LES GALLERY NIGHTS

My Imaginary Friends Are New in Town presents seven paintings, all made in 2021, featuring the artist’s characteristic alien-like creatures. The central work, El Secreto de la Verdad (The Secret of Truth), belongs to a group of large-scale paintings depicting arrangements of figures based on photographs drawn from fashion or lifestyle magazines. These images are transformed in a digital process and then re-constructed in acrylic paint.

Andrew Edlin Gallery is pleased to announce Spain Rodriguez: Working Class Hero, its first show for the artist since announcing its representation of the estate. Curated by Dan Nadel, this career-spanning retrospective will include unique drawings for comics from the 1960s through the 1990s alongside sketchbooks, paintings, and ephemera. Spain Rodriguez (1940-2012), called the “socialist soul” of the 1960s underground comics movement, combined leftist politics, outlaw biker adventure, and science fiction in dynamically drawn stories. Robert Crumb, who has called Spain a mentor, said recently, “His politics were driven by genuine, authentic class anger, class hatred. It was always clarifying, bracing, to discuss politics, social and cultural issues with him.”

Bermuda Triangle, echoes a critical moment in which Cristine Brache was first required to question reality and confront the realization that things aren't always what they seem. Working in her usual way, the artist relates on a diaristic level and reflects relevant feelings to broader shared experiences, creating a stratified system of symbols.

The All is made by repeating a single sentence. Every mark is a letter, every letter makes a sentence, every sentence is repeated thousands of times over many months.

ATM Gallery is pleased to present Welcome featuring four paintings and eight drawings by Spanish artist Rafael Alvarado.

"Drawings" includes 31 works on paper. Featured are nine earlier works— sprawling landscapes, architectural exteriors, and cavernous interiors in New York City, Maine, and West Texas— and twenty-two recently completed drawings of Downes’ home studio.

The exhibition at Bridget Donahue is part of a a six-venue, international exhibition of works by Rochelle Feinstein. Each site will present a selection of historic works alongside newer paintings that address, expand upon, or complicate themes within the earlier examples. You Again will be accompanied by a broadsheet publication integrating text and images from all six exhibitions, available at Campoli Presti, Bridget Donahue, Hannah Hoffman, Nina Johnson, Candice Madey, and Galerie Francesca Pia.

In This Phenomenal Overlay, multiple scenes unfold simultaneously in an installation of set paintings and voice-sculptures. In one scene, analog instruments are reconfigured as future relics that upend categories of knowledge, complicating our assumptions about the voice and artistic production. In another scene, the artist's search for the etymologies of technological terms reveals historical forces and frameworks embedded in technology itself. The movement between the scenes of This Phenomenal Overlay traces the network of an archive through meaning-making and connection.

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Over the last 25 years, the Yes Men’s hijinks challenge corporate power with a political urgency that is neither sentimental nor self-righteous while expressing a fascination with the revolutionary power of a great punch line.

once dry, the paints become insoluble in water

The exhibition, ART/WORK: How the Government-Funded CETA Jobs Program Put Artists to Work, is presented by City Lore and Artists Alliance Inc., as part of a long-term initiative, undertaken in conjunction with the Delaware Art Museum, exploring 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.

For Areum: Derek Eller Gallery is pleased to present a solo exhibition of paintings by Areum Yang. Deftly rendered with a mixture of raw and painterly gestures, Yang’s vivid, introspective portraits exist within anthropomorphic landscapes or surreal interiors. For Tom: Derek Eller Gallery is pleased to present a solo exhibition of new mixed media works and video animation by Tom Thayer. Spinning narrative through a multi-disciplinary approach, Thayer makes wall-based assemblages which frequently become the props in his animations or his live action performances.

