NıCOLETTı now represents Ana Viktoria Dzinic

November 29, 2024

NıCOLETTı is delighted to announce the representation of London-based artist Ana Viktoria Dzinic (b. 1994, Schwelm, DE).

Ana Viktoria Dzinic investigates methods of image construction and their relationship with processes of subjectivity formation. Combining photographic paintings, multi-media installations and performances, Dzinic’s work explores the way in which the modes of production and circulation of technical images affect the apprehension and comprehension of self. Through various strategies of display that include script-based installations, protocols, or series of paintings on fabric using techniques such as industrial printing, dyeing, layering and trompe l’œil, the artist questions the validity of inherited dialectics between process hiding and process revealing, original and copy, indexical and represented, branded and authentic. Dzinic’s practice unfolds through distinct series of works, establishing each time a new aesthetic trait that reveals a different type of image economy.

Ana Viktoria Dzinic lives and works in London, UK. She holds an MFA from Goldsmiths, University of London, UK (2022).

Hauser & Wirth now represents María Berrío

November 26, 2024

Hauser & Wirth is pleased to announce its representation of Colombia-born, Brooklyn-based artist María Berrío (b. 1982) in collaboration with Victoria Miro.

Drawing on childhood memories, dreams, mythological themes and issues at the forefront of contemporary culture, Berrío’s intricate large-scale collages push the limits of conventional portraiture and landscape painting. Her imaginative, dreamlike works are often populated by women set in ethereal spaces that seem to exist outside of conventional time and space. Inspired in part by South American folklore, her art places humans and nature in a harmonious coexistence, suggestive of a delicate ecology in which the personal and collective seek balance. Berrío’s work explores the ways history shapes individuals and communities; in her amalgamation of memory, fact and fiction, she blurs the boundaries between reality and fantasy to address the many struggles and contradictions of our present day.

Berrío’s technical prowess is demonstrated through the singular process of layering hundreds of pieces of cut and torn Japanese paper on which she adds shadows and delicate details in watercolor, graphite, and ink to achieve richly textured, multi-dimensional surfaces. This unique approach–which she has been honing over the past two decades––allows her to evoke both the fragility and the strength of the female figures she depicts. By making these figures life-sized, the artist compels viewers to confront them eye to eye, entering a world that is as emotionally resonant as it is visually captivating. Beneath the beauty of her compositions, replete with an air of wistful nostalgia, Berrío alludes to the political and social struggles that effect the most vulnerable members of society.

María Berrío’s current exhibition, The End of Ritual, is on view at Victoria Miro in London until 18 January.

photo: Kyle Dorosz

Gagosian announces global representation of Kathleen Ryan

Gagosian is pleased to announce the global representation of Kathleen Ryan. Her debut exhibition with the gallery will be held in 2026.

A California-born sculptor, Ryan produces meticulously crafted interpretations of everyday objects that prompt meditation on themes of seduction and repulsion, refinement and excess. Profoundly influenced by her West Coast roots, the artist often focuses on pop-cultural artifacts associated with Los Angeles, such as muscle cars and bowling balls, alongside biological forms like fruit, flowers, and spiderwebs. By applying traditional craftsmanship to natural and industrial materials in a wide range of scales and formats, Ryan unites the organic and the artificial, transforming her subjects into tongue-in-cheek allegories for the entropic cycle of life and death.

While offering a critique of contemporary life and society, Ryan is also fascinated by the wider contexts and histories of visual culture. In Bacchante (2015), a sculptural reinterpretation of a 1627 portrait by Hendrick ter Brugghen, she uses concrete casts of balloons to explore the sensual tension evident in the painter’s depiction of grapes—an impression offset by her clustered forms’ interconnecting chains. In the nostalgia-tinged Satellite in Repose (2019), hand-modeled ceramic forms perch like parrots on the skeletal remnant of a satellite dish, the stalactite-like appearance of their tails lending the entire structure a fossilized look and adding to its ambivalent stance toward technological progress and obsolescence. And in the Generator series (2022–), oyster-like hinged sections of automobile bodies enclose delicate metallic and crystalline spiderwebs.

