Andrew Edlin Gallery

07/31/2024

Happy 114th birthday Eugene Von Bruenchenhein!

It was only after his death that the treasure trove of art Eugene Von Bruenchenhein left behind became known to the world. Employed for most of his life as a baker in a suburban enclave of Milwaukee, Von Bruenchenhein (1910-1983) devoted his off hours to creating a dizzying array of ceramics, paintings, drawings, photographs and sculptures, which stuffed the modest home that he shared with his beloved wife, Marie.

Von Bruenchenhein sometimes signed his works “Genii”, a sort of alter-ego. In its ancient usage, “genii” referred to a collection of helpful spirits who whispered in the ears of humankind so that they might hear the wisdom of the gods.

Eugene Von Bruenchenhein (1910 - 1983)
“No. 818, July 3, 1959", 1959
Oil on posterboard
24 x 24 inches

"Time Produced Non Better (Self-Portrait)", 1947
Hand-colored gelatin silver print
10 x 8 inches

Untitled (Leaf Crown), c. 1960
Painted ceramic
5.75 x 7 inches

Throne Chair, c. 1960
Chicken bones, paint, airplane glue, and varnish
6 x 4 x 4 inches

07/26/2024

This summer edition of celebrates the work of the late artist Anthony Dominguez. In his cover story, Tom Patterson writes “Anthony Dominguez viewed the world as a realm of hidden forces. An unhoused artist roaming the streets of New York, furtively occupying abandoned structures around the city, he met hardships with equanimity and good humour. […] The seemingly capricious alternation of favourable and deleterious forces is a theme Dominguez often dealt with in his art, which consists mostly of monochromatic paintings on scavenged fabric.”

Anthony Dominguez (1960 - 2014)
Untitled, n.d.
Paint on cloth
13 x 29.75 inches

07/23/2024

Pearl Blauvelt found order and beauty in the natural landscape and the Biblical world, but also in mail-order catalogues. A large portion of her surviving output features gridded inventories of fabrics and clothes, stockings and hairpins, kitchen-ware, rugs. Here she showed the allure of the consumer world just slightly out of reach in rural Pennsylvania.

You can see two such works now, currently on view at .

Pearl Blauvelt (1893 - 1987)
Untitled (‘100 Yds. of Bolt Dress Goods Color White with Black and Royal Blue Marking’), c. 1940s
Graphite and colored pencil on notebook paper
8.5 x 11 inches

Untitled ('Hudson Mohawk Rugs'), c. 1940's
Graphite and colored pencil on paper
11 x 8.5 inches

Untitled (‘The Clothing Depatment - Ready Made and Otherwise Raw Material Bolt Goods’), c. 1940's
Graphite and colored pencil on notebook paper
8.5 x 11 inches

07/17/2024

Artbook @ Hauser & Wirth LA presents an evening with , Wednesday, July 24th at 6PM. There will be a discussion with Jeffrey Deitch to celebrate the release of the publication 'A Doorway to Joe: The Art of Joe Coleman', followed by a Q&A and book-signing with the artist.

Joe Coleman (b. 1955)

‘A Doorway to Joe’, 2010

Acrylic on panel

85.5 x 41.5 x 5 inches

07/15/2024

See work by Judith Scott in ’s ‘Crossings’, an exhibition of fabric-based art, which is on view through August 9.

Scott’s work is also currently in ’s exhibition ‘Creative Growth: The House That Art Built’.

Judith Scott (1943 - 2005)
Untitled, c. 2003
Mixed media yarn sculpture
20 x 20 x 10.5 inches

Installation view of Judith Scott’s work in Crossings at Kasmin, New York, 2024.

07/15/2024

We are pleased to announce that our exhibition “Della Wells: Mambo Land” will be extended through August 9.

John Haber writes in his review, “Wells, a self-taught artist at a gallery dedicated to just that, has the obsessive imaginings of outsider art and the subject matter of folk art to boot. Still, she is way too self-aware for the labels, and her collage looks back to Romare Bearden and others as well. Above all, it will not sit still—not if that would allow white eyes to define it. The show is “Mambo Land,” but another yard sign promises antiques. To Paula’s right, a girl rises past the borders of the picture, literally and metaphorically, leaving only her skirt and feet. Now in her seventies, Wells, too, is rising, but with her feet firmly on the ground.”

