Peter Blum Gallery

Peter Blum Gallery Welcome to the official page of Peter Blum Gallery! From 1993-2012, he opened Peter Blum Gallery at 99 Wooster Street, New York.

Peter Blum has collaborated with a wide range of artists both as a gallerist and publisher since he began his career in 1971 at Galerie Beyeler in Basel, Switzerland. In 1980, after moving to New York, he founded Peter Blum Edition, where he was among the first print publishers to work with a new generation of European and American artists. Peter Blum Edition has since published important editions

by John Baldessari, Louise Bourgeois, Tacita Dean, Eric Fischl, Alfredo Jaar, Alex Katz, Barbara Kruger, Sherrie Levine, Brice Marden, Josef-Felix Müller, James Turrell, and Luc Tuymans, among many others. In 1984, Blum co-founded PARKETT magazine, working directly with international artists and critics to create an engaging forum for contemporary art. Over the years this space has hosted important exhibitions- both of recent works and also historical surveys- featuring works by artists such as Alighiero e Boetti, Louise Bourgeois, Francesco Clemente, Helmut Federle, Suzan Frecon, Alberto and Augusto Giacometti, Amar Kanwar, Alex Katz, Kimsooja, Yayoi Kusama, Richard Long, Kazimir Malevich, Agnes Martin, Piet Mondrian, Antoine Pevsner, David Rabinowitch, Ad Reinhardt, Robert Ryman, Albert Steiner, Philip Taaffe, and Ian Wilson. In 2006, Peter Blum opened an additional 3,000 square foot exhibition space in the Chelsea neighborhood of New York, located at 526 West 29 Street. Exhibitions at Peter Blum Chelsea have included works by John Beech, Rosy Keyser, Esther Klas, Chris Marker, Adrian Paci, David Reed, Su-Mei Tse, SUPERFLEX, Robert Zandvliet and John Zurier, among others. Seven years later, in 2013, Peter Blum moved his gallery out of the Chelsea neighborhood and into the Midtown area of New York, located at 20 West 57th Street. The Peter Blum Edition Archive (1980-1994) was the subject of the exhibition Singular Multiples at the Museum of Fine Arts, Houston in 2006, the largest exhibition ever in North America devoted entirely to printmaking. In 2007, a selection of the Peter Blum Edition portfolios formed the exhibition Scenes and Sequences at the Aargauer Kunsthaus in Aarau, Switzerland. As a member of the Art Dealers Association of America (ADAA), Peter Blum Gallery subscribes to the highest standard of connoisseurship, scholarship and ethical practice, and offers an effective and confidential alternative for the resale of important works of art from and on behalf of private individuals and institutions.

12/01/2022
Paul Fägerskiöld's solo exhibition, “January 1, 2100,” opens today! Join us for an artist’s reception tonight from 5 - 7...
11/19/2022

Paul Fägerskiöld's solo exhibition, “January 1, 2100,” opens today! Join us for an artist’s reception tonight from 5 - 7pm.

“January 1, 2100” will be on view through January 21, 2023. For more information or to check out the Online Viewing Room, click the link in our bio!

Image: Installation view of Paul Fägerskiöld, “January 1, 2100,’’ Peter Blum Gallery, New York, 2022//

Currently on view at ADAA The Art Show is Erik Lindman’s “Balke (Comorant).” Erik Lindman lays down and builds up marks ...
11/04/2022

Currently on view at ADAA The Art Show is Erik Lindman’s “Balke (Comorant).”

Erik Lindman lays down and builds up marks and gestures, ultimately articulating value and attention while asserting the materiality and tactile nature of each painterly composition. His topographical surfaces become the final result of what is buried beneath them, and upon closer inspection, layers of paint reveal further color and traces of discarded elements.

Stop by booth C12 at The Park Avenue Armory through November 6 to see Erik Lindman’s paintings in person or visit the OVR through the link in our bio!