In Ryan’s series Bad Fruit (2018–), pieces of decaying fruit are wittily reimagined in unexpected materials at altered scale. Mining the American decorative craft tradition of pin-beaded fruit, the artist encrusts each carved form’s surface with glass and acrylic beads to delineate “fresh” parts and semiprecious stone beads such as agate, garnet, and turquoise for “rotten” areas, producing the impression of partial decomposition. Through this conceptual and material disjunction, the series explores ideas of desire and overconsumption that resonate with the illusory excesses of contemporary culture. Bad Melon (2020) is a scatter of giant watermelon chunks built from glass beads, stones, and other objects. The rind of each piece is made of aluminum salvaged from a 1973 Airstream Safari camper, an iconic leisure vehicle redolent of postwar optimism, the surface of which is now rusty and scratched. Through this juxtaposition, the work evokes both the death of an American dream, and the resilient life embodied by coral as it envelops and repurposes a submerged wreck.

Among Ryan’s recent exhibition projects was Spotlight: Kathleen Ryan, at the Institute of Contemporary Art San Francisco. This featured Screwdriver (2023), for which the artist transformed the trunk of a 1968 AMC Javelin into the rind of an orange slice in a huge sculptural cocktail garnish. Ryan’s first museum survey also opened this year, at the Hamburger Kunsthalle, Hamburg, Germany, and will travel to Kistefos Museum, Jevnaker, Norway, in 2025. It gathers thirty of her sculptures from the past ten years, including several newly commissioned works.

Kathleen Ryan was born Santa Monica, California, in 1984, and lives and works in Jersey City, New Jersey.

photo: Jeff Henrikson

Galerie Forsblom announces representation of Gerold Miller

November 13, 2024

Gerold Miller is a German sculptor known for his minimalist and geometric works that explore the intersections of space, form, and perception. Miller’s practice specifically addresses space and time, stagnancy and movement, subject and object, where the viewer and the artwork merge into a unified piece. His works are characterized by precision and clean lines, often employing industrial materials such as aluminum and lacquer. His sculptures and wall pieces blur the boundaries between painting and sculpture, challenging traditional distinctions and inviting viewers into a dialogue with the visual experience.

Gerold Miller (b. 1961) studied sculpture at the Stuttgart State Academy of Art and Design, graduating in 1989. His works have been exhibited and collected by museums and private collections worldwide, including Nationalgalerie in Berlin, Louisiana Museum of Modern Art in Humlebæk, Denmark, NOMA New Orleans Museum of Art in the US, Kunstmuseum Stuttgart in Germany, Hamburger Kunsthalle in Germany, Museo de Arte Latinoamericano in Buenos Aires, Argentina, Takasaki Museum of Art in Japan, Fondation Cartier pour l’Art Contemporain in Paris, Musée de l’Art et de la Histoire Neuchâtel in France, and Museo d’Arte della Svizzera Italiana in Lugano, Italy.

Gerold Miller’s solo exhibition at Galerie Forsblom will be on view from 17 January until 16 February 2025.

Zorawar Sidhu and Rob Swainston join Petzel

November 12, 2024

Petzel is pleased to announce representation of New York-based artist duo Zorawar Sidhu and Rob Swainston.

Sidhu and Swainston use historical printmaking processes to create multi-layered woodblock prints that consider how images are assembled and negotiated through social structures, emerging technologies, and archival materials. Drawing on art historical references, from 18th century history painting to German Expressionist etchings, Sidhu and Swainston use analog methods to re-frame images of protest, social movements, and anthropogenic events circulated through both centuries-old and contemporary news media.

Their 2022 debut exhibition with the gallery, Doomscrolling, served as a response to the experience of bombardment with extreme images of pandemic, violence, protest, and insurrection, chronicling major events in media from May 24, 2020 to January 6, 2021. Sidhu and Swainston note, “Woodblock for us is grounded historically in social movements… it’s the oldest means of mass communication of an image.”

“My collaboration with Rob and Zorawar on Doomscrolling—a year after the Capitol attack in Washington on January 6—showed me their deep engagement with the historical, political, and material dimensions of printmaking. They contribute a vital layer to our work at Petzel,” says Friedrich Petzel. “I’m excited to welcome them to Petzel’s community of artists and I look forward to working with them on their upcoming exhibition and introducing their woodblock prints to new audiences.

“As artists working collaboratively, we understand the value of community and are thrilled to join the Petzel program,” say Sidhu and Swainston.

