the craft as he interprets it. Bisan (Blessed shalt thou be when thou comest in, and blessed shalt thou be when thou goest out) (Deuteronomy 28:6), 2025, is the artist’s translation of a square mosaic from the historic city of the same name, decorated heavily with birds with ribbons tied around their napes. Here, Jordan Nassar has unbridled the birds of their ribbons. Ultimately, Jordan Nassar raises questions about the underlying symbolism of ruins, the implicit power that they project and the narratives they can be used to construct and uphold.

Artist Jordan Nassar

Jordan Nassar (b.1985, New York, NY) earned his BA at Middlebury College in 2007. Recent notable solo exhibitions include Jordan Nassar: Fantasy and Truth at the Institute of Contemporary Art/Boston in 2023 and THERE in 2024-2025, which traveled from NCMA Winston-Salem (formerly SECCA) in North Carolina to the Susquehanna Art Museum in Pennsylvania. His work has been featured in exhibitions globally at institutions including the Whitney Museum of American Art, New York, NY; Asia Society, New York, NY; Princeton University Art Museum, Princeton, NJ; Museum of Arts and Design, New York, NY; KMAC Museum, Louisville, KY, among others.

Jordan Nassar is represented in numerous permanent collections including the Buffalo AKG Art Museum, New York; Des Moines Art Center, Iowa; The Whitney Museum of American Art, New York; The Alfond Collection of Contemporary Art, Rollins Museum of Art, Florida; The Institute of Contemporary Art, Florida; Dallas Art Museum, Dallas, TX; The Museum of Contemporary Art, California; and Rhode Island School of Design Museum, in Rhode Island. Nassar is the recipient of several awards including the 2022 Unbound United States Artists Fellowship and the Louis Comfort Tiffany Foundation 2024 Biennial Grant.

JAMES COHAN
48 Walker Street, New York, NY 10013

30/08/25

Spencer Finch @ James Cohan Gallery, NYC - "One Hundred Famous Views of New York City (After Hiroshige)" Exhibition

Spencer Finch
One Hundred Famous Views of New York City (After Hiroshige)
James Cohan Gallery, New York
September 5 - October 4, 2025

Spencer Finch
SPENCER FINCH
One Hundred Famous Views of New York City 
(After Hiroshige), 2025 (detail)
42 watercolors on paper
9 1/4 x 14 1/4 in (each) / 23.5 x 36.2 cm (each)
© Spencer Finch, courtesy of James Cohan Gallery

James Cohan presents One Hundred Famous Views of New York City (After Hiroshige), an exhibition of new work by SPENCER FINCH, on view at the gallery’s 52 Walker Street location. This is Finch’s sixth solo exhibition with James Cohan. 

For this exhibition, Spencer Finch presents four major installations, highlighting the artist’s fluency across media. Using watercolor, LED light tubes, stained glass, and concrete bricks, the artist explores different facets of Japanese aesthetics while furthering his ongoing investigations into color, perception, and close observation of nature. Finch’s engagement with Japan spans nearly fifty years, beginning with his first visit as a teenager. He began his artistic journey working with a potter outside Kyoto as an exchange student in college, and although the influence of Japanese visual culture has always been present in his work, this is the first exhibition fully dedicated to its impact on his practice. 

The title work in the exhibition is a conceptual and technical tour de force, a series of 42 watercolors in which Spencer Finch uses Hiroshige’s One Hundred Famous Views of Edo as a palimpsest for exploring the strange beauty of New York City. Spencer Finch began by overlaying a map of Hiroshige’s 19th-century Edo (now Tokyo) locations over a map of New York City and its outskirts at the same scale. Focusing on the first 42 prints, which represent spring, he visited and photographed each of those locations between March and June of this year. The sites documented range from a junkyard in New Jersey to an iconic view of the Statue of Liberty and the Staten Island Ferry.