Artwork: Erik Lindman, “Balke (Cormorant),” 2022, acrylic, cotton webbing and epoxy resin putty on panel with aluminum artist's frame, 36 x 48 inches (91.4 x 121.9 cm)//

We’re excited for our solo presentation of new paintings by Erik Lindman for ADAA The Art Show! Taking place from Novemb...
10/19/2022

We’re excited for our solo presentation of new paintings by Erik Lindman for ADAA The Art Show! Taking place from November 3-6, 2022, we’ll be in booth C12 at the Park Avenue Armory in New York.

Erik Lindman reinterprets and repurposes cast-aside objects including steel shards, plastic fragments, or canvas webbing for his paintings. He combines a variation of surfaces in a cascade of decisions with a focus on scale and negative space. Laying down and building up marks, gestures, and layers, his topographical surfaces become the result of what is buried beneath them. Lindman’s work serves as a conduit through which individuals are invited to participate in the shared activity of remaking the world, out of the things that exist around and within them.

Artwork: Erik Lindman, “Despina,” 2022, acrylic and collaged canvas webbing and tarlatan on linen, 36 x 48 inches (91.4 x 121.9 cm) //

Currently on view through November 11 is Kamrooz Aram’s solo exhibition, “Elusive Ornament.” Included in the exhibition ...
10/15/2022

Currently on view through November 11 is Kamrooz Aram’s solo exhibition, “Elusive Ornament.”

Included in the exhibition are paintings from the artist’s Arabesque series such as the work featured here, “Garden Revelation.” Aram uses this vague term both critically and with purpose, inviting viewers to reconsider the art historical canon that has reduced such a wide variety of forms into a single word that refers to the multitude of cultures identified as Arab—the Iranian-American artist himself is often misidentified as Arab. These considerations are echoed in his process: Aram negotiates the composition of his paintings through additive and subtractive mark-making. Each of these paintings begins with a grid upon which the artist draws with oil crayon, wiping down his marks with solvent and rags and redrawing and repainting it until he achieves a desired composition. Through a conflation of figure and ground, Aram creates compositions that are at once ornamentalized, and at the same time resist superfluous form.

You can check out the Online Viewing Room for “Elusive Ornament” through the link in our bio!

Artwork: “Garden Revelation,” 2022, oil, oil crayon and pencil on linen, 48 x 36 inches (121.9 x 91.4 cm)//

We are pleased to announce “Alex Katz: Gathering,” a retrospective of the artist’s career, will be on view at the Solomo...
10/12/2022

We are pleased to announce “Alex Katz: Gathering,” a retrospective of the artist’s career, will be on view at the Solomon R. Guggenheim Museum in New York on October 20th!

Emerging as an artist in the mid-20th century, Katz forged a mode of figurative painting that fused the energy of Abstract Expressionist canvases with the American vernaculars of the magazine, billboard, and movie screen. Throughout his practice, he has turned to his surroundings in downtown New York City and coastal Maine as his primary subject matter, documenting an evolving community of poets, artists, critics, dancers, and filmmakers who have animated the cultural avant-garde from the postwar period to the present.
Staged in the city where Katz has lived and worked his entire life, and prepared with the close collaboration of the artist, this retrospective will fill the museum’s Frank Lloyd Wright rotunda. Encompassing paintings, oil sketches, collages, drawings, prints, and freestanding “cutout” works, the exhibition will begin with the artist’s intimate sketches of riders on the New York City subway from the late 1940s and will culminate in the rapturous, immersive landscapes that have dominated his output in recent years.

Artwork: Alex Katz, “Gold and Black 2,” 1993, oil on linen, 80 x 166 inches (203.2 x 421.6 cm)//

Kamrooz Aram’s solo exhibition, “Elusive Ornament,” is currently on view through November 11. Featured in the exhibition...
10/06/2022

Kamrooz Aram’s solo exhibition, “Elusive Ornament,” is currently on view through November 11. Featured in the exhibition is the collaged, five-part work, ”Variations on Glazed Bricks.” Aram’s collages incorporate the pages of art historical publications into painted compositions in a similar manner as the sculptures, inviting viewers to consider the photographed objects as contemporary images rather than relying purely on a nostalgic veneration of objects from the past.

