Annely Juda Fine Art announces move to 16 Hanover Square

May 15, 2025

Annely Juda Fine Art will be moving to 16 Hanover Square in the autumn of 2025, after 35 years on nearby Dering Street. The move not only celebrates the gallery’s near 60-year legacy in London, it will also provide a new space to cultivate and showcase their roster of both eminent and early-career artists. The new space will continue to be led by co-Directors David Juda – who founded the gallery with his mother Annely in 1968 - and Nina Fellmann, who has been with the gallery since 2003.

The inaugural exhibition in the Hanover Square space this autumn will be a series of recent work by one of the gallery’s longest standing represented artists; David Hockney. Combining both paintings and iPad drawings of the night sky from Hockney’s Normandy studio, this is the first time Hockney’s ‘Moon’ series (2020 – 2023) will be shown as a group in the UK.

Annely Juda Fine Art will take over the lease on the whole Grade II listed Georgian townhouse on Hanover Square, with two large floors of exhibition space including an exceptional former ballroom with a glass-domed ceiling. The gallery will also include a dedicated spotlight area for new and emerging artists.

Founded in 1968 by Annely Juda (1914 – 2006) and her son David Juda, Annely Juda Fine Art has been instrumental in introducing and promoting modernist movements, including Russian Constructivism and De Stijl, to the international art world from its London home for nearly 60 years. The inaugural exhibition in 1968, ‘Now Open: Important Paintings of the 20th Century and Young Artists’ set the tone for a legacy of showcasing definitive works of the 20th Century alongside groundbreaking contemporary art – something they continue to platform through new voices such as Nicola Turner whose large-scale work will debut at Art Basel Unlimited this June and whose solo exhibition will be at the gallery in 2026.

photo: Hugo Glendinning

Timothy Taylor announces representation of Lauren Satlowski

May 14, 2025

Timothy Taylor is pleased to announce the representation of Los Angeles-based artist Lauren Satlowski (b. 1984) in London and New York. The gallery will present a solo exhibition of the artist’s work in New York this October.

With her seductive photorealist oil paintings featuring uncanny still lifes and object studies, Satlowski investigates themes of perception, memory-both personal and collective-and the aesthetics of consumer culture. Drawing on the visual language of commercial photography, cinema, and 17th-century vanitas painting, her compositions offer ambiguous arrangements of found objects in glossy, hermetic spaces that suggest enigmatic narratives. Accumulated during travel or picked up along the course of daily life, some of the depicted objects are organic and ephemeral-flowers, beans, spiders, and scorpions-but many have an uncertain relationship to time, including plastic and otherwise fabricated knickknacks. Satlowski selects objects that might function as potent associative vessels for the viewer-dolls, ornaments, perfume, masks, hotel shampoo-photographing them in inscrutable configurations before painting them in preternaturally vivid detail. She is compelled by the notion of the souvenir and the idea that an object might be a proxy for experience, conjuring-and quietly interrogating-feelings of longing and nostalgia.

Often, Satlowski’s compositions feature refracted light. Channelling dramatic illumination through trinket prisms, plastic picture frames, Ziploc bags filled with water, scotch tape, and panes of glass, she plays with notions of transparency, illusion, and reflection. In this way, her scenes possess an intensely psychological dimension. Throughout the work, conflicting qualities-pleasure and fear, harmony and tension-are held together.

photo: Chantal Anderson

lbf contemporary now represents Lawrence Perry

May 13, 2025

LBF Contemporary announces the representation of London-based painter Lawrence Perry. Perry's debut solo exhibition 'They Shoot Horses, Don't They?' closed in February, 2025.