Spencer Finch next extracted forms from the original Ukiyoe prints—from the famous Sleeping Dragon Plum tree to the classic hanging bolts of fabric—and used these as templates to reveal elements of photographs from the corresponding New York locations. He then painted watercolors of these images in the same format as the original prints. One sees Hiroshige’s historic Edo and Finch’s New York City simultaneously, the images of Gotham peeking through the cut-out shapes of Edo. As a body of work, this installation represents both a love letter to New York and a cross-cultural dialogue spanning centuries, as Finch reimagines the contemporary urban landscape through the lens of Hiroshige’s iconic woodblock prints. 

The exacting verisimilitude of these watercolors is unusual in Finch’s oeuvre, but it recalls the artist’s formative art school venture of copying Monet paintings in extreme detail in the RISD Museum, an experience he later described as “my first brush with the Stockholm syndrome.” The New York City views are fragmented through the Japanese prints but together reveal the wonderful visual variety of the city and form an elliptical tribute to the artist’s adopted hometown. The scrutiny inherent to this laborious process revealed new details about a deeply familiar place. As the artist notes, “Before I worked on this project, I never knew that New York’s bridges were all painted different colors or how graffiti artists achieve a 3-D effect. And the shade of orange of the Staten Island Ferry: very peculiar!”

Alongside this installation of works on paper, Spencer Finch debuts a series of four light-based Haiku works. Like their verse analogs, these wall-hung LED sculptures capture a fleeting seasonal moment, distilling it into a poetic image. Presented vertically in the format of Japanese writing, each work consists of 15 distinct color filters arranged in the 5/7/5 pattern of traditional haiku syllabic structure. These four works, each representing a moment in nature from one of the seasons, are chromatically and spectrally precise, re-creating the specific color of light that the artist measured in situ, and using colored filters to achieve the spectral results. Thus, the first in the group, Haiku (First Snow, Woods, Winter), 2025, emanates cool winter light which is generated by filters of light blue and violet, gray, pale yellow, and dull green. The difference in the seasonal light is palpable as the spring light becomes warmer, the summer light is completely full spectrum, and the autumn light, representing falling oak leaves in the sky, moves again towards cooler blue.

A monumental stained glass installation is displayed in the six tall windows of the front gallery. Moonlight (Reflected in a Pond), 2025, shifts the exterior sunlight to the color of moonlight reflected in a pond in Finch’s native New England, which he measured using a colorimeter. The yellowish green light creates an other-worldly environment which references the Japanese tradition of moon-viewing to honor the autumn moon. By using the sun to create moonlight, Spencer Finch uses the traditional material of hand-blown stained glass to modern conceptual effect. The rectilinear arrangement of panels in the windows contrasts with the watery ripples and imperfections of the glass to create a light and space condition which feels both contemporary and ancient.

Installed in the same gallery is a new site-specific sculptural work, Fourteen Stones, 2025, inspired by Ryoan-ji, the 15th-century Zen garden in Kyoto. Spencer Finch drew upon his visits to the garden, when his quest for quiet contemplation of the fifteen stones was interrupted by hordes of visiting school children counting to fourteen, the number of stones that are visible from any location along the viewing platform. Using this perceptual idiosyncrasy as a jumping off point to explore the subjectivity of vision, Spencer Finch created 26 “stones” out of piles of common concrete bricks, each crudely mimicking one of the Ryoan-ji stones. Spencer Finch has arranged the stones so that from each of the four corners of the gallery only fourteen are visible. Using the vocabulary of minimalism to naturalistic effect, the artist creates an altered meditative environment in which he claims, “if you squint and stand on one leg, they really look like ancient stones bathed in moonlight.” 

One Hundred Famous Views of New York City (After Hiroshige) continues Finch’s interest in the limits of perception, and the relativity of human experience. These new works embrace science and poetry in equal measure, communicating experiences of the world that are both universal and intimately subjective.