You can check out the Online Viewing Room for “Elusive Ornament” through the link in our bio!

Artwork: Kamrooz Aram, “Variations on Glazed Bricks,” 2021, oil, color pencil and book pages on linen, installation: 24 x 104 inches (60.96 x 264.16 cm), composed of 5 panels, 24 x 16 inches (61 x 40.6 cm), each //

Today is the last day to view Luisa Rabbia’s solo exhibition “The Inferno, Broken in Nine Pieces” at The Drawing Hall in...
09/30/2022

Today is the last day to view Luisa Rabbia’s solo exhibition “The Inferno, Broken in Nine Pieces” at The Drawing Hall in Bergamo, Italy. The artist, who lives in New York, returned to her native Italy with an exhibition consisting of a cycle of works created specifically for The Drawing Hall.

Images: Installation views of Luisa Rabbia, “The Inferno, Broken in Nine Pieces,” 2022, The Drawing Hall, Bergamo, Italy //

Su-Mei Tse will be participating in the group exhibition “Face-à-Face,” a collaboration of Mudam Museum Luxembourg with ...
09/28/2022

Su-Mei Tse will be participating in the group exhibition “Face-à-Face,” a collaboration of Mudam Museum Luxembourg with Saarlandmuseum Modern Galerie in Saarbrücken, Germany. Featured in the exhibition will be Su-Mei Tse’s “Many Spoken Words,” a work in Mudam’s permanent collection.

“Face-à-Face” (Face to Face) proposes a new dialogue between two museum collections. It establishes connections between works by major figures of the modern avant-garde in Germany and France and those of contemporary artists from around the world. Questions of metamorphosis, the transformation of matter, optical phenomena and the perception of space are present throughout this exhibition in the East Gallery. The works shown highlight a diversity if formal experimentation, as well as the willingness of artists to challenge social and political structures.

“Face-à-Face” will open October 8, 2022, and will be on view through April 2, 2023 at Mudam in Luxembourg.

Artwork: Su-Mei Tse, “Many Spoken Words,” 2009, painted cast iron with epoxy coating, black ink, steel, pump, plastic, styrofoam with faux-finish, 91 x 138 x 138 inches (231.1 x 350.5 x 350.5 cm) //

Nicholas Galanin’s “Never Forget” publication has been selected as an acquisition for The Metropolitan Museum of Art’s e...
09/20/2022

Nicholas Galanin’s “Never Forget” publication has been selected as an acquisition for The Metropolitan Museum of Art’s exhibition "Past/Present/Future: Expanding Indigenous American, Latinx, Hispanic American, Asian American, and Pacific Islander Perspectives in Thomas J. Watson Library." Congratulations Nicholas!

“Past/Present/Future” is the culminating exhibition to Thomas J. Watson Library's grant project funded by the National Endowment for the Humanities, which aimed to assess and expand the library's collection of underrepresented heritage groups, especially Indigenous American, Latinx, Hispanic American, Asian American, and Pacific Islander artists.

Galanin's artist's book is dedicated to a single work, "Never Forget," a 60 feet by 360 feet installation on view from March until August 2021 through the Desert X festival in Palm Springs, California. The book will be on view in the vitrines in the circulation area of the library from September 22, 2022, through January 3, 2023.

Learn more about the publication at the link in bio!

Publication Info: Nicholas Galanin, “Never Forget,” Minor Matters, New York and Seattle, book size: 8.5 x 12 inches, 48 pages (accordion), hardcover with slipcase //

Rebecca Ward’s newest publication “Before and After” is available for preorder! The publication coincides with her curre...
09/06/2022

Rebecca Ward’s newest publication “Before and After” is available for preorder! The publication coincides with her current solo exhibition “Rebecca Ward: distance to venus” at SITE Santa Fe on view through November 5. It also includes installation images and works from her solo exhibition “Rebecca Ward: infinite plane” at Peter Blum Gallery, March 19- April 30, 2022. Brandee Caoba, curator at SITE Santa Fe, interviews Rebecca Ward in the publication as well.