Sidhu and Swainston have a current exhibition, Doomscrolling, on view at Hall Art Foundation in Reading, Vermont through December 1, 2024. Click here to watch an artist talk by Sidhu and Swainston in conjunction with the show. Sidhu and Swainston will unveil an exhibition of new woodblock prints at Petzel’s Chelsea location in March 2025.

photo: Adam Golfer

Alison Jacques now represents Bona de Mandiargues

Alison Jacques announces representation of the Estate of Bona de Mandiargues (b.1926, Rome; d.2000, Paris).

Bona de Mandiargues is considered a central artist within the Surrealist movement. In recent years, de Mardiargues has been the subject of renewed curatorial interest and international recognition, following her first institutional retrospective at the Nivola Museum in Sardinia (2022). Her work is currently on view at the 60th Venice Biennale ‘Foreigners Everywhere’, curated by Adriano Pedrosa (until 24 November 2024) and ‘Surréalisme’ at Centre Pompidou, Paris (until 13 January 2025).

De Mandiargues lived in Italy, before moving to Paris in 1947. Aged 6, her family moved from the Italian countryside to Modena. She described the move from rural surroundings to city life as traumatic, and she began to draw in response to this change in her environment. De Mandiargues went on to study at Accademia di Belle Arti, Venice, where her uncle, the poet and artist Filippo de Pisis (1896-1956) became her mentor. In Venice, she was introduced to influences she carried with her throughout her career; from the early Christian mosaics of Ravenna, the late medieval and early Renaissance painting from the Sienese and Ferrarese schools, to the Surrealists including Giorgio de Chirico.

Alison Jacques will present a solo exhibition of Bona de Mandiargues' work in 2025.

artwork: Bona de Mandiargues, Senza titolo, 1980 © Estate of Bona de Mandiargues

Anna Boghiguian awarded 2024 Wolfgang Hahn Prize

November 6, 2024

An­na Boghiguian (born 1946 in Cairo) will be award­ed the 30th Wolf­gang Hahn Prize of the Ge­sellschaft für Mod­erne Kunst at Mu­se­um Lud­wig, Cologne. The award cer­e­mony will take place on 8 Novem­ber 2024.

The Egyp­tian-Ca­na­dian artist of Ar­me­nian ori­gin has pre­sent­ed one of the most exc­it­ing po­si­tions in con­tem­po­rary art since her par­ti­ci­pa­tion in the Bien­nials of Is­tan­bul in 2009 and of Shar­jah in 2011 and in dOC­U­MEN­TA 13 in 2012. She is known for her fig­u­ra­tive mu­rals, (note)books, draw­ings, paint­ings, pho­to­graphs, and sculp­tures, as well as large-scale in­s­tal­la­tions. Boghiguian’s work is of­ten spon­ta­neous and fre­quent­ly cre­at­ed on lo­ca­tion. She is con­sid­ered a per­cep­tive ob­serv­er of the hu­man con­di­tion and con­veys an in­ter­pre­ta­tion of con­tem­po­rary life in which her con­tent os­cil­lates ex­treme­ly clev­er­ly be­tween past and pre­sent, po­et­ry and politics, his­to­ry and lit­er­a­ture. Her art­works cele­brate a glob­al­ly unit­ed hu­mani­ty and fo­cus on the af­ter­math of his­tor­i­cal events and their con­flicts in or­der to iden­ti­fy op­tions for the fu­ture through an artis­tic reap­praisal.

As a daugh­ter of an Ar­me­nian watch­mak­er, An­na Boghiguian studied po­lit­i­cal sci­ence and eco­nomics at the Amer­i­can Uni­ver­si­ty in Cairo in the 1960s. In the ear­ly 1970s, she moved to Ca­na­da and studied art and mu­sic in Mon­tre­al. Boghiguian has her stu­dio and resi­dence in Cairo, but al­so lives and works in Eu­rope, Asia, Afri­ca and Amer­i­ca. Win­n­er of the Gol­d­en Li­on for Best Pav­ilion (Ar­me­nia) at the 56th Venice Bien­nale in 2015, she al­so par­ti­ci­pat­ed in the tour­ing ex­hi­bi­tion "Con­tem­po­rary Arab Rep­re­sen­ta­tion" in 2003, the 11th and 14th Is­tan­bul Bien­nale in 2009 and 2015, the Sao Pao­lo Bien­nale in 2014 and 2023, and has re­ceived so­lo ex­hi­bi­tions at the Castel­lo di Rivoli in Turin, Kun­sthaus Bre­genz, Mu­se­um für Ge­gen­wart­skunst Sie­gen and SMAK in Ghent, among others.

