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James Cohan

48 WALKER ST | 52 WALKER ST | NYC

12/31/2024

🥳 ✨ 2024, that's a wrap! Happy New Year from all of us at James Cohan. While our galleries are closed for the holiday break, we're taking a look back at the exhibitions we mounted in the last 12 months, from gallery-spanning group shows and New York debuts to groundbreaking historical exhibitions and the freshman year of The Campus.

Looking forward to what's to come in 2025 and welcoming you back to our galleries on January 10, when we open Katie Paterson: There is another sky and Behind The Bedroom Door.

12/24/2024

James Cohan is pleased to present Behind the Bedroom Door, a group exhibition that explores the private realms where intimacy and solitude share space with the inner life of dreams and fantasies. The exhibition features historical and contemporary artists working across painting, photography, sculpture, video and sound to plumb the depths of the unconscious, uncover hidden dimensions, and explore mythology and transformation.

🗓 Behind the Bedroom Door will be on view at the gallery’s 48 Walker Street and 291 Grand Street locations from January 10 through February 8, 2025. Please join us for an opening reception on Friday, January 10, from 4-6 PM at 291 Grand Street and 6-8 PM at 48 Walker Street.

Behind the Bedroom Door features works by Diane Arbus, Pierre Bonnard, Tom Burckhardt, Sophie Calle, Janet Cardiff and George Bures Miller, Enrique Martinez Celaya, Jane Corrigan, Alexandria Couch, Marlene Dumas, Charlotte Edey, Eric Fischl, Louis Fratino, Lee Friedlander, Elizabeth Glaessner, Yvonne Jacquette, Yun-Fei Ji, Martin Kersels, Mernet Larsen, Robert Mapplethorpe, Christian Marclay, Jesse Mockrin, Jenny Morgan, Zanele Muholi, Brandon Ndife, Nicholas Nixon, Naudline Pierre, Dana Sherwood, Yinka Shonibare CBE, Hugh Steers, Alison Elizabeth Taylor, Tecla Tofano, Edouard Vuillard, Margaux Williamson, Artus Wolffort and Lisa Yuskavage.

🔗 Learn more about the exhibition and discover work by participating artists via link in bio.

📸: ZANELE MUHOLI, Bona II, Charlottesville, Virginia, 2015, gelatin silver print. Image and paper size: 11 3/8 x 19 5/8 in, 28.9 x 49.8 cm. Courtesy the artist and Yancey Richardson, New York.

12/23/2024

James Cohan is pleased to present There is another sky, a new exhibition by the Scottish artist Katie Paterson, on view from January 10 through February 22, 2025, at the gallery’s 52 Walker Street location. This is Paterson’s third solo exhibition with James Cohan and marks her first major presentation in New York in nearly a decade.

🗓The gallery will host an opening reception with the artist on Friday, January 10 from 6-8 PM, and a conversation between Paterson and Josiah McElheny, moderated by Cassie Packard, on Saturday, January 11 at 3 PM.

Katie Paterson is renowned for her multi-disciplinary, conceptually-driven artwork that explores themes of nature, ecology, geology, and deep time. Through collaborations with scientists and researchers worldwide, her ambitious projects delve into humanity’s place on Earth within the vast framework of geological time and transformation. Employing advanced technologies and specialized knowledge, Paterson creates intimate, poetic, and thought-provoking works that challenge our perceptions of the world. Blending a Romantic sensibility with a rigorous, research-based approach and minimalist aesthetics, her art bridges the gap between the viewer and the farthest reaches of time.

🔗 Learn more about Katie Paterson's upcoming exhibition at James Cohan via link in bio.

📸: KATIE PATERSON AND ZELLER & MOYE, Circe, 2024, glass made from desert sand, (detail).katie.paterson

12/18/2024

⏰ Don’t miss the final days to see These Days, an exhibition of recent work by the Brazilian artist Alexandre da Cunha at James Cohan’s 48 Walker Street location. The exhibition closes this coming Saturday, December 21, 2024.

Alexandre da Cunha’s Vitral works, composed of shovel handles that have been paneled with luminous technicolored cloth, breaks down the sum of their parts to reveal modern design elements. Titles within this series refer to the rooms that make up a modernist home, including Den, Inner Garden, and Atrium. These spaces are often design features, adorned with elegant furnishings and carefully placed objects intended to define the soul and narrative of a home. For da Cunha, the colorful fabric intermixed with the wooden handles is a stand-in for the domestic and for the bodily. The skeletal shovel handles function both as an architectural ornament as well as an evocation of physical human presence and the performance of labor.