Head to the link in our bio to preorder now!

Publication Info: Rebecca Ward, "Before and After," 2022, Peter Blum Edition, New York, SITE Santa Fe, Book size: 8.25 x 11.25 inches (21 x 28.5 cm), 68 pages, Hardcover//

We are one week away from the opening of The Armory Show! Even though it hasn’t begun yet, you can preview our presentat...
09/01/2022

We are one week away from the opening of The Armory Show! Even though it hasn’t begun yet, you can preview our presentation at the link in our bio!

Here is Luisa Rabbia’s “Tree of Life,” a new painting that will be featured in booth 213 at the Javits Center in New York from September 8-11.

Artwork: Luisa Rabbia, “Tree of Life,” 2021-2022, oil on linen, 84 x 47 1/2 inches (213.4 x 120.7 cm) //

We are excited to announce Kamrooz Aram’s first solo exhibition with the gallery! Entitled, “Elusive Ornament,” it will ...
08/30/2022

We are excited to announce Kamrooz Aram’s first solo exhibition with the gallery! Entitled, “Elusive Ornament,” it will feature new work by Aram. There will be an artist’s reception on Saturday, September 17, 2022, from 5 - 7pm, and the exhibition runs through November 11, 2022. A new monograph of the artist’s work will coincide with the exhibition.

“Elusive Ornament” brings together a group of new paintings, collages, and sculptural works that continue Kamrooz Aram’s exploration of the relationship between painting and ornament, and his renegotiation of art historical hierarchies that place the so-called “decorative arts” beneath the fine arts. Working primarily as a painter, over the past decade Aram has expanded his practice to include sculpture and collage, and he has employed wall-painting as a form of exhibition design to unify these various media in his exhibitions.

Included in the exhibition are paintings from the artist’s “Arabesque” series. Aram uses this vague term both critically and with purpose, inviting viewers to reconsider the art historical canon that has reduced such a wide variety of forms into a single word that refers to the multitude of cultures identified as Arab—the Iranian-American artist himself is often misidentified as Arab. These considerations are echoed in his process: Aram negotiates the composition of his paintings through additive and subtractive mark-making. Each of these paintings begins with a grid upon which the artist draws with oil crayon, wiping down his marks with solvent and rags and redrawing and repainting it until he achieves a desired composition. Through a conflation of figure and ground, Aram creates compositions that are at once ornamentalized, and at the same time resist superfluous form.

Artwork: Kamrooz Aram, “Distant Garden,“ 2022, oil, oil crayon and pencil on linen, 60 x 66 inches (152.4 x 167.6 cm) //

Nicholas Galanin is currently participating in the group exhibition “Transformed: Objects Reimagined by American Artists...
08/19/2022

Nicholas Galanin is currently participating in the group exhibition “Transformed: Objects Reimagined by American Artists” at the Montclair Art Museum in New Jersey. Featured in the exhibition is his work entitled, “I Think It Goes Like This.”

In “Transformed: Objects Reimagined,” many artists employ everyday, mass-produced objects, as well as unique items they find, to create assemblages, constructions, and collages. These transformations can open dialogues about aesthetic, conceptual, handmade, and machine-produced aspects of contemporary art and life.
This exhibition also addresses transformations of natural and synthetic materials into dolls and mannequins as explorations of personhood and representations of identity. Furthermore, it explores objects that are reimagined and invested by artists with personally defined metaphorical powers. Somewhat like a talisman, these works can reference the symbolic capacity of objects to inspire, protect, or heal.  

“Transformed: Objects Reimagined by American Artists” will be on view through December 3, 2023 with an ongoing rotation of different artists’ works.