The Wolf­gang Hahn Prize is award­ed an­nu­al­ly by the Ge­sellschaft für Mod­erne Kunst am Mu­se­um Lud­wig. The award is pri­mar­i­ly in­tend­ed to ho­n­our con­tem­po­rary artists who have al­ready made a name for them­selves in the art world through an in­ter­na­tio­n­al­ly recog­nised oeu­vre, but who are not yet as well known in Ger­many. The prize mon­ey of a max­i­mum of €100,000 is fund­ed by the mem­bers’ con­tri­bu­tions and goes to­wards the ac­qui­si­tion of a work or group of works by the artists for the col­lec­tion of Mu­se­um Lud­wig. The name of the prize ho­n­ours the me­m­o­ry of the pas­sio­nate Cologne-based col­lec­tor and paint­ing conser­va­tor Wolf­gang Hahn (1924-1987), who was com­mitt­ed to the art of the Eu­ro­pean and Amer­i­can avant-garde.

Anna Boghiguian’s exhibition, Living Amidst the Death, is on view at Sylvia Kouvali in London until Saturday 16 November.

Gagosian announces global representation of Tyler Mitchell

October 23, 2024

Gagosian is pleased to announce the global representation of artist, photographer, and filmmaker Tyler Mitchell. Mitchell’s work will be shown by Gagosian at Paris Photo in a curated presentation with photographs by Richard Avedon from November 6 to 10, 2024. New photographs by the artist will be featured in the catalogue accompanying Superfine: Tailoring Black Style, the Costume Institute’s spring 2025 exhibition at the Metropolitan Museum of Art, New York. His first exhibition with the gallery following representation will take place in New York in the spring of 2025.

A leading artist of his generation, Mitchell is renowned for his vibrant, playfully theatrical compositions that foreground the style and beauty of Black subjects, often within pastoral landscapes and familiar domestic settings. His photographs and videos offer utopian visions of empowerment, self-determination, tenderness, and camaraderie.

Mitchell draws from the traditions of portraiture, fine-art photography, fashion, and filmmaking to create images of individuals whom he seeks to visualize as “free, expressive, effortless, and sensitive.” Works such as Untitled (Kite) (2019) and Riverside Scene (2021) envision scenes of leisure in idyllic summertime landscapes. Such personal expressions seamlessly blend with editorial projects in his wide-ranging practice; in commissioned works like Untitled (Twins I) (2018) and Untitled (Communion in a Landscape) (2023), Mitchell uses brilliant color and dramatic silhouettes to present images of alluring individuals. He often prints his photographs on unorthodox substrates, including mirrors and fabric hung from clotheslines or draped over frames, as in A Gradual Shining Light (2023). He also embeds them into mixed-media Altar sculptures that reference domesticity and vernacular photography, integrating his visions into physical reality.

Mitchell achieved global prominence when he photographed Beyoncé for the September 2018 issue of American Vogue, becoming the first Black photographer to shoot the magazine’s cover in its then 126-year history. The Smithsonian Institution’s National Portrait Gallery acquired an image from the series the following year. Untitled (Hijab Couture) (2019), from another Vogue feature, pictures Somali-born model Ugbad Abdi wearing a headdress of glossy pink flowers. His photographs of the newly inaugurated Vice President Kamala Harris were commissioned for the cover of Vogue’s February 2021 issue. Mitchell has also collaborated with brands including Loewe, Louis Vuitton, Ferragamo, JW Anderson, Wales Bonner, and Marc Jacobs.

Tyler Mitchell was born in 1995 in Atlanta and lives and works in New York.

photo: © Tyler Mitchell

Galerie Eva Presenhuber announces representation of Chemu Ng’ok

October 4, 2024

Galerie Eva Presenhuber is proud to announce the representation of Nairobi-based artist Chemu Ng’ok, alongside Central Fine, Miami, and Goodman Gallery, Johannesburg. On November 15, her debut solo exhibition with Galerie Eva Presenhuber, Echoes, will open at Waldmannstrasse, Zurich.