Lawrence Perry (b. Singapore, 1999) graduated from The Slade School of Fine Art in 2021. The London-based artist paints uncanny scenes loaded with a psychological charge and heavy dose of wit. Drawing from film, mythology, literature and fashion, Perry creates scenes that feel familiar yet surreal, interacting with the emotional states of the figures that populate them. Each painting is packed with subtle nuance and contradiction, leading to an uneasy environment in which the viewer is invited to question the psychological states of his characters or the authenticity of their narrative. Highlights of recent exhibitions include ‘After the Past’ at /THE PLATFORM, Antwerp, 2023 (Solo); ‘Don’t Tell The Boys’ at /THE PLATFORM, Antwerp, 2022 (Solo); The Bomb Factory Residents Show, The Bomb Factory Covent Gardens, London (Group). Lawrence first came to the public eye in 2016 when his work as an in-house artist for an anti-Brexit lobbyist group was picked up by British GQ, and since featured in Alessandro Michele’s A/W 2020 campaign for Gucci, ‘Gucci, The Ritual.’

photo: Isaac Lamb

Tallinn Photomonth 2025 announces its main programme

The 8th edition of Tallinn Photomonth, Estonia’s contemporary art biennial, will take place from 5 September to 31 October, 2025, activating sites across the capital. This year’s main programme features three exhibitions, each shaped by distinct curatorial approaches to image-making in an increasingly visual world. Opening the programme at Kai Art Center is a duo exhibition by Estonian artists Tanja Muravskaja and Sirje Runge. Other exhibitions include a public installation of photographic works in Tallinn’s urban space and a collaborative exhibition of Estonian and Finnish photographic artists at Hobusepea and FOKU galleries.

“The main programme of this year’s Tallinn Photomonth presents three distinct exhibitions, each exploring the evolving significance of photography in a world saturated with images. Photography permeates everyday life, yet art offers a space for reflection—an opportunity to cultivate visual literacy, which has become a crucial tool for navigating our image-driven world,” explains Kulla Laas, director of the biennial.“ Across its 2025 edition, Photomonth highlights the medium’s potential to elicit emotional, philosophical, and political resonances, inviting audiences to engage photography not only as a technology of representation but as a catalyst for new ways of seeing and sensing.”

Public art has become a defining feature of Tallinn Photomonth. This year’s exhibition in public space, curated by Kati Ots (Estonia) and Trine Stephensen (Norway), explores how photography can operate not only as a visual image but as a sculptural element that shapes space and intervenes in our experience of it. In an urban environment saturated with an overwhelming amount of stimuli, the project seeks ways in which art can offer moments of relief and open new perspectives on what we see and experience daily.

For the first time, the Estonian Union of Photography Artists (FOKU) collaborates with the Finnish Association of Photographic Artists (VTL) as part of the biennial. The joint exhibition, presented across Hobusepea and FOKU galleries, brings together works by artists from both countries, selected by a binational jury of professionals. The exhibition poses the question of what photography means within contemporary art today, highlighting how artists continue to challenge and expand the medium’s conceptual and material boundaries. From experimental techniques to unconventional formats, the exhibition offers a cross-section of urgent themes and approaches currently shaping photographic practices in the region.

The collaboration aims the long-term exchange between Estonian and Finnish artists working with photography, focuses on co-creation and shared curatorial approaches. The exhibition will be accompanied by a regional gathering and public panel discussion for professionals in the field. The initiative will continue in Finland in 2026.

In addition to the main programme, Tallinn Photomonth will host an expansive satellite programme and a series of public events designed to deepen engagement with photography and visual culture. The full list of participating artists and the extended programme of the biennial will be announced in the coming months.

Alison Saar awarded the Driskell Prize

May 12, 2025

Alison Saar has been awarded the David C. Driskell Prize in African American Art and Art History by the High Museum of Art. Saar is the 20th recipient of the annual award, and is recognized for her significant contributions to visual arts that honor and center African American experiences. She will receive $50,000 in unrestricted funds to use toward the furthering of her artistic practice, and will be celebrated at the Driskell Prize Gala at the High on Saturday 20 September.