Artwork: Nicholas Galanin, “I Think It Goes Like This (Gold),” 2019, wood, paint, gold leaf, variable dimensions//

Alex Katz’s solo exhibition, “Alex Katz: Theatre and Dance” opens today at the Colby College Museum of Art in Maine!The ...
08/16/2022

Alex Katz’s solo exhibition, “Alex Katz: Theatre and Dance” opens today at the Colby College Museum of Art in Maine!
The first exhibition to examine Alex Katz’s collaborative work for the stage, this playful, cross-disciplinary project will bring together works like this cut-out that was used as a set piece, sketches, paintings, photographs, film, costumes, and ephemera. “Alex Katz: Theater and Dance” will explore the ways that Katz introduced tenets of postwar painting into dance aesthetics, and the deep inspiration he has drawn from a prolonged study of performance.

“Alex Katz: Theatre and Dance” will be on view through February 19, 2023.

Artwork: Alex Katz, “George Washington Crossing the Delaware: Burning Logs 2,” 1968, oil on aluminum, 17 3/4 x 21 x 4 inches (45.1 x 53.3 x 10.2 cm) //

Kamrooz Aram’s solo exhibition, “Privacy, An Exhibition,” at The Arts Club of Chicago will be closing tomorrow, Saturday...
08/12/2022

Kamrooz Aram’s solo exhibition, “Privacy, An Exhibition,” at The Arts Club of Chicago will be closing tomorrow, Saturday, August 13th. 

The exhibition presents a series of new works that use techniques of abstraction and installation to question false oppositions between painting and sculpture, foreground and background, or public and private space. Aram’s artworks are placed strategically in the space in combination with a variety of decorative elements—drapery, furniture, and wall painting—to draw attention to the ways in which images and objects are prioritized depending upon their relation to each other. Monochrome fields of paint appear on the walls of the gallery, as well as part of individual works, thus leveling the differences between backdrop and fine art. Similarly, the pattern from a household object shifts scale within a mural-sized oil painting. Such relationships remain in flux within the galleries, where the status of each object is never certain. 

Image: Installation view of “Kamrooz Aram: Privacy, An Exhibition,” 2022, The Arts Club of Chicago, Illinois //

We are officially one month away from The Armory Show 2022! To begin the countdown, we are sharing a sneak peek detail o...
08/09/2022

We are officially one month away from The Armory Show 2022! To begin the countdown, we are sharing a sneak peek detail of Luisa Rabbia’s painting, “Family Portrait,” one of the new works that will be featured in our booth this year. 

The Armory Show will be held at the Javits Center in New York from September 8 – 11, 2022.

Artwork: detail of Luisa Rabbia, “Family Portrait,” 2021-2022, oil on linen, 84 x 60 inches (213.4 x 152.4 cm) //

Tomorrow is the last day to see Louise Bourgeois’ solo exhibition at The Metropolitan Museum of Art!“Louise Bourgeois: P...
08/06/2022

Tomorrow is the last day to see Louise Bourgeois’ solo exhibition at The Metropolitan Museum of Art!

“Louise Bourgeois: Paintings” is the first comprehensive exhibition of paintings produced by the iconic, French-American artist Louise Bourgeois (1911–2010) between her arrival in New York in 1938 and her turn to sculpture in the late 1940s. While Bourgeois is best known today as a sculptor, it is in this early body of work—created in the decade spanning World War II—that her artistic voice emerged, establishing a core group of visual motifs that she would continue to explore and develop over the course of her celebrated, decades-long career. Informed by new archival research, the exhibition sheds light on a little-known chapter in the artist’s practice.

Artwork: Louise Bourgeois, “Untitled,” 1945, oil on canvas, 40 x 24 inches (101.6 x 61 cm) //

We warmly wish Kamrooz Aram a Happy Birthday and much success in the coming year!This diptych by the artist, “Untitled (...
08/05/2022

We warmly wish Kamrooz Aram a Happy Birthday and much success in the coming year!

This diptych by the artist, “Untitled (Arabesque Composition),” was included in the gallery’s group exhibition, “Field of Vision” in summer of 2021. 