Ng’ok investigates personal, psychological, political, and spiritual relationships through her art. Her works unveil tensions and shifts in belief systems within African societies, blending reality and imagination to create intricate narratives. These include themes such as the act of negotiating power for the self within the institution, bearing witness to ceremonies, the search for justice, and navigating loss through the body within the theme of transition. The works are in constant flux as their meaning changes over time and the ambiguity of the work allows for different interpretations. Painting becomes a verb, an act of doing, searching, witnessing, or navigating. An elusive conclusion is never reached.

In painting the body, I show a psychological disjuncture. The flexibility of flesh offers me painterly ammunition. Lines hint at the unfinished aspects of thought. The lines morph and become a type of coding that hovers “in the air” of painting. These transmutations are endless. They refer to language, memory, ritual, absence, a future that is yet to be determined, things left unsaid and bodies on the verge of eruption.
– Chemu Ng’ok

Ivy Brandie Chemutai Ng’ok was born in 1989 in Nairobi, Kenya, where she lives and works. In 2017, she received her MFA in painting from Rhodes University, Grahamstown, ZA. In 2023, she was the subject of a solo exhibition at ICA Milano, Milan, IT. She has participated in group exhibitions at institutions including The Institutum, Singapore, SG (2024); Kunstmuseum Basel, Basel, CH (2024); Nairobi Contemporary Art Institute, Nairobi, KE (2024); Galerie Eva Presenhuber x Taxa, Seoul, KR (2023); Museum Dhondt-Dhaenens, Sint-Martens-Latem, BE (2022); Institute of Contemporary Art, Miami, FL, US (2022); Zeitz MOCAA, Capetown, ZA (2022); de la Cruz Collection, Miami, FL, US (2021); New Museum Triennial, New York, NY, US (2018); Grahamstown National Arts Festival, Grahamstown, ZA (2018; 2014); and National Gallery of Zimbabwe, Harare, ZW (2017).

photo: James Muriuk

David Zwirner now represents Victor Man

David Zwirner is pleased to announce the representation of Victor Man. The gallery will present the painting K (2014) by Man at Art Basel Paris, and a solo exhibition is planned for autumn 2025 at the London gallery.



Man’s psychologically layered, resolutely enigmatic paintings collapse reality and fiction, past and present. Marked by an elegant spareness and often painted in a palette of dark and atmospheric tones, the artist’s work encompasses portraits of individuals from his milieu, as well as symbolically laden scenes that are cloaked in a shadowed melancholia.

Man’s paintings are frequently characterized by existential themes drawn directly from his own intimate spiritual experiences. Stylistically complex, these compositions elude categorization, often revealing varied, nonlinear references to art history, literature, and poetry, while also maintaining their singular position in contemporary art. The paintings speak to a deep exploration of existence where human and animal, masculine and feminine, often intermingle. As curator Alessandro Rabottini writes, Man’s work resides “in a regime of mutual simultaneity,” which “reveal[s] an osmosis of different identities that open up and complicate the very notion of portraiture. However, what coexists in Victor Man’s practice is not only the different dimensions of time and forms of feeling but also, and above all, the dimensions of human existence … eroticism alongside spirituality, affection alongside its renunciation, and resemblance alongside mystery and estrangement.” Through their overlapping and synchronous interventions of time, place, and feeling, Man’s paintings evoke the elegiac depths of human experience and reverberate with emotional immediacy.

David Zwirner states, “I love Victor Man’s powerful and enigmatic paintings. To me, they are quintessentially European, firmly rooted in the history of Western painting and his deep appreciation for the Renaissance. His paintings remind me of my favorite poetry: fragments coalesce into open-ended narratives, the interiority of his subjects remain mysterious, and through his surprising iconography, he manages to collapse the continuum of time. I’m excited and honored to welcome Victor Man, one of the truly unique voices in contemporary painting, to the gallery.”

Victor Man was born in 1974 in Cluj, Romania. His work has been the subject of various solo exhibitions at museums and institutions such as the Städel Museum, Frankfurt (2023); Fondazione Sandretto Re Rebaudengo, Turin (2022); Sant’Andrea de Scaphis, Rome (2021); Museo Tamayo, Mexico City (2018); Haus der Kunst, Munich (2014); Villa Medici, Rome (2013); and Museum Boijmans Van Beuningen, Rotterdam (2009)

artwork: Victor Man, K, 2014 (detail). © Victor Man

Perrotin to open London gallery in early 2025

October 1, 2024

Perrotin gallery is delighted to announce the opening of Perrotin London in early 2025.