Based in Los Angeles, Alison Saar is widely celebrated for her sculpture, installation and mixed-media works, which tell stories about the African American experience through references to American history, literature and mythology. Her works have been featured in hundreds of solo and group exhibitions worldwide, including at the High, which presented one of her first solo museum exhibitions, “Fertile Ground,” in 1993. She has work in collections at renowned institutions including the High, the Art Institute of Chicago, the Detroit Institute of Arts, the Hirshhorn Museum and Sculpture Garden, the Los Angeles County Museum of Art (LACMA), the Metropolitan Museum of Art, the Museum of Modern Art (MoMA) and the Whitney Museum of American Art, among many others. In 2024, she was selected by the International Olympic Committee and the city of Paris to create “Salon,” a sculpture commissioned in honor of the 2024 Olympic Games, which is now permanently displayed in the Charles Aznavour Garden on the Champs-Élysées. Her installation “Soul Service Station” was featured as part of Desert X 2025 in Coachella Valley, California.

“Saar’s work delves deeply into the histories of the African diaspora and its artistic traditions, exploring how they influence and connect to cultural identity today. Her sculpture ‘Tobacco Demon’ has been a fixture in our galleries for decades,” said High Museum of Art Director Rand Suffolk. “We are honored to recognize her distinguished practice and myriad contributions to African American art with the 2025 Driskell Prize.”

The artist’s work is currently on view at L.A. Louver, Los Angeles, as part of an exhibition celebrating the gallery’s 50th anniversary.

Alison Saar: Sweet Life opens at Galerie Lelong in Matignon, Paris, on Thursday 15 May.

photo: Nicholas Lea Bruno

David Zwirner announces representation of Yu Nishimura

May 6, 2025

David Zwirner is pleased to announce the representation of Japanese artist Yu Nishimura. Zwirner currently has a solo exhibition of new paintings and works on paper by Nishumura on view at their East 69th Street gallery in New York. This exhibition is the artist’s first solo show in the United States, and the body of work on view was inspired by Nishimura’s recent trip to his hometown of Yokodai, where he spent his formative childhood and early teenage years in the 1990s. The artist also works with Sadie Coles HQ in London and Crèvecœur in Paris.

Combining traditional oil and tempera techniques with visual impulses borrowed from avant-garde postwar Japanese photographers, Nishimura’s multilayered paintings are steeped in everyday sources such as street photography, anime, and the diverse landscapes and built environments of the artist’s home country. Built up from dreamlike arrangements of simplified, semiblurred forms, his portraits and urban scenes achieve a stark sense of contemporaneity through their evocative palettes and spare and graphic compositional approach—yet at the same instant, they appear to exist in a nebulous realm of melancholic reminiscence that documents the passage of time.

David Zwirner states: "When my daughter Marlene introduced me to Yu Nishimura’s work, I was immediately intrigued. Yu manages to blend contradictory forces—namely the rigor of modernism with what I would call his own take on neo-romanticism. His works get under your skin. His sophisticated paint handling reflects a deep investigation of the genre, yet his voice is entirely contemporary. I’m excited to welcome Yu to the gallery and look forward to presenting his art to new audiences.

Yu Nishimura (b. 1982) was born in Kanagawa Prefecture, Japan, and he continues to live and work there today. In 2004, he graduated from the Department of Fine Arts at Tama Art University, Tokyo, where he studied oil painting.

photo: Takashi Homma for MARFA

Ames Yavuz inaugurates London gallery

May 1, 2025

Ames Yavuz is pleased to present Ellipsis by Isabel and Alfredo Aquilizan, inaugurating the new London gallery at 31-33 Grosvenor Hill. The 2,600 sq. ft ground floor space in the heart of Mayfair is the gallery’s first European base, and will feature an expansive new programme in 2025, including renowned contemporary artists from the gallery roster and beyond.

With galleries in Singapore (2010), Sydney (2019) and London (2025), Ames Yavuz embraces its diverse cultural background through a strong international focus and perspective. The gallery’s vision is underpinned by robust curatorial practices that form the core of our program and foster intercultural discourse on a global scale.