🔗 Learn more about Alexandre da Cunha and plan your visit to see the exhibition before it closes via link in bio.

📸: ALEXANDRE DA CUNHA, Vitral (inner garden), 2024, shovel handles, tea towel, bedsheet, fabric strips, 31 7/8 x 43 3/4 x 2 3/8 in., 81 x 111 x 6 cm. Photo by Edouard Fraipont.

12/13/2024

Kaloki Nyamai’s solo exhibition, Ithokoo masuiluni, is on view at the Norval Foundation in Cape Town through November 23, 2025.

In his latest series, Ithokoo masuiluni, Nyamai delves into the potential for new realities. He uncovers and proposes narratives of an awaited morning that promises new beginnings. The three free-hanging pieces involve acrylic paint, sisal rope, photo transfers, and yarn stitched onto the canvas, alluding to the healing of past wounds and fractures in Kenyan history and a collective yearning for renewal. This body of work is both visually striking and thematically profound, addressing the complex relationship between historical trauma, current social unrest, and the hope for regeneration. In these large-scale installations, Nyamai creates a platform where past, present, and future converge poetically.

Nyamai’s work makes use of youth-led uprisings and resistance as a central theme for his works, using scenes from protest actions around the world, including Kenya, Bangladesh and Nigeria as a key visual motif.

By intertwining personal memory, historical events, and contemporary struggles, Nyamai envisions a future where healing and transformation are possible—where new beginnings can emerge and new realities can take shape. These powerful, immersive works not only tell the story of Kenya’s past but also offer a hopeful vision for a new dawn, both for the artist’s homeland and the broader regional community in the aftermath of seemingly never-ending chaos.

📸: Kaloki Nyamai at Norval Foundation, 2024. Photo courtesy of Norval Foundation, Cape Town, South Africa.

12/12/2024

Torpedoboy and the Revisionist Mystery, Trenton Doyle Hancock’s solo exhibition at James Cohan, is on view through next Saturday, December 21.

Two monumental works in this exhibition marry allover pattern and representational form, giving Hancock space to engage with the history of abstraction. Materially, this allows Hancock to push the limits of his densely layered surfaces, which incorporate drawing, collaged paper, bottle caps, fur, and paint. Arsenal, 2024, features an undulating quatrefoil pattern that has become an enduring motif for Hancock. This abstract design draws upon a childhood memory of the artist’s grandmother’s tile floor, upon which the earliest adventures of Torpedoboy were drafted. Outstretched limbs strain upwards to unmask the hooded Klansman, the number a pointed reference to the six current conservative Supreme Court justices.

Hancock considers these works his most personal to date–they possess a radical interiority even as they draw out the viewer’s own uncomfortable complicities. He uses multifaceted representations of the self to map the terrain of both psychological and socio-political spaces, while also speaking to the condition of the Black body in America.

Learn more about Trenton Doyle Hancock and explore the exhibition online via link in bio.

📸: TRENTON DOYLE HANCOCK, Arsenal, 2024, acrylic, graphite, plastic bottle caps on paper and canvas, mounted to canvas, 72 x 108 in, 182.9 x 274.3 cm. Photo by Dan Bradica.

12/11/2024

addition to the New York debut of The Raft, our Bill Viola exhibition at 291 Grand Street features Anima, 2000.

Anima, whose title is drawn from the Latin word for “soul,” depicts three people across three individual video panels. The figures gradually cycle through several emotions —joy, sorrow, anger, and fear.

Originally shot in just one minute, Viola stretches the length of the film to 83 minutes, creating what upon first glance looks like three still photographic portraits. After further inspection, viewers will find that the three faces change, ever so subtly. These varying states of passion, often fleeting, are slowed to a near stillness, a profound exploration of time and human emotion.

🔗 Learn more about our current Bill Viola exhibition, which runs through Saturday, December 21, on our website via link in bio.

📸: BILL VIOLA, Anima, 2000, color video triptych on three LCD flat panels framed and mounted vertically on wall, 83 minute loop, 16 1/4 x 75 in., 41.28 x 190.5 cm. Duration: 83 minutes

12/10/2024

These Days, an exhibition of recent work by Alexandre da Cunha, is on view through December 21, 2024, at James Cohan’s 48 Walker Street location.