Situated in the heart of Mayfair, the gallery features 350 m2 of completely refurbished space in Claridge’s, a true British landmark. Perrotin is thrilled to be setting up its first London space in this vibrant and historic neighborhood. Located on Brook’s Mews, the gallery will be next to Claridge’s ArtSpace Café.

Perrotin London will offer a program created together with its artists to coincide with the city’s major cultural events, such as Frieze London, where the gallery has participated since 2004. For the 2024 edition, the gallery will present works by British sculptor Lynn Chadwick, whose Estate recently joined the gallery.

“It’s important to have a gallery in the British capital. We have a long-standing relationship with the UK art scene and collectors. I’ve been waiting for the opportunity to set up the gallery in the right conditions. I’m delighted to offer our artists a new exhibition platform and new projects in such a prestigious environment. This space was inaugurated in 2021 with a Damien Hirst exhibition organized by Claridge’s. As it happens, I organized Damien Hirst’s first two commercial exhibitions in 1990 (with a group show) and in 1991 (with a solo show) in my first Parisian space. At the exhibition opening in 1991, Frieze magazine launched its first issue, and Damien’s work was featured on the cover. It was an exceptional moment in my career. I look forward to coming full circle!” - Emmanuel Perrotin

Alison Jacques announces representation of Sagarika Sundaram

September 27, 2024

Sagarika Sundaram (b.1986, Kolkata, India; lives and works in New York, US) describes her process as one of transformation: ‘There’s an alchemy to it,’ she says of her work. ‘It changes in its final form.’ This sense of transformation and ‘alchemy’ has been a central theme throughout Sundaram’s career, where she uses wool, silk, and dyes to create textile sculptures, reliefs, and installations. These works bridge the bodily and the botanical, using the materiality of wool to explore internal, external, and imagined landscapes.

After working in graphic design for a decade, Sundaram pursued an MFA at Parsons School of Design, New York, following her degree in Visual Communication from the National Institute of Design, Ahmedabad. Each element in her work—wool, silk, dye—is chosen for its distinct textural qualities, which contribute to the polyphonic nature of her compositions. Her use of felt, an ancient textile form originating in Central Asia, is especially important. Treated entirely by hand, the material holds deep geographic histories while its pliability enables Sundaram to explore the potential of material as a form of thought.

In her studio, Sundaram approaches wool as if sketching, layering fibres like cross-hatching to create a mesh. Her process is intuitive; the work’s anatomy reveals itself only as layers of unruly colour interact and evolve. Stretched and coiled, her unfolding forms explore the intersections between human and natural worlds, challenging the notion that the two can be separated. As Sundaram puts it, ‘By the time things are humming along, the ending makes itself obvious—the work is complete when I can feel it talking to me.’

Sundaram made her solo debut at Palo Gallery, New York (2023), and has participated in group exhibitions at the Bronx Museum (2024) and the Al Held Foundation & River Valley Arts Collective (2023). Her upcoming solo show will be at Nature Morte Gallery, New Delhi (2025), and her work will be featured in the UBS VIP Lounge at Art Basel Miami Beach (2024).

Sundaram’s first solo exhibition with Alison Jacques will take place in Autumn 2025.

photo © Anita Goes

Roberts Projects announces representation of Wendy Red Star

September 24, 2024

Roberts Projects has announced representation of Wendy Red Star (Baaeétitchish – Does Things Well), following the gallery’s first solo exhibition of Red Star’s work – Bíikkua (The Hide Scraper) – this past August.

Wendy Red Star, of the Piegan clan and from the district of Pryor, engages in a multidisciplinary artistic practice grounded in the history and cultural knowledge of the Apsáalooke (Crow) people. Raised on the Crow reservation in Montana, her work reflects her deep connection to her community, culture, and land.

Red Star’s art recontextualizes United States history through a Crow lens, often challenging colonial narratives while elevating Crow experiences, traditions and stories. Through photography, sculpture, video, fiber arts and performance, Red Star’s work emphasizes the importance of Apsáalooke cultural practices and knowledge transmission, especially within her own family and community. Her rigorous research and focus on archival materials allows her to bring forward underrepresented aspects of Apsáalooke history, often intertwining wit and critical insight to challenge dominant narratives.

