Over the past year and a half, everyone has been rethinking pretty much everything. Stuck at home, our smallest movements became monumental, while on a global level, pandemic-induced geopolitical paralysis forced a reevaluation of our social structures. Intertwined gathers eight artists whose works provide an appraisal of the way things were, and offer potential visions for a brighter, more communal future.

Franklin Fifth Helena, Cynthia Talmadge’s new solo exhibition – an immersive architectural installation of sand paintings – describes a small room, decorated in a mirrored trelliage scheme but now disused and given over to storage, ostensibly situated in 12305 Fifth Helena Drive, Brentwood, Los Angeles.

The first New York solo exhibition of French artist Marcel Bascoulard (1913-1978), featuring a series of photographic self-portraits created over the course of three decades. / Recent paintings by self-taught Italian artist Elisabetta Zangrandi

ASHES/ASHES is pleased to present Animal Crackers, an exhibition by Mike Shultis. It is the artist’s debut solo exhibition in NYC and his first with the gallery. 

bitforms gallery is pleased to present Storms, a suite of new video works by Quayola. In his third solo exhibition with the gallery, the artist extrapolates on his research surrounding the tradition of landscape painting. Storms focuses on the pictorial substance of plein air studies with tools of advanced technologies.

In his paintings, Edgar Serrano creates a language that draws on the critical and creative act of appropriation, the weaponized circulation of images, and the aesthetics of abstraction. Drawing unexpected parallels between the digital and the real, the alien and familiar, Serrano’s paintings channel an ethos of the imaginary, where borders dissolve and collide, revealing invisible states and liminal identities.

Yes, girls, we also find your corpses very hot. -Virginie Despentes

The exhibition features large-scale performance stills and flags from the artist's 2019 performance Slave Rebellion Reenactment, in which he and hundreds of participants retraced the largest slave revolt in US history: the German Coast Uprising of 1811.

The exhibition explores the impact of CETA on arts workforce development across the United States, and its relevance to recent efforts to include the arts community in the nation’s pandemic recovery. CETA’s legacy serves as a precedent for envisioning how we can create sustained investment in artists today, and for considering models for permanently infusing the creativity and resourcefulness of artists into our workforce. ART/WORK spotlights the achievements of CETA-funded artists projects in New York City, which sent over 600 visual artists, poets, dancers, performers, and photographers, among many other specialists, into New York area schools, libraries, museums, nursing homes, prisons, and more. In the process, CETA nurtured a diverse artist workforce, provided art services and engagement to communities, and launched the careers of now-prominent artists and arts administrators, as well as beneficiaries who brought their experience to arts-adjacent fields or transferred it to other sectors.

Just in time for the holiday shopping season, Equity Gallery presents "I'M NOT DONE PLAYING WITH THAT: Artists Who Refuse to Put Away Their Toys." The show comprises original works of 14 artists whose practices intersects with toys to address whimsical, demented, or somber understandings of disposable consumer culture, art collectibles, questionable childhood safety, painterly concerns, corporal punishment, class struggle, and the enormity of war. In addition, the exhibition will include limited edition toys by Trenton Doyle Hancock and Takashi Murakami.

A selection of gallery artists

The source images in Ambrose’s large-scale works on fabric are archival photographs of Black women and girls from the early 1900s, which often circulated around the world as pornographic postcards. Ambrose’s delicate textiles, gently flowing through the gallery space, revise these images through a lens of protection, care and imaginative storytelling, cloaking the hypervisible/invisible protagonists in layers of fabric, and alluding to the poetry of their dreams, the depth of their experiences, the emotions they may hold–their grief, reverence, love, wonder. Hued in blues and purples, and veiled with hand-dyed organza, the figures become spirits, free of typecasting and eroticizing, powerful in their fluidity, their ability to elude binary objectification.

Home Sweet explores the symbiosis between our interiorities and the spaces we call home as nexus points of human belonging, complicating the private/public line that has traditionally demarcated the frontiers of spaces of femininity and fostered division rather than community. Bringing together drawing, painting, and ceramics by all women artists, this group exhibition addresses domesticity by transforming the private sphere into a public forum for emotional and creative exchange.

Our program curates contemporary artists alongside their aesthetic and conceptual predecessors, tracing genealogies through time and for our current exhibition we paired the emerging painter, Maria Calandra, with three Elizabeth Murray pieces.

LATITUDE Gallery is pleased to present our first NFT exhibition, Who’s that Panda? Curated by ONBD and co-presented by digital art platform Snake.art, the show presents twenty NFT art works from the vibrant crypto art community-Crypto art Panda. 

Moline-Kramer’s new series of paintings is accompanied by suspended 3-D-printed sculptures, ‘hanging lines’ that are based on each one of her paintings, depicting individuals that changed the world – presently and in the past. Based on both astronomy and astrology, Moline-Kramer’s mixed-media star chart paintings are individual portraits revealing and pointing to the power a singular person possesses to have a wide-reaching positive impact on our humanity that changes the until then anticipated course of history. Moline-Kramer's exhibition has been extended with an additional Reception on Thursday, December 16 from 6-8 pm.