Kamrooz Aram, “Maghreb Drapery,” 2020, oil, oil crayon, wax pencil and pencil on linen, 85 x 82 inches (215.9 x 208.3 cm) //

Nicholas Galanin will be participating in the group exhibition, “Conceptions of White: A Research Toolkit on the Origins...
08/03/2022

Nicholas Galanin will be participating in the group exhibition, “Conceptions of White: A Research Toolkit on the Origins and Meaning of White Identity” at the Mackenzie Art Gallery in Canada from August 6- November 13. Within the exhibition is his work entitled, “White Noise, American Prayer Rug.”

As part of their ongoing response to the global uprisings against the systemic violence perpetrated upon Black, Indigenous, and racialized communities, the Mackenzie Art Gallery and Art Museum at the University of Toronto have decided to share some resources from active research for a forthcoming co-produced exhibition, “Conceptions of White.” With a focus on the North American context, this exhibition will examine the origins, development, and present reality of “whiteness” as a concept invented to classify degrees of humanity and justify inhumane actions and social structures.

Artwork: Nicholas Galanin, “White Noise, American Prayer Rug,” 2020, wool and cotton, 60 x 96 inches (152.4 x 243.8 cm) // .art.gallery

It’s officially the first day of our summer break! Here is a film still from Nathaniel Dorsky’s “SUMMER.” On this film, ...
08/01/2022

It’s officially the first day of our summer break! Here is a film still from Nathaniel Dorsky’s “SUMMER.” On this film, Dorsky writes:

“Summer in San Francisco is a dry and rainless season. The film, ‘Summer,’ although photographed during this period of time, is not so much a description of summer, as it is a cinematic response to that world of our being.” 

The gallery will be closed from August 1st until our reopening on August 22, enjoy the summer!

Artwork: Nathaniel Dorsky, film still of “SUMMER,” 2013, 22.5 minutes, silent speed, 18 fps, 16 mm, color, silent//

Luisa Rabbia’s “Another Country,” 2016 is part of ArtCrush 2022: *LIVE* Art Auction to Benefit the Aspen Art Museum. To ...
07/25/2022

Luisa Rabbia’s “Another Country,” 2016 is part of ArtCrush 2022: *LIVE* Art Auction to Benefit the Aspen Art Museum. To view this work in the online auction, click the link in our bio. Bids can be made in person, by phone, or by absentee.

The ArtCrush 2022 auction includes a curated selection of works by some of the most exciting artists working today. Lots range from under $5K to over $200K and include painting, sculpture, work on paper, and more. All works will be on view at the museum from Saturday, July 30, to the day of the gala, Friday, August 5th.

Luisa Rabbia “Another Country,” 2016, acrylic, colored pencil, and fingerprints on canvas, 84 by 60 inches (213 x 152 cm)//

Currently on view at the Boston Museum of Fine Arts is Alex Katz’s solo exhibition, “Alex Katz Prints.” Featured within ...
07/20/2022

Currently on view at the Boston Museum of Fine Arts is Alex Katz’s solo exhibition, “Alex Katz Prints.” Featured within the show is his woodcut entitled “3 PM,” published by Peter Blum Edition.

The MFA’s exhibition "Alex Katz Prints," based on an exhibition organized by the Albertina Graphic Collection, Vienna, surveys his career from the sixties to the present with 125 works: prints, unique and editioned cutouts on aluminum, and illustrated books. Bold portraits, idyllic landscapes, scenes of sophisticated leisure—they’re all here in the works of the renowned contemporary artist. With arresting simplicity of line, color, and form, Katz distills his subjects down to their essence, with a powerful graphic punch.

“Alex Katz Prints” will be on view through next Friday, July 29th.

Artwork: Alex Katz, “3 PM,” 1988, woodcut, printed on dove grey archivart paper, 36 x 72 inches (93.4 x 182.9 cm)//

Our online exhibition, “Constructed Visions” is now open! “Constructed Visions” is an online survey of the influence and...
07/19/2022

Our online exhibition, “Constructed Visions” is now open!