ARTIST SPENCER FINCH

Spencer Finch was born in 1962 in New Haven, CT, and lives and works in Brooklyn, NY. He studied at the Rhode Island School of Design, Hamilton College, and Doshisha University in Kyoto, Japan, and has exhibited extensively in the US and internationally since the early 1990s. Recent major projects include Bring me a sunset in a teacup, a two-wall commission for Massachusetts Institute of Technology (2023); Orion, permanently installed at the San Francisco Airport, CA (2020); Moon Dust (Apollo 17), Baltimore Museum of Art, MD (2019); Fifteen Stones (Ryoanji), International Pavilion at the Fundació Mies van der Rohe, Barcelona, Spain (2018); Lost Man Creek, Public Art Fund, Brooklyn, NY (2016-2018); Trying To Remember the Color of the Sky on That September Morning, 9/11 Memorial Museum, New York, NY (2014), and A Certain Slant of Light, Morgan Library & Museum, New York, NY (2014). Significant recent solo exhibitions include the Utah Museum of Fine Arts, Salt Lake City, UT (2018-2019); MASS MoCA, North Adams, MA (2017); Norton Museum of Art, West Palm Beach, FL (2017); Seattle Art Museum, WA (2017), and Turner Contemporary, Margate, United Kingdom (2014); Spencer Finch was included in the 2004 Whitney Biennial, the 2008 Turin Triennale and the 53rd Venice Biennale (2009). His work can be found in many public collections including the Art Gallery of New South Wales, Sydney, Australia; Art Institute of Chicago, Chicago, IL; Brooklyn Museum of Art, Brooklyn, NY; High Museum of Art, Atlanta, GA; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Kemper Museum of Art, St Louis, MO; Los Angeles County Museum of Art, Los Angeles, CA; Morgan Library, New York, NY; Museum of Contemporary Art Chicago, IL; Museum für Moderne Kunst, Frankfurt, Germany; National Gallery of Art, Washington, D.C.; Solomon R. Guggenheim Museum, New York, NY; and the Whitney Museum of American Art, New York, NY.

JAMES COHAN
52 Walker Street, New York, NY 10013

John Zurier @ Peter Blum Gallery, NYC - "Pink Dust" Exhibition

John Zurier: Pink Dust
Peter Blum Gallery, New York
September 2 – November 1, 2025

Peter Blum Gallery presents Pink Dust, an exhibition of new works by Berkeley and Reykjavík -based artist, JOHN ZURIER. This marks the artist’s eighth solo exhibition with the gallery.

John Zurier's exhibition Pink Dust features a body of work created over the past two years predominantly in Iceland. This group of smaller paintings and one large painting emerged from his time at a farmhouse at the base of a mountain with views of fields, the sea, and a glacier in the distance, deeply influencing his artistic practice. The works revisit and expand upon the abstract formal language Zurier developed after his initial visit to Iceland in 2002.

The exhibition title and the largest painting’s title, A History of Pink Dust, are taken from Ron Padgett's book of poems entitled, Pink Dust. They symbolize the tangible residue of the creative process—the erasures, revisions, and diligent effort in both poetry and painting. It speaks to accumulation and condensation, highlighting the complexity and time required to achieve simplicity.

Many of these paintings were created at a farm known for its persistent winds. John Zurier embraces this constant presence, viewing it as a pervasive form of breathing that moves through everything. He aims to cultivate stillness within this dynamic environment, striving for what he calls a silent, moving stillness that moves through the paintings themselves. Over the last two years, his focus has been on achieving greater density in the paintings, imbuing the atmosphere with more weight and making the light feel more substantial.

John Zurier's artistic exploration has led him deeper into the monochrome, which he perceives as a realm of infinite possibility. As color narrows—grays that hold traces of blue or green, whites that carry the memory of yellow— every delicate shift is amplified, encouraging a different mode of perception. Working with colors in lower registers and contrasts demands heightened attention. The paintings encourage viewers to slow down and engage with them over time, resisting quick interpretations and asserting their own temporal rhythms.