Equity Gallery is pleased to ring in 2022 with the NYAE Annual Members Invitational, the latest iteration of our annual juried group exhibition, exclusively featuring artwork by Rose, Emerald, and Lifetime members of New York Artists Equity. All artworks in this exhibition were selected by a panel of accomplished artists and arts professionals, including director/chief curator of the West Harlem Art Fund Savona Bailey-McClain, artist and publisher of Whitehot Magazine of Contemporary Art Noah Becker, and visual artist, educator, and independent curator Melissa Staiger.

Drawings, poetry and sound by 3 artists; outside of categories or commentary, sort of like a stream of water, a walk, or place to rest the mind. Resembling piles, these ephemeral but emphatically manual works exceed the time they exist in.

New expressionistic landscape paintings by this Germany based artist.

Fragment Gallery (New York, USA and Moscow, Russia) is pleased to present a group exhibition of contemporary video work taking place concurrently at both their New York and Moscow gallery locations. In the Field of the Other, taking its title from a quote by the French psychoanalyst Jacques Lacan, includes the work of Ilya Fedotov-Fedorov, Polina Kanis, Jura Shust, Igor Simić, Morehshin Allahyari, Tabita Rezaire, Rachel Rossin, and Jacolby Satterwhite. Acknowledging the gallery’s unique position across two culturally, historically, and politically opposed centers of power, the dual exhibitions will present four media works from Eastern European artists in New York which would otherwise not be seen in the United States, whilst simultaneously presenting in Russia four artists from North and South America whose work remains woefully elusive to spectators in the former Soviet republic. Each artist’s work will be screened individually for one week at a time.

Francois Ghebaly is proud to present Jacqueline Kiyomi Gork’s first solo exhibition with the gallery. The exhibition, Solutions to Common Noise Problems, will open in New York on January 29, 2022 and remain on view through March 5, 2022.

Fridman Gallery and Rachel Uffner Gallery present a two-venue solo exhibition by Ethiopian painter Hana Yilma Godine. The paintings portray female protagonists in domestic and public spaces of their own making: preparing for wedding celebrations, interacting in hair salons, resting in their living rooms. In a patriarchal society torn apart by a brutal civil war, Godine presents a parallel dimension where women are safe from violence and free to express themselves independently of social restrictions. She gently weaves her brushstrokes with collaged fabrics, at times leaving the flowery patterns untouched, at times letting them faintly show through the painted layers.

In Orbits, Brad Nelson and Lucy Beecher Nelson meditate on family life through the people, things, and patterns that comprise their domestic reality. The artists’ two distinct bodies of work result not from direct collaboration but from their respective processes of translating the life they share with their daughters into works of art. Both artists center the physical space of their house as an axis around which their family’s idiosyncrasies, rituals, and daily patterns take shape; they think about their practices like two bodies orbiting each other.

GR gallery is pleased to announce “Clouds + Ghosts”, a duo show featuring Japanese artists, Noritoshi Mitsuuchi and Lotta (Ayano Nakano). A well balanced and uplifting show that brings together a variety of characters that produce a whimsical charm and an everlasting story line. This show will feature 16 brand new artworks by the two artists that will highlight color and monochromatic creativity, engaging in a conversation about the infinite possibilities through which the artists alter egos—fixed on canvas through an exhilarating palette comparable to that of pop art—interact with one another.

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Heroes Gallery is pleased to present previously unexhibited work by contemporary photographer John Divola in conversation with the work of 1940s surrealist photographer Frederick Sommer (1905-1999). Divola considers Sommer to be a fore-bearer due to his eclectic approach to image making, the materiality of his prints and the painterly abstraction in his 8x10 photographs of debris, animal carcasses and lonely, horizonless landscapes.

Anagnos works with paper pulp to create work that bridges material, subject, and object as an investigation into themes of collective consciousness. Through an additive process, the sculptures resist binaries and examine and rearrange endless possible solutions to compositional and material concerns. Paper pulp is transformed to acquire a vulnerability full of inherent contradictions and metaphorical implications, recalling quotidian textures like skin or concrete. Within this structural dialogue, Anagnos questions how something can be its opposite, or have no opposite at all; be of the Earth, but not of this world, that is, the world of established letters and binary systems.