Jobi Bicos creates paintings and drawings exploring the possibilities of visualization, fantasy, and sensation in conceptions of their body in space.

"The proper task of a history of thought is: to define the conditions in which human beings “problematize” what they are, what they do, in the world in which they live."

 -excerpts from Michel Foucault, History of Sexuality

MARC STRAUS is pleased to present Paul Pretzer’s fifth solo exhibition of new paintings with the gallery.

This newest body of work is inhabited by new hybrid characters. Everyday objects and recognizable logos merge with animals. There is a wonderful tension between the familiar and the absurd. The ambivalent content is held together through masterly painterliness and vivid new color arrangements.

Arthur Simms’ practice comprises a prolific output of sculpture, as well as dimensional paintings and drawings. Born in Saint Andrew, Jamaica (1961), Simms was inspired in early childhood by the improvisationally constructed carts he saw transporting goods to and from the market (he lived in Kingston until age 7, when his family moved to New York). Through Simms’ fluency with this sort of construction—clearly articulating a singular form using many disparate elements—he developed a formal lexicon that mimics the effects of diaspora, coinciding dispersion, and wholeness. Using natural material, found objects, items of autobiographical significance, and, consistently, wire or hemp rope as a binding agent, Simms’ body of sculpture comprises a vast diversity of forms. Some sculptures stand monumentally as imposing accumulations of twine; others are drawn into space. At times, Simms frames the readymade in ritually oriented displays, such that the found object in the gallery appears preordained, rather than decontextualized.

For the past twenty-five years, the daily practice of drawing has been at the core of Pete Schulte’s artistic endeavors, whether working on paper, three-dimensional objects, site-specific wall drawings, or installations. The primary focus of this exhibition is works on paper, using graphite with the occasional addition of pigment and ink. While geometric imagery predominates, some works in the exhibition depict non-specific curvilinear shapes suggestive of natural forms. Also in the exhibition is a cast bronze object of overlapping turtle shells measuring 90 inches tall.

STATIONS OF THE LAST ECCENTRIC features nine layered works, each holding at its center The Cone of Expression. This diagrammatic overlay includes a prominent vertical line that imposes a primordial fold, creating a mirror-image wherein a chosen picture of the cosmos faces itself. This event, in turn, conjures a myriad of faces staring back at the viewer. The phenomenon, known as facial pareidolia, instills an emotional charge in an otherwise non-sentient image or form.

Nathalie Karg Gallery is pleased to present Vanitas, a group exhibition curated by Hannah Chinn and Monica Hom. The exhibition runs from December 14 through January 22, 2022 and features work by Ya Chin Chang, Cathleen Clarke, Logan Criley, Flan Flanagan, Paul-Sebastian Japaz, Mike Lee, Ann McCoy and Sarah Peters.

Olympia is pleased to present Don’t Move Stones, a solo exhibition of recent paintings by Aliza Sternstein (Curated by Naomi Sternstein). Sternstein’s paintings are a bold and dreamy play with layers and transparency, filled with symbols and gestures in a delicate consideration of both the ephemeral and the preserved. Sternstein builds the canvas with layer upon layer of gesso to create a surface that is so absorbent, it maintains the history of knocks, fingerprints, and wipeouts, which permeate across the paintings.

For her third solo exhibition at Peter Freeman, Inc., Catherine Murphy presents thirteen recent paintings and drawings. These still-lives, landscapes, and self-portraits are all carefully witnessed or imagined scenarios, and all rely on direct observation. Catherine Murphy lives and works in Poughkeepsie, New York. She is a member of the American Academy and Institute of Arts and Letters and has work included innumerous museum collections, including the Art Institute of Chicago; The Museum of Modern Art, New York; Metropolitan Museum of Art, New York; National Portrait Gallery, Washington, DC; San Francisco Museum of Modern Art; and The Whitney Museum of American Art, New York.

Wild Garden is a dual-venue presentation at SHRINE and Sargent’s Daughters and features new works by Kour Pour that includes large-scale textile paintings, tiger paintings, and shaped canvases. A series of new ceramic sculptures incorporating personal objects from the artist’s home, as well as tiles and powdered incense, will also be shown throughout the exhibition. This will be Pour’s first exhibition in New York City since 2016.

signs and symbols is pleased to present That was then, this is now — a group show of the gallery’s artists as the first exhibition to inaugurate our new location at 249 East Houston Street. Each artist’s work and practice has been integral to the gallery’s evolution and vision, and together these artists configure the living history of signs and symbols.

Kyle Staver shows 8.5 x 11" works on paper related to her large paintings in graphite, watercolor and etching Catherine White shows ceramics and paintings with the ceramics from her Anagama kiln in Virginia.

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Legendary Cuban painter Rocío García launches her debut solo show with Thomas Nickles Project in NYC featuring nine never-before-seen works.

Stephanie Patton’s new series explores her signature themes through sculpture, photography, and video in a manner that reflects contemporary subject matter centered around the human condition, mental health, and physical healing. Soft Landing embodies these concerns while alluding to the idea of easing back into life in a gentle and safe way. Through her powerful wording and use of material, Patton invites the viewer to inspect these concepts through a lens of comfort and self-preservation.