Representing a wide range of multidisciplinary artists across continents, Ames Yavuz aims to challenge, inspire, and reclaim through art. The gallery provides a platform for transformative and compelling artistic voices who bring care and attention to the most urgent conversations of our time, and celebrates storytelling with authenticity, innovation and wit.

photo: Eva Herzog

Yancey Richardson now represents Tania Franco Klein

April 22, 2025

Yancey Richardson is pleased to announce its representation of Mexican artist Tania Franco Klein. Known for her visually evocative and conceptually intricate photographic series that explore emotion, psychology and subjectivity as social constructions, Franco Klein brings an innovative and incisive new voice to the gallery’s roster. Her work will be included in New Photography 2025: Lines of Belonging, the 40th anniversary edition of the Museum of Modern Art, New York’s celebrated New Photography series, scheduled to open in September of this year.

In her dramatically staged photographs that blend together references to contemporary film, photography and social theory, Franco Klein creates psychologically charged spaces where self-understanding is linked to an awareness of the collective gaze. A key emphasis within her work is the contemporary experience of being oversaturated by images and information alike, with an understanding of how this experience shapes our perception of the world and even fuels our anxieties. Just as the pace of historical change continues to accelerate, so too do the characters in Franco Klein’s photographs seem to alter their interiority in response to the shifting world around them. The malleability of identity is further expressed by Franco Klein serving as both model and subject in many of her series, in which she embodies new personas that each respond to the experience of being seen.

For Franco Klein’s most recent and on-going series, Subject Studies: Chapter I, she photographed 106 people of different ages and backgrounds, each within the same group of scenes, to highlight how people instinctively profile and assign meaning based on appearance alone. In Mercado de Sonora, she photographed her mother and grandmother as an extended form of self-portraiture to capture the ways in which beliefs are passed down from generation to generation. The photographs in the series’ Break In Case of Emergency, Proceed to the Route and Positive Disintegration each in their own way address forms of social isolation, psychological exhaustion and the breakdown of communication that have become consistent features of our moment in history.

Born in 1990 in Mexico, Tania Franco Klein received her BA in Architecture from Centro Diseño, Cine y Televisión in Mexico City and her MA in Photography from the University of Arts London. She was the recipient of the Artproof Schliemann Award supporting Artist Residencies in Arles, France and her work is in the collections of the Museum of Modern Art, New York, The Getty Center, Los Angeles and the Norton Museum of Art, West Palm Beach. Her first publication Positive Disintegration (2019) was nominated for the Paris Photo Aperture Foundation First Book Award. Franco Klein lives and works between Mexico City and the United States.

photo: Kovi Konowiecki

Jack Shainman Gallery announces representation of the Estate of Faith Ringgold

April 17, 2025

Jack Shainman Gallery is honored to announce representation of the Estate of Faith Ringgold (1930-2024) and the Anyone Can Fly Foundation. The gallery is planning an exhibition dedicated to Ringgold’s work in November 2025 at its new flagship location in Tribeca, New York.

Over the course of six decades, American artist, author, educator and organizer Faith Ringgold became one of the most significant cultural figures of the twentieth and twenty-first centuries, one whose impact and influence continues to be seen in the political art of young Black artists working today. Restlessly creative and formally ambitious, Ringgold worked in a variety of media and modes - from quilts and paintings to performance and children’s books - to create an incisive and unflinching narrative about the historical sacrifices and achievements of Black Americans.

The extraordinary body of work that Ringgold created was born out of her political consciousness and activism of the 1960s and 1970s in Harlem, New York. She fused together her own unique style of figurative painting with a bold and innovative approach to the language of protest to create many of the most substantial artworks of the Civil Rights era. Ringgold’s desire to overcome the largely white, art historical tradition led her to search for forms more suitable for the exploration of gender and racial identity, forms she found during her travels abroad in the 1970s, first to Europe and then to Africa.