“Constructed Visions” is an online survey of the influence and use of architecture in painting, drawing, photography, and printmaking. Works by eleven artists which span the years 1966 - 2019 exemplify the diverse representations and inspirations stemming from built environments, both existing and imagined. Artists include:

John Beech, Huma Bhabha, Nathaniel Dorsky, Alfredo Jaar, Alex Katz, Kimsooja, Adrian Paci, Enoc Perez, David Rabinowitch, Su-Mei Tse, and James Turrell.

Check out our online viewing room for this exhibition through the link in our bio.

Artworks: Adrian Paci, “Façade,” 2007, acrylic on wood panel, 23 5/8 x 31 1/2 inches (60 x 80 cm); Alex Katz, “Night Painting” 1994, acrylic on board, 11 3/8 x 17 3/4 inches (29 x 45 cm); Nathaniel Dorsky, “April 4,” 2012, archival pigment print, 9 x 12 inches (22.9 x 30.5 cm); Huma Bhabha, “Reconstructions,” 2007, portfolio of 16 photogravures and 2 woodblock prints, photogravures: 29 1/2 x 36 5/8 inches (75 x 93 cm), woodblocks: 25 3/4 x 34 inches (64.5 x 96.5 cm), Edition 5 of 35 ( #5/35), Kimsooja, “Epitaph,” 2002, digital C-print on aluminum, face mounted on acrylic, 46 x 60 inches (116.8 x 152.4 cm), 4/6 ( #4/6); James Turrell, “Mapping Spaces: West Chamber,” 1987-8, signed and numbered "EA"; no date, aquatint, photoetching, and etching, 22 x 30 3/4 inches (55.9 x 78.1 cm); Alfredo Jaar, “The Sound of Silence,” 2006, portfolio of 15 pigment prints, 20 x 30 inches (50.8 x 76.2 cm)//

Kamrooz Aram’s painting, “Untitled (Arabesque Composition),” is currently on view at the Portland Museum of Art in Maine...
07/08/2022

Kamrooz Aram’s painting, “Untitled (Arabesque Composition),” is currently on view at the Portland Museum of Art in Maine as a part of its permanent collection.

Referencing the exoticized arabesque in Aram’s painting practice, the organic forms enclosed in framing borders are pulled from grids in a process of drawing and erasure. This heightens the connection to the ornamental, and renegotiates decorative art and ornament’s subordinated role in Western abstraction and in the trajectory of Modernism.

Artwork: Kamrooz Aram, “Untitled (Arabesque Composition),” 2020, oil, oil crayon, and wax pencil on canvas, 48 x 40 inches (121.9 x 101.6 cm) //

We will be open until 8pm for LES Gallery Night! On view will be Nicholas Galanin’s exhibition, “It Flows Through.” Feat...
06/16/2022

We will be open until 8pm for LES Gallery Night! On view will be Nicholas Galanin’s exhibition, “It Flows Through.”

Featured in the exhibition is one of his works entitled, “Architecture of Return, Escape (The British Museum).”
On this piece Galanin writes:

"This hide painting is for guiding the escape of Indigenous remains and objects in non-Indigenous institutions to their home communities. Entitled, Architecture of return, escape, it depicts a floor plan referencing a visitor’s guide as well as blue architectural blueprints, of The British Museum in London. Of the few objects held in display cases, many more (including human remains and ceremonial objects not intended for public view) are held in museum archives. The cost and processes required for Indigenous communities to travel and visit these archives limits access to cultural knowledge and inheritance and continues the removal of the objects from their land and people.

While institutions control the environmental conditions, they are unable to adequately care for these objects in cultural or spiritual ways. The objects themselves are unwilling visitors to the museum, and the work builds an escape route and a vision for reunification of cultural
inheritance with community. The series serves as a reminder of the past, and as a plan for a good way forward. Stolen objects, human remains, and works sold under duress can now return home for their own health, for the health of the communities that created them, and for the health of the communities that took them."