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RESHUFFLE brings together work in various media that is comprised of elements of collage and assemblage within the process - addressing complexities such as reality and history, mind and psyche, experience and memory. The artists in RESHUFFLE reflect on the intricacies of the fragmented image, the obstructed view, shifting vision, and multiple picture planes in their work and compositions – and are united by a powerful sense for detail and by the affinity to making out of individual parts a whole. Concurrent with the exhibition will be a dArt International Issue Release with Reception on Thursday, February 17, 6 – 8 PM. Founder and publisher of dArt International, based in Toronto, Canada, creates a limited edition from the individual handcrafted spring/summer 2021 issue where he cuts a window into the cover to reveal a unique dArt International playing card; in another group, Rockwell strategically cuts the cover and subsequent pages of old issues – creating a new multi layered cover for each magazine.

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. - Michel Foucault

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Rafael Sánchez and Kathleen White began to collaborate alongside their romantic partnership in Downtown New York in the mid-2000’s. Meeting one another amidst the ongoing AIDS crisis and post–9/11 New York, each artist found their practice touching on themes of grief, mortality, and caregiving, yet their most common point of intersection was an ability to glean raw material from New York City, down to its most urban and manmade details such as concrete and nightlife. The exhibition surveys each artist’s practice individually, while highlighting the points of intersection between their practices—both intentional and serendipitous, at times several decades apart, one artist unknowingly, perhaps unconsciously, predating the other.

The gallery is presenting two concurrent solo shows: new handbuilt ceramic sculptures in stoneware by Ursula Morley Price, and small-scale abstract drawings in ink by Jessica Deane Rosner. Price is British-born but lives and works in the Charentes region of France; this is the sixth solo show at the gallery of the 85 year old artist, whose work is in numerous museum collections in the US and Europe. Cranston, RI-based Rosner is having her first solo with the gallery and is exhibiting fifteen drawings from her ongoing Ruled Unruled series.

This exhibition features paintings by both artists side by side for the first time. Curated by Eric Brown True Fictions came from ideas about their work expressed by Thomas Nozkowski. After Freilicher died in 2004, he wrote a tribute to her for the American Academy of Arts and Letters: “Jane Freilicher’s pictures are all will. Beyond their sweet surfaces and easy beauty they are hard as nails. They are tough-minded things.” Brown states “Tom could have been describing his own work.”

Nathalie Karg Gallery is pleased to present Who’s That Girl?, an exhibition of new paintings and sculptures by the Franco- American artist Nina Childress. This will be Childress’ first exhibition with the gallery and her first solo exhibition in the United States. The highly expressive and shockingly colorful works on view explore the nature of celebrity, nostalgia, and the often- troubled relationship between youth and beauty; particularly as these things pertain to women known for their image or pop cultural impact. Some of the faces gracing the gallery’s walls are easily recognizable, others are less obvious and therefore beg the question: Who’s That Girl?

We are pleased to present a solo show of works on paper by Andrea Belag. The exhibition includes six works on paper: five gouache paintings and one monoprint. The gouache paintings emphasize the composition and gesture that emerge from working with a limited surface. They make up a series of smaller works that are precursory to Andrea’s large-scale oil paintings.

Olympia is proud to present Humor Has It, a serendipitous 14-person group exhibition devoted to mouthfuls of humor within the context of painting, works on paper, and sculpture. By exercising humor as a visual and verbal tool, this group of artists add, remix, and rearrange pre-existing thoughts, offering a reprogramming of systems, and of personal and social experiences.

Peter Blum Gallery is pleased to present an exhibition by Esther Kläs of new sculptures, works on paper, and installations entitled, Come again. This is the artist’s fifth solo exhibition with the gallery. With the exhibition Come again, Esther Kläs converges disparate media and forms in sensitive spatial relationships, bringing a distinctive energy and perspective onto their surroundings.