The soft sculptures, masks and unstretched canvases adorned with sewn fabric borders - inspired by Tibetan thangkas and which Ringgold called 'tankas' - were the result of these exploratory trips and each would influence the creation of her story quilt paintings of the 1980s and 1990s. Regularly combining her autobiography with scenes and episodes from the collective history of Black life in America, the story quilts are disarmingly intimate yet historically grand - they demonstrate the fundamental relation between the personal and the political that Ringgold's art always understood.

Gallery founder Jack Shainman states, 'It is an absolute privilege to be able to represent the Estate of Faith Ringgold and the Anyone Can Fly Foundation and to do our part in helping to further cement the legacy of an artist who played such a significant role in shaping the culture of American art. Faith Ringgold's work touches on themes that continue to be relevant to our current social and political climates, perhaps more so now than they have since their creation and I could not be more proud to have the opportunity to continue to give her and her work a platform.'

'Faith Ringgold’s life and work has been the source of inspiration, hope and guidance for so many, whether that be in the arts or the world of organizing and activism,' said Michele Wallace, daughter of Faith Ringgold. 'Jack Shainman Gallery’s long history of supporting Black American artists, while also helping to grow the institutional awareness and embrace of their work, aligns with Faith’s efforts and the mission of the Anyone Can Fly Foundation. We could not have imagined finding better partners to help us deepen the legacy of Faith Ringgold.'

photo: Meron Menghistab. Courtesy of the Anyone Can Fly Foundation and Jack Shainman Gallery, New York

Annely Juda Fine Art announces representation of Nicola Turner

April 16, 2025

Annely Juda Fine Art has announced representation of artist Nicola Turner, commencing with a major installation at Art Basel Unlimited in June 2025, followed by her first London solo exhibition in 2026.

Turner creates sculptures and site-responsive installations that explore fundamental dichotomies: life and death, human and non-human, attraction and repulsion. Using “dead” materials such as horsehair and wool alongside found objects, her works touch upon the history and “memory” of materials, dissolving boundaries amid the interconnectedness of ecosystems.

With a background in set and costume design, Turner completed an MA in Fine Art at Bath Spa University in 2019 and in 2023 founded FORM-ica, an independent collective of artists in her hometown of Bath. She gained attention in 2024 for her site-responsive installation The Meddling Fiend which interacted with the statue of Sir Joshua Reynolds in the Courtyard of the Royal Academy, London, for the duration of the Summer Exhibition.

Turner’s works possess an animalistic quality, with tentacle-like elements that weave around and interact with their surroundings, much like a plant reaching for sunlight. Re-purposed antique furniture legs, kitchen bowls and forks, binoculars and clamps become anthropomorphic feet, hands or eyes, giving her freestanding sculptures a precarious, animated presence. The works tend to be dark both literally and metaphorically. Encased in hand-sewn mesh, the materials - once part of living creatures – draw upon Turner’s own experience of loss, bereavement and medical intrusions. This lends her work a visceral, unsettling power, evoking both attraction and repulsion, and inviting new ways of seeing.

photo: Maxwell Attenborough

Perrotin announces representation of the Nancy Graves Foundation

Perrotin is delighted to announce the representation of the Foundation of American artist Nancy Graves (b. Pittsfield, MA 1939 - d. New York, 1995), a trailblazing painter, sculptor, and filmmaker, who pushed the boundaries of each medium establishing herself as one of the most prominent figures of post-minimalism.

The gallery will present Graves’ work in a wide-ranging exhibition at Perrotin New York, which opens on 23 April and is on view until 31 May.

"We are thrilled to present a selection of exemplary and rarely exhibited works from the 1970s and 1980s," says Ylinka Barotto, Director at Perrotin. "Unfolding chronologically, the exhibition will include paintings, sculptures, and little-known archival materials, bringing to the forefront the multi-layered practice that distinguishes Graves as one of the most groundbreaking artists of the second half of the 20th century."