While some paintings possess the fluid immediacy of open skies, many surfaces are more distressed and worked. John Zurier employs techniques of scraping, wiping, building up, and tearing down, allowing the paint to accumulate the history of these actions. This creates a quality akin to weathering, mirroring how the Icelandic landscape bears the marks of time. Each surface functions as a field that can be simultaneously disrupted and continued, with marks creating their own logic and rhythm—what Zurier likens to the painting's breathing.

What John Zurier seeks is atmosphere as material itself. The unique, quiet diffusion of Iceland's air inspires him to have the paintings contain this quality. The slow light in Iceland fosters patience, building gradually and shifting imperceptibly with sudden shifts. Working in this light, Zurier has learned to trust the process over deliberate decisions, with paintings emerging from gradual layering.

These recent paintings demand more time to complete due to their layered complexity, requiring periods of dormancy between sessions, and thus holding a temporal density that reflects the desired atmospheric density within the work. Much like air holds moisture or light slows through water, these paintings embody a greater accumulation of time.

This working method has transformed Zurier's perception. His eye has adapted to subtlety, discerning micro-variations within apparent sameness. Stillness, for John Zurier, is not the absence of movement, but movement so concentrated it becomes its own form of rest. In these paintings, he strives to make this paradox visible—surfaces that vibrate with accumulated energy, yet offer profound quiet to those who spend time with them.

JOHN ZURIER (b. 1956, Santa Monica, CA) lives and works in Berkeley, CA and Reykjavík, Iceland. He earned an MFA at the University of California, Berkeley (1984). Instititutional exhibitions include Currier Museum, Manchester, NH (forthcoming 2026); Scheider Art Museum, Ashland, OR (forthcoming 2025); High Museum, Atlanta, GA (2025); The National Gallery of Iceland, Reykjavík (2023); Berkeley Art Museum, Berkeley, CA (2023, 2018, 2014); Stavanger Art Museum, Stavanger, Norway (2023); Moderna Museet Malmö, Sweden (2021); San Francisco Museum of Modern Art, San Francisco, CA (2017); New Mexico Museum of Art, Santa Fe, NM (2016); Colby Museum of Art, Waterville, ME (2015). He has exhibited at the 30th São Paulo Biennial, Brazil (2012); California Biennial, Orange County Museum of Art, CA (2010); 7th Gwangju Biennale, South Korea (2008); Kettle’s Yard, Cambridge, England (2003); and the Whitney Biennial, NY (2002). He received a John Simon Guggenheim Fellowship (2010).

PETER BLUM GALLERY
176 Grand Street, New York, NY 10013

29/08/25

Reza Aramesh, Nicola Samori, Hugo Wilson @ Nicodim Gallery, New York - "Mondegreens and New Understandings" Exhibition - With Text by Ben Lee Ritchie Handler

Mondegreens and New Understandings
Reza Aramesh, Nicola Samorì, Hugo Wilson
Nicodim Gallery, New York
September 2 – October 4, 2025
In death, in tragedy, in grief, in heartbreak, one’s recollections of the Before Times are often rose-tinted. Hindsight is not always 20-20; the moments before a fall are remembered with a false clarity, a nostalgia for the era prior to the Bad Thing that brought us to our current moment of despair. After the initial shock of the passing of a parent, the planes hitting, the papers being served, memory softens the years before whatever allegorical or literal bomb dropped. We subsequently highlight and reconfigure the way things were into an architecture that befits the narrative we wish to convey, like a eulogy strung together from slightly—sometimes severely—misremembered song lyrics.

Mondegreens and New Understandings is an exhibition of Starbucks lovers wrapped up like a douche while Tony Danza holds us closer in the bond that will bring us together. 

Reza Aramesh, Nicola Samorì, and Hugo Wilson’s respective practices build monuments to the act of tailoring recollections and reminiscences to suit one’s sense of self, in addition to personal and empiric legacies still being written and reconsidered. 