Artwork: Nicholas Galanin, ”Architecture of Return, Escape (The British Museum),” 2022, pigment and acrylic on deer hide,
35 3/4 x 55 1/2 inches (90.8 x 141 cm)//

We are happy to announce Joyce J. Scott will be participating in the group exhibition “Exploring Presence: African Ameri...
06/09/2022

We are happy to announce Joyce J. Scott will be participating in the group exhibition “Exploring Presence: African American Artists in the Upper South” at the James E. Lewis Museum of Art at Morgan State University. There will be an opening reception tomorrow, Friday, June 10th from 6- 8 pm.
The exhibition showcases a succinct selection of prolific visionaries who create from and are informed of the liminal realms between Northeastern art metropolises and the South. “Exploring Presence” reviews the projects, interventions, activations, and constructions that each artist engaged with between 1970 and the contemporary moment.

Artists include Joyce J. Scott, Schroeder Cherry, Linda Day Clark, Oletha DeVane, Gibson Hunter, Ed love, and more. The exhibition will be on view until July 15th.

Kamrooz Aram’s work, “Nocturne 4 (Reflective Nocturne),” is currently on view in his solo exhibition, “Privacy, An Exhib...
05/24/2022

Kamrooz Aram’s work, “Nocturne 4 (Reflective Nocturne),” is currently on view in his solo exhibition, “Privacy, An Exhibition” at The Arts Club of Chicago. He uses techniques of abstraction and installation to question false oppositions between painting and sculpture, foreground and background, or public and private space. Aram starts his canvases by mapping their structure with a grid. He then develops botanical motifs inspired by decorative arts like carpets, tiles, or ceramics in response to the grid.

The exhibition is on view through August 13, 2022, and more info is linked in bio.

Kamrooz Aram, “Nocturne 4 (Reflective Nocturne),” 2021, oil, oil crayon and pencil on linen, 96 x 56 x 1 1/2 inches (243.8 x 142.2 x 3.8 cm) //

We would like to congraulate Joyce J. Scott on becoming a John Hopkins honorary degree recipient! As they describe: “The...
05/12/2022

We would like to congraulate Joyce J. Scott on becoming a John Hopkins honorary degree recipient! As they describe:

“The acclaimed ‘Queen of Beadwork,’ Baltimore-based artist Joyce J. Scott is known for her striking, colorful beadwork creations and for her visceral and sometimes humorous takes on human nature. She has garnered acclaim as the 2019 Smithsonian Visionary Artist and a MacArthur Foundation ‘genius’ award winner in 2016. Her small but mighty sculpture of a female African American doll in a bright red dress is prominently displayed on the university's Homewood campus in the Hutzler Reading Room, where the doll's display faces portraits of former university presidents.

Scott will be having her degree conferred during the University’s commencement on May 22 at Homewood Field in Baltimore. Way to go Joyce!

Artwork: Joyce J. Scott, “Ancestry Doll 1,” 2011, beads, African (Ghana) sculpture, Japanese figures, thread, fabric, 12 x 9 x 16 inches (30.4 x 22.8 x 40.6 cm) overall //

A big thank you to Artforum and Margaret Ewing for the thoughtful review of Esther Kläs’s gallery exhibition, “Come agai...
05/05/2022

A big thank you to Artforum and Margaret Ewing for the thoughtful review of Esther Kläs’s gallery exhibition, “Come again”!

The author muses at the tone of Kläs’s pieces stating, “Esther Kläs’s exhibition here transformed the gallery into a tone of tranquility, imbued with a simplicity and quietude that were a soothing balm for the relentless onslaught of information and experience that defines life in New York City. The airy, sensitively balanced configuration of elements highlighted the artist’s obsessions with space and surface while making evident her clear delight in materials. The installation of the objects— created from various metals, wood, concrete, and paper— seemed site- specific, the quality giving the presentation a subtle but undeniable repleteness.”

Full article link in bio! The exhibition closed in March, but you can still explore it in the Online Viewing Room at the link in bio as well.

Artwork: Esther Kläs, “Random Beauty,” 2021, wood, fabric, glue and bronze, 40 x 53 x 25 inches (102 x 135 x 63.5 cm), overall//

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