Della Wells (b. 1951)
“Simply Paula”, 2024
Found-paper collage on masonite
20 x 16 inches

07/02/2024

Tyler Macko uses cottonwood bark, ply wood, work gloves, scattered pennies, rebar and bones to reveal mankind’s intervention and absence entangled with the landscape of the American west. “Cave Between the Ears” hangs in the group show in our back gallery, on exhibition through August 16.

Tyler Macko (b. 1989)
‘Cave Between the Ears’, 2024
Cottonwood bark, ply wood, bone, found object, oil and acrylic
61 x 74 inches

06/29/2024

Landscapes of childhood, memories of home, assemblages of America: “Tyler Macko, Bill Miller, and John Roberts” is on display in our back gallery through August 16.

Miller, a native Ohioan, creates narratives composed solely with cut pieces of vintage linoleum flooring; the use of recognizable linoleum patterns evokes the nostalgic essence of the medium. Macko's wall-hung assemblages are made entirely of objects found on his farm in the Shields River Valley of Montana; these mementos are imbued with personal history and serve as vestiges of heritage. Roberts's oils are homages to his ancestral ties to Sharon, Tennessee, the small town where his family has lived for eight generations.

06/07/2024

This enigmatic soot-and-spit landscape by James Castle is not just a literal study of the farmland Castle grew up on — instead, it provides a glimpse into the mind of an artist translating, transforming, and embellishing his world into new and personal terrain. In ‘The James Castle Primer,’ author Nicholas R. Bell wrote, “Things that don’t belong materialize out there: patterns, constructions, entities caught between figure and tree, […]. Castle was far more than just an observer of his world; he was a tinkerer, an inventor as comfortable generating new realities as he was capturing his own.”

James Castle (1899 – 1977)
Untitled (Garden Valley landscape with totems and power lines) (recto/verso), n.d.
Soot and spit on found paper
5.25 x 7.25 inches

06/05/2024

You can now see a painting by Paulina Peavy alongside works by Magritte, Oppenheim, and Fischinger at ’s Modern Art gallery. The museum’s wall text notes how “the luminous jewel-like tones, crystal shapes, and wisps of color reflect [Peavy’s] signature technique of layering translucent color and returning to the canvas over several decades.”

Installation view of the new Modern Art presentation on BCAM, Level 3, Los Angeles County Museum of Art, April 20, 2024 - Ongoing, photo © Museum Associates/LACMA.

Paulina Peavy (1901 - 1999)
Untitled, c. 1930s - 1970s
Oil and acrylic on board
20 x 16 inches

06/05/2024

06/04/2024

In her 2022 review of the Outsider Art Fair, Roberta Smith described Della Wells’s collages as “Cubism accelerated for modern times.” She added, “Wells’s backgrounds — especially her choppy blue skies — are often punctuated with small images, which make the air seem charged with memories.”

Our second solo exhibition of Wells’s work, “Della Wells: Mambo Land,” is on display through July 19.



Photography by .vysotskaya.

06/01/2024

Eugene Von Bruenchenhein (1910 - 1983)
“Steel-Imperial City, June 1978,” 1978
Oil on cardboard
33.75 x 29.5 in

05/31/2024

Join us tonight at 6PM for the opening of “Della Wells: Mambo Land.”

Inspired by the works of Matisse, Romare Bearden, and fellow Milwaukee artist Beverly Nunes Ramsay, Della Wells began making art in earnest at age forty-two, processing stories that she felt compelled to share and using them as foundations for her collages. In the process, she conjured up the contours and characters of Mambo Land, a world where “Black women rule.”

“Della Wells: Mambo Land” runs through July 19th.

Della Wells (b. 1951)
"My Truth and Fears are Always with Me," 2023
Found-paper collage on board
18 x 14 inches

05/31/2024

Tonight, holds their 2024 White Columns Benefit Auction, which includes this pastel-on-paper shack by Beverly Buchanan.