With Bactrian II, Wilson reappropriates a baseline symbol of Britain’s Orientalist duplicity with a rendering of a shaggy camel moulting its wool in a manner that recalls 18th century jewels of the crown like George Stubbs and John Wootten. The Bactrian breed is famously domesticated, but Wilson’s muse is flamboyant, unbridled, and sure-footed as he proudly trots through a greenish negative space that smirks of English school pretense. The camel is isolated, imperfections magnified—no gods, no masters. He’s almost winking at us, asking (and borrowing a mondegreen from Nigel Tufnel), “what’s wrong with being sexy?”

Aramesh’s Action 211, Site of the Fall: Study of the Renaissance Garden, At 12 noon, Monday 15 July 1968 presents a striking male figure carved in marble, either bound and stripped to be tortured, or slowly disrobing in anticipation of carnal fireworks. The work’s title is evasive in its specificity, the artist gives us an event, place, time, and date, inviting the viewer to speculate on the nature of the scene. Is this David in Calvin Klein preparing for la petite mort or the grand one? The artist’s staging of the human body challenges the viewer with questions of vulnerability and agency, but he alone knows the words to his song.

Samorì’s untitled oil-on-wood-with-copper-leaf piece features a man raising his arms above his head and craning his neck toward the heavens. The brushwork, palette, and subject are reminiscent of Caravaggio or Mario Minniti, but the medium itself is poetically deformed by Samorìs hand—he has peeled the figures arms off, exposing reflective copper leaf on its underside, the hanging “flesh” obscuring the subject’s face and torso. His positioning evokes both the ecstasy of a spiritual awakening and the agony of his dismemberment. If the medium is massaged back to wholeness, will the bodies contained within truly be restored?

In dialogue with one another, Aramesh, Samorì, and Wilson forge new pathways in the way we understand and interpret art history inside our present bubble. There are no fixed positions within the wonky salon of Mondegreens and New Understandings, but rather three unique practices which actively engage and manipulate the ever-evolving subjectivity of observing, reinterpreting, and misremembering the world through art and art in the world.

Ben Lee Ritchie Handler

REZA ARAMESH (b. Iran) lives and works between London and New York. He received an MA in Fine Arts from Goldsmiths University, London, in 1997. Aramesh reimagines scenes of global conflict through sculptural reenactments, stripping them of overt signs of war, violence, and historical context. The resulting works are caught between beauty and brutality, and question the representation of the male body in relation to race, class, and sexuality. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); Fragment of the Self, Night Gallery, Los Angeles (2025, solo); Foreigners Everywhere, 60th Venice Biennale, Venice (2024); Asia Society Triennial: We Do Not Dream Alone, Asia Society Museum, New York (2021); 12 noon, Monday 5 August, Asia Society Museum, New York (2019, solo); Action 180, Leila Heller Gallery, New York (2019, solo); Like Life: Sculpture, Color and the Body (1300–Now), The Met Breuer, New York (2018); Sculpture in the City, London (2021); Frieze Sculpture Park, London (2017); Art Basel Parcours, Basel (2017); At 11:57 am Wednesday 23 October 2013, Ab-Anbar Gallery, Tehran (2016, solo); and The Great Game, 56th Venice Biennale, Iran Pavilion, Venice (2015). His works have been staged in performative contexts at institutions such as the Barbican Centre, Tate Britain, and ICA, London. Aramesh’s practice is held in numerous public and private collections worldwide, including the Tate, UK; MOCAK, Poland; Rodin Museum; Versaille Palace Collection; Hugo Voeten Foundation; and the Zabludowicz Collection.