“This foundation is the main source for the inspiration behind all the work that I create… where I come from, the community that I’m from, the culture that I grew up in, the land that has molded my experience,” says Red Star, who sees her artistic practice as inseparable from her Apsáalooke identity. Additionally, Red Star’s work foregrounds the importance of amplifying Native women’s voices in the discourse of contemporary art.

photo: Paul Salveson

Timothy Taylor now represents Alice Tippit

September 18, 2024

Timothy Taylor has announced the representation of Alice Tippit. The Chicago-based artist will continue to be represented by Nicelle Beauchene in New York and Patron in Chicago.

In her canny, hard-edged paintings, Tippit plays with colour, shape, repetition, symmetry, figure, and ground to create images whose meaning remains unfixed. She paints vibrant, minimal arrangements of geometries and forms drawn from the art historical traditions of portraiture, still life, and landscape, including flora and fauna as well as architectural and pastoral elements. Tippit’s work suggests the expansive worlds of desire and identification that underlie how meaning is made.

The gallery will present a solo exhibition of new works by the artist next month at the ADAA’s The Art Show in New York.

photo: Evan Jenkins

New Fourth Plinth Commission by Teresa Margolles unveiled

On 18 September 2024, the new Fourth Plinth Commission Mil Veces un Instante (A thousand times in an Instant) by Teresa Margolles was unveiled on the Fourth Plinth.

Mil Veces un Instante is made up of plaster casts of the faces of 726 transexual, non-binary, and gender non-conforming people. The casts were made in Mexico City and Juárez, Mexico; and London. She worked closely with community groups across Mexico and the UK including Micro Rainbow and QUEERCIRCLE. The casts have been created by applying plaster directly onto the faces of participants, meaning that as well as recording their features the plaster is infused with their hair and skin cells.

Audience Survey Draw Winner!

September 17, 2024

We are delighted to announce a winner of the draw from our recent GalleriesNow Audience Survey.

Out of over 400 entries, a winner has been selected at random and sent a code to redeem their £100 GalleriesNow voucher.

We extend our heartfelt thanks to everyone who took the time to share their insights - your feedback is crucial in helping us refine and enhance the platform, and making more art accessible to more people.

We are using the valuable input to develop and implement enhanced features designed to improve your overall experience. Exciting updates are on the horizon so please stay tuned for announcements about the new features.

Congratulations again to our winner (who wishes to stay anonymous), and thank you all for contributing!

David Lewis joins Hauser & Wirth as Senior Director

September 13, 2024

Hauser & Wirth has announced that David Lewis has joined the gallery as a Senior Director in New York City. Lewis comes to Hauser & Wirth after having run his own eponymous gallery for over a decade, with a first location on Eldridge Street on the Lower East Side and a subsequent space on Walker Street in Tribeca. David Lewis Gallery attracted critical praise for its rigorous program focused equally on solo presentations showcasing emerging artists and incisive theory-driven group exhibitions, and for revising the canon via thoughtful attention to under-recognized older artists and historical figures. Prominent among those Lewis has championed are pioneering feminist artist Mary Beth Edelson (1933 – 2021) and celebrated Alabama-based expressionist painter and sculptor Thornton Dial (1928 – 2016).

Lewis is widely admired for his scholarly and sensitive approach to modern and contemporary cultural narratives, and his fresh interpretations of them. For example, with the exhibition ‘Dial / Hammons / Rauschenberg,’ Lewis was first to show Dial, an autodidact and product of the Jim Crow South, in context with famous art titans, proposing the trio as true peers. A specialist in the oeuvre of Francis Picabia (1879 – 1953), Lewis presented ‘Everyone Loves Picabia’ in 2023. Effectively recapping the conversations that had informed his gallery’s ethos and programming over the years, this show promulgated the value of seeking and sharing new connections between emerging and historical art.

Before opening the gallery in 2013, David Lewis lived and worked in Paris, where he completed a Ph.D. from The Graduate Center, CUNY, on the career of Francis Picabia, titled ‘Francis Picabia and the Problem of Nihilism.’ While in Europe, he contributed regularly to prominent international art magazines such as Artforum and Frieze, and published extensively, including essays on Philip Guston, Henri Matisse and Sturtevant, among many others.

photo: Axel Dupeux