Nancy Graves gained recognition in New York in the late 1960s. In 1969, at the age of 29, she became the youngest artist to be featured in a sensational exhibition at the Whitney Museum of American Art, a pivotal moment that launched a successful and influential career spanning over two decades.

photo: Steven Sloman

Almine Rech now represents Hans Op de Beeck

April 15, 2025

Almine Rech is pleased to announce the representation of Belgian artist Hans Op de Beeck. The gallery will present Hans Op de Beeck’s work at Art Brussels and Art Basel, Basel 2025. The artist’s first solo exhibition with the gallery will be on view at Almine Rech Brussels in 2026.

Specializing in a wide range of mediums, Op de Beeck creates sculptures, installations, video art, photography, animated films, drawings, paintings, and short stories. Op de Beeck’s work is distinguished by its aesthetic versatility, ranging from minimalist designs to elaborate and exaggerated visuals, all aimed at expressing the core meaning of each piece as clearly as possible.

His thematic focus centers on human relationships with time, space, and society. The artist’s creations often depict imaginary yet familiar settings, characters, and moments, evoking a sense of tragicomic absurdity within the framework of our postmodern lives. Key themes in his art include the disappearance of distances, the disembodiment of the individual, and the abstraction of time—issues that have been shaped by globalization, technological advancements, and changes to our living environments brought about by media and automation.

"Belgian artist Hans Op de Beeck is acclaimed for his sculptures, installations, videos, and watercolor works, his highly sophisticated practice creates a surreal liminal space, inviting the viewer to contemplate, reflect, and dream. I’m thrilled to start this collaboration with an artist I admire and reinforcing in this way our involvement with the Belgian art scene, in which we have been present with a space in Brussels since 2008."
- Almine Rech

photo: Hugard & Vanoverschelde

KV Duong joins Pippy Houldsworth Gallery

April 9, 2025

Pippy Houldsworth Gallery is delighted to announce representation of KV Duong (b. 1980, Ho Chi Minh City, Vietnam). Duong is an ethnically Chinese artist with a transnational background - born in Vietnam, raised in Canada, and now living and working in the UK. His work explores migration and cultural assimilation through personal and ancestral histories.

Duong’s paintings forgo more traditional materials of canvas or linen in favour of latex, which is poured onto wooden board or concrete floor, then dried, painted, stretched and resin-fibreglass coated on the reverse. As a medium, latex bears fetishistic and sensuous connotations, particularly in conversation with queer identity politics, evoking sexual fantasy and intimacy. Yet it is also connected with the rubber industry, referencing the history of rubber plantations under French colonial rule in Vietnam, which lasted from 1887 until 1954. As Duong foregrounds the materiality of his medium – his painting responding to the bubbles, surface impressions, films and ripples that form as latex dries – he asks us to consider the history of exploitation and extraction surrounding the Vietnamese rubber trade.

photo: courtesy of Brave Projects and James Champion

Frances Morris CBE appointed Chair of Gallery Climate Coalition Board

April 4, 2025

Gallery Climate Coalition (GCC) announces that Frances Morris CBE has been appointed as Chair of the organisation’s Board. A museum curator, art historian and writer, Frances Morris played a key role in establishing Tate, and in particular Tate Modern, as one of the most important galleries in the world. After studying at Cambridge and the Courtauld Institute, she joined Tate as a young curator in 1987, and when Tate Modern opened, took on the responsibility of introducing an entirely new way of seeing the national collection of modern and contemporary art, first as Head of Displays (2000-2006), and then Director of Collections, International Art, until she took over as Director of Tate Modern from 2016 to 2023.

Frances’s legacy at Tate includes the geographical expansion of Tate’s collection beyond the western canon, gender equality in Tate Modern’s artistic programmes, extending the repertoire of contemporary art by making space for performance and live art in the gallery’s collections, and helping to shape internal and international green museum principles. In 2019, Frances spearheaded Tate’s public commitment to addressing climate extinction via the declaration of a Climate Emergency. This initiative offered a platform for discussion in partnership with artists, campaigners, artistic communities and cultural organisations, a commitment to reducing the organisation’s carbon footprint by 50% by 2023, alongside other measures including the adoption of a train-first travel policy, the switch to a green electricity tariff, the commitment to regular carbon auditing and the sustainable sourcing of produce for Tate’s restaurants.