NICOLA SAMORI (b. 1977, Forlì, Italy) lives and works in Bagnacavallo, Italy. His work was included as a part of the Italian Pavilion at the 2015 Venice Biennale. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); La bocca di Berlino, Galerie EIGEN+ART, Berlin (2025, solo); The Ballad of the Children of the Czar, Galeria Nicodim, Bucharest (2024); KAFKAesque, DOX Centre for Contemporary Art, Prague (2024); Blend the Blind, Nicodim, New York (2024, solo); DISEMBODIED, Nicodim, Los Angeles (2024); Luce e sangue, Duomo di Napoli, Neapel (2023, solo); Luce e sangue, Chiesa di Santa Lucia alla Badia, Syrakus (2023, solo); Medea, Antico Mercato, Syracuse (2023); Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); DISEMBODIED, Nicodim, New York (2023); Le Ossa della Madre, Villa d’Este, Tivoli (2022, solo); On the Wall, Building Gallery, Milan (2022); MONO, Galerie EIGEN+ART, Lipsia (2022, solo); Sfregi, Palazzo Fava, Bologna (2021, solo); ROMA (Manuale della mollezza e la tecnica dell’eclisse), Monitor Gallery, Rome (2021, solo); Danae Revisited, Fondazione Francesco Fabbri, Pieve di Soligo (2021); 141 – Un secolo di disegno in Italia, Fondazione del Monte, Bologna (2021); Black Square, Fondazione Made in Cloister e Museo Archeologico Nazionale, Naples (2020, solo); In abisso, Galerie EIGEN + ART, Berlin (2020, solo); Lucìe, MART- Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto (2020, solo); Stand 1D08, Galerie EIGEN + ART, Berlin (2020); Collective Care: A House with Many Guests, M WOODS, Chaoyang, Beijing (2020); Cannibal Trail, Yu-Hsiu Museum of Art, Caotun (2019, solo); Solstizio d’Inferno, Biblioteca Classense, Ravenna (2019, solo); Metafysica, Haugar Vestfold Kunstmuseum, Tønsberg (2019); Preparing for Darkness – Vol. 3: I’m Not There, Kühlhaus, Berlin (2019); Iscariotes: Matteo Fato/Nicola Samorì, Casa Testori, Milan (2018, solo); Malafonte, Galerie EIGEN + ART, Berlin (2018, solo); BILD MACHT RELIGION: Kunst zwischen Verehrung, Verbot und Vernichtung, Kunstmuseum, Bochum (2018); Begotten, Not Made, Ana Cristea Gallery, New York (2014, solo); The Venerable Abject, Ana Cristea Gallery, New York (2012).

HUGO WILSON (b. 1982, United Kingdom) lives and works in London. His work has been exhibited at the The National Museum, Stockholm, Busan Metropoli­tan Art Museum, the National Por­trait Gallery, and the Courtauld Institute of Art in London. Wilson is collected by the New York Pub­lic Library, the Deutsche Bank Col­lec­tion, the Janet de Bot­ton Col­lec­tion, the United States Library of Congress and many others. Exhibitions include Mondegreens and New Understandings: Reza Aramesh, Nicola Samorì, Hugo Wilson, Nicodim, New York (2025, forthcoming); The Raft, Galerie Judin, Berlin (2024, solo); SIRANI, Galerie Judin, Berlin (2023); Whatever Gets You Thru the Night, Nicodim, New York (2023, solo); Joshua Hagler, Devin B. Johnson, Nicola Samorì, Hugo Wilson, Nicodim, Los Angeles (2023); Carnal Agreement, Nicodim, Los Angeles (2022, solo); Hollow Moon, Nicodim, New York (2021); Hugo Wilson, Parafin, London (2020, solo); Coincidental Truths, Galerie Judin, Berlin (2020, solo); When You Waked Up the Buffalo, Nicodim, Los Angeles (2020); Iconic Works, The National Museum, Stockholm (2020); Ateneum Art Museum, Finnish National Museum, Helsinki (2020); Crucible, Galerie Isa, Mumbai (2019, solo); Skin Stealers, Nicodim, Los Angeles (2019); Hugo Wilson, Nicodim, Los Angeles (2018, solo); Dialogues / New Paintings from London, GASK, Kutná Hora Museum, Czech Republic (2018); Frieze Sculpture Park, Regent’s Park, London (2018).

NICODIM GALLERY 
15 Greene Street, New York, NY 10013