Peter Freeman, Inc. is pleased to present Dove Allouche: Primordial Soup, the artist’s third solo exhibition with the gallery in New York, bringing together works from three recent series: Absorption Lines (2018-2019), platinum photographic prints of the sun’s absorption lines enlarged to the point of abstraction, Repeint (2019-2021), unique Lambda prints of paint samples from Renaissance paintings, and I.R (2016-2018), more than 100 small format drawings made after Isaac Roberts' glass plate photographs of the sky. Dove Allouche was born in 1972 in Sarcelles, he lives and works in Paris. Recent projects include a public commission for the library of the INHA – Institut national d’histoire de l’art – in Paris, solo presentations at Le Grand Trianon, Galerie des Cotelle, Château de Versailles (May 2019), as well The Contemporary Art Gallery, Vancouver (2018), and inclusion in Préhistoire et Modernité, Centre Pompidou (Paris, May 2019). His work has previously been the subject of solo exhibitions at Fondation Ricard, (Paris, 2016), and Centre Pompidou (Paris, 2013). His work is included in several museum collections, including the Museum of Modern Art, New York, the San Francisco Museum of Modern Art, and Centre Pompidou, Paris.

Sargent’s Daughters is pleased to present The Past is Present, the first New York solo presentation of the work of Carole Harris, a Detroit based fiber artist whose career spans five decades. Often collecting found materials, Harris combines techniques from quilting, embroidery, and assemblages to produce abstract, wall mounted compositions. By distilling the past alongside the present, her work evokes a sense of memory that transcends finite individuals or limited timespans.

signs and symbols is pleased to present You Pair How, a new exhibition by Carol Szymanski, which continues the artist’s ongoing investigation into the transmutability of language and now extends to the analysis and translation of gesture. Since 2020, the artist has organized The Go-Between, a project in which Szymanski plays the role of an artist-matchmaker to anonymous participants. The “go-arounds” (or dates), captured in video and transmuted into Polaroid photography, sound and a wall painting incorporating neon, speak aesthetically to the underlying properties and patterns of gesture itself.

Simone Subal Gallery is pleased to present The Devil You Know featuring works by Davide Balula, Sam Ekwurtzel, Witt Fetter, Sophie Friedman-Pappas, and Nova Jiang. Borrowing half of the age-old cliché “better the devil you know than the devil you don't” as its title, this group exhibition explores the use of unconventional logic to make fun of, deconstruct, or contextualize systems that are no longer serving society well, yet somehow remain.

Thomas Nickles Project is pleased to present, A Base de Viandas, by the Cuban photographer Arien Chang Castan, a series developed between 2010 and 2014 that celebrates the art of body building in Cuba, capturing a cultural sub-universe of unexpected tenderness and unabashed physicality amidst public and private moments where men build their own materiality, even their own gym equipment.

Van Der Plas Gallery is excited to once again work with Dr. Janos Martin and the Creedmoor Psychiatric Center’s “Living Museum.” The Living Museum is made up of Contemporary artwork from past and current, many times outpatient, artists who have received treatment from Creedmoor. As a gallery that explores the many meanings of Outsider Art, Van der Plas aims to challenge the viewers notion of what art from a “neuroatypical” creator could look like. This exhibition features sculpture and works ranging from painterly freedom to geometric order.

Voltz Clarke Gallery is pleased to present FLOW, a two-person exhibition featuring new works by artists Bradley Sabin and Lucy Soni. Both artists fervently explore the intersection of the organic with the constructed; the coordinated and the accidental; hard and soft. Such juxtaposition of medium and subject matter takes on a complimentary effect, emphasizing the ever-moving forces and gentle rhythms that contribute to the flow of everyday life. There will be a Public Opening Reception with the artists on Friday, January 7th, 2022.