As a leading voice in the discussion around culture and sustainability, Frances Morris will contribute her broad experience, expertise and international network towards GCC’s mission of mainstreaming Environmental Responsibility in the art world and reducing the sector’s CO₂ emissions by 50% by 2030, from a 2019 baseline.

Frances Morris:
“I am thrilled to be joining Gallery Climate Coalition as Chair at such a critical moment for both the organisation and the wider visual arts sector. The urgency of the climate crisis demands bold, collective action, and GCC has already made remarkable strides in galvanising the art world towards meaningful change. I have long admired the coalition’s commitment to practical, systemic solutions, and I look forward to working alongside the team and its members to accelerate this progress. Together, we have an opportunity—and a responsibility—to ensure that the arts lead by example in building a more sustainable future.”

Celebrating its 5th anniversary this year, Gallery Climate Coalition is an international coalition of over 1800 arts organisations and professionals working to urgently decarbonise the visual arts. GCC develops and shares best practice, provides leadership on sector specific environmental issues, and works to leverage the collective power of its membership to achieve systemic changes.

photo courtesy Tate © Samia Meah

Almine Rech now represents Heinz Mack

April 1, 2025

Almine Rech is pleased to announce the global representation of German artist Heinz Mack.

The artist’s first solo exhibition with the gallery will be on view at Almine Rech New York, Tribeca from 9 May to 14 June, 2025. The gallery and Fondation Le Corbusier will present a solo show by Heinz Mack at Maison La Roche, Paris in October 2025.

“I love the story of the ZERO group, founded in 1957 in Düsseldorf by Mack and Piene and joined by Uecker in 1960. ZERO represented the zero hour, a new beginning after the destructions of the Second World War. Mack decided to use light and glass, it was like 10 years earlier but it’s echoing the Californian Light and Space movement that forms the basis of the gallery’s program since the 1990’s. Mack soon began to develop his painting work, abstract approach of light and space through color research.” — Almine Rech

Heinz Mack (b. 1931, Germany) is the co-founder of the ZERO movement, known for his explorations of light, color, and movement through painting, sculpture, and installation. His work has been exhibited in major institutions, including the Solomon R. Guggenheim Museum, New York, US; the Centre Pompidou, Paris, France; the Stedelijk Museum Amsterdam, Netherlands; and is part of the collections of The Museum of Modern Art (MoMA), New York, US, and the Tate Modern, London, UK, among others.

photo: Archive Studio Mack

Perrotin announces representation of the Estate of Young-Il Ahn

March 28, 2025

Perrotin is pleased to announce its exclusive representation of the Estate of Young-Il Ahn (1934–2020). Ahn, a Korean-American painter celebrated for his exquisite abstractions based on the Pacific Ocean and the light of California, vaulted to critical acclaim late in his career following a solo show at LACMA in 2017–18. Perrotin, with locations across three continents, will represent the Estate globally.

In conjunction with the announcement, Perrotin presents Young-Il Ahn: Selected Works 1986–2019, a survey exhibition highlighting the lyrical range of Ahn’s work spanning a period of three decades. Curated by art historian and Perrotin Senior Director Jennifer King, the exhibition will be on view at Perrotin Los Angeles from 11 April to 24 May, 2025.

Emmanuel Perrotin states, “As a result of the gallery’s expansion to Los Angeles in 2024, we now have the wonderful opportunity to work intimately with the Estate of Young-Il Ahn, and to steward the legacy of an important Korean-American artist who made Los Angeles his home for over 50 years.” King adds, “Over the years, Perrotin has established a strong program of Korean and Korean diaspora artists including Chung Chang-Sup, Lee Bae, Park Seo-Bo, GaHee Park, and Shim Moon-Seup. It’s extremely gratifying to be able to build upon this strength of the gallery from a curatorial perspective.”

photo: courtesy of the Young-Il Ahn Estate