Vernacular southern architecture was the motif Buchanan returned to most in her artistic life. She said, “I consider my shacks portraits.”

Beverly Buchanan (1940 - 2015)
Untitled, c. 2003
Oil pastel on paper
9 x 12 inches

05/28/2024

This Friday, May 31 at 6PM we open “Della Wells: Mambo Land,” our second solo exhibition for the Milwaukee artist.

True to her folk-art influences, Della Wells (b. 1951) improvises with materials that are readily at hand, revealing a world that has been flattened, yet still possesses a vibrant, rumpled surface. She transforms reality into fable, melding together images, each one of which is a distinct token of her heritage. Collectively they serve as threads that embroider life in Mambo Land.

Della Wells (b. 1951)
"Twink's House," 2022
Found-paper collage on board
18 x 14 inches

05/25/2024

Last day to see “CO₂ Blues: The Art of Melvin Way (1989-2024),” curated by Andrew Castrucci.

05/24/2024

Thank you to everyone who attended our screening of “Melvin Way” (2016). We are grateful to panelists Andrew Castrucci and Karla Knight, as well as moderator Carlo McCormick for all of their insights.

If you missed the film, you can find a link to view in our story.

Melvin Way (1954 - 2024)
“Atlantia,” c. 1990-95
Ballpoint pen and pencil on paper
11 x 8.75 inches

Karla Knight (b. 1958)
“Spaceship Note #4,” n.d.
Graphite on paper
7.75 x 8.5 inches

05/23/2024

Today at 6PM we are screening "Melvin Way” (2016), a short film by Bruno Decharme and Barbara Safarova. Afterwards, Carlo McCormick will sit down with curator Andrew Castrucci and artist Karla Knight to discuss Way’s radically individual work and the nature of art that is indecipherable.

Melvin Way (1954 - 2024)
"Ta***ic Sect," c. 2012
Ballpoint pen on paper
5.5 x 5 inches

Karla Knight (b. 1958)
"Study for Orb Painting," 2024
Colored pencil and graffiti on paper
18 x 25 inches

Still from “Melvin Way” (2016)
Dirs. Bruno Decharme and Barbara Safarova

05/04/2024

Find a link in our story to ’s article for the about Program’s ‘The Golden Thread: A Fiber Art Exhibition.’ The exhibition is being held through May 12 at 207 Front Street, a previously-vacant red-brick building from the 1790s. The historic space, complete with an original metal and wood wheel, is housing the work of 61 textile artists — including Ray Materson.

Co-owner John Post Lee told the Times, “Fiber art holds up to the power of the space.”

For Materson’s 2020 solo show at Andrew Edlin Gallery, the press release said, “the humanism of Materson’s art is palpable. He comingles the real, the recovered, and the imagined in intricate pocket-sized parables of debasement and redemption.”

Ray Materson (b. 1954)
‘Please Help,’ 2022
Sock Threads
2.75 x 2.25 inches

Ray Materson (b. 1954)
Untitled (Race Horse), 2008
Sock threads
5.50 x 3.75 x 0.25 inches

12/07/2023

Good morning from Day 2 of Art Basel Miami Beach! Today, a word on the intricate sock-thread embroideries of Ray Materson:

Materson began making them during his stint at Hartford County Correctional Center in the 80s. “Being an embroidery artist in the midst of the coarse, violent, macho world of prison seemed absurd,” he wrote in his 2002 memoir ‘Sins and Needles,’ “but I came to firmly believe that this was my true vocation, my calling.”

Materson conjures mythic scenes and sci-fi dreams, memories of childhood and prison, baseball cards and pulp novels, with equal reverence. See them up-close at Booth A11.

“Untitled (Race Horse),” 2008
Sock threads
5.5 x 3.75 x 0.25 inches

“Invasion,” 2022
Sock threads
2.75 x 2.25 inches

“Theater of Abomination,” 2022
Sock threads
2.5 x 2.75 inches