Da Cunha’s compositions, which are rooted in the history of the readymade, are formed through carefully balanced relationships between color, form, and material, generating a fractilated universe of rich association between art-making, daily life, and philosophical concerns. Through the symbolic transformation of recognisable functional objects into formal sculptures and reliefs, da Cunha’s work oscillates between connection and disconnection from their source materials’ everyday and often throw-away status.

Working between São Paulo and London, da Cunha’s unique point of view is amplified by his hyper urban surroundings. The artist’s lyrical use of concrete, a material crucial to his vernacular, emanates from his ruminations on traditions of construction, architecture and modernism in addition to the material’s ubiquity within his native Brazil. Da Cunha’s monumental concrete installations gesture towards an industrial urban landscape, a confluence of city infrastructure and domestic design. Typically constructed from pipes and other connective mechanisms, da Cunha’s sculptures express transitional states, notions of flux, and the fluidity of movement across both time and space. In These Days, da Cunha debuts three new spectacularly choreographed sculptures with looping forms derived from industrially produced manholes. Despite their apparent heft, da Cunha’s concrete installations are playful and serene, forging an alluring dissonance between their intended quotidian application and their artfully constructed aesthetic presentation.

🔗 Learn more about Alexandre da Cunha and explore the exhibition online via link in bio.

📸: Installation view, Alexandre da Cunha, These Days, James Cohan, 48 Walker Street, New York, October 19 - December 21, 2024.

12/07/2024

Discover new work by Claudia Alarcón and Silät in James Cohan’s presentation at Art Basel Miami Beach at Booth G22. The fair runs through Sunday, December 8, 2024.

In addition to her own practice, Claudia Alarcón (b. 1989), an indigenous textile artist of the Wichí people in Salta, Argentina, leads the Silät collective, which includes one hundred women weavers from different generations of Wichí communities. Silät in the Wichí language means “alert” or “information,” which references their mission to bring attention to the Wichí’s existence, land, and ancestral artistic practice of weaving.

One of the works on view in Miami N ́äyij [Un camino / A path] proudly bears the signature of the collective with Alarcón’s. The piece continues a dialogue with the work of Anni Albers, who visited the region in the late 1950s and held Wichí textiles in her personal collection.

Working with curator Andrei Fernández, Alarcón sees Silät’s artwork as a way of inserting contemporary indigenous culture into international art dialogues beyond ethnographic readings.

James Cohan will present an exhibition of work by Claudia Alarcón and Silät at the gallery’s 52 Walker Street location next spring. This forthcoming exhibition, the first New York solo exhibition for the artists, is presented in partnership with Cecilia Brunson Projects, London.

🔗 Learn more about Claudia Alarcón and Silät, and discover other artists featured in our 2024 ABMB presentation, via link in bio.

📸: CLAUDIA ALARCÓN, Hinat [El agua que nos falta / The water we lack], 2023, hand-spun chaguar fiber, natural dyes from the native forest, woven fabric using “yica” stitch, 62 1/2 x 45 1/4 in, 158.8 x 114.9 cm.; CLAUDIA ALARCÓN & SILÄT, N ́äyij [Un camino / A path], 2024, hand-spun chaguar fiber, natural dyes from the native forest, woven fabric using the antique stitch, 35 1/4 x 23 5/8 in, 89.5 x 60 cm. Photo by Phoebe d’Heurle.

12/06/2024

Stop by Booth G22 at Art Basel Miami Beach to discover a selection of new work by Claudia Alarcón and Silät, Ranti Bam, Alexandre da Cunha, Mestre Didi, Simon Evans and Sarah Lannan, Spencer Finch, Trenton Doyle Hancock, Federico Herrero, Byron Kim, Josiah McElheny, Christopher Myers, Jordan Nassar, Kaloki Nyamai, Eamon Ore-Giron, Naudline Pierre, Yinka Shonibare CBE, Elias Sime, Kelly Sinnapah Mary, Alison Elizabeth Taylor, Fred Tomaselli, and Kennedy Yanko.

🔗 Learn more about James Cohan’s presentation at Art Basel and explore other works by participating artists via link in bio.

📸: Installation view, James Cohan at Art Basel Miami Beach, December 4 - December 8, 2024. Photo by Silvia Ros.

12/05/2024

Don’t miss new work by Kaloki Nyamai in James Cohan’s presentation at Art Basel Miami Beach, on view through Sunday, December 8 at Booth G22.

The works on view in Miami belong to Nyamai’s ongoing series Dining in Chaos, which draws inspiration from life in Nairobi, weaving collective memories that emerge and recede from legibility. The artist’s paintings are composites of multiple canvases and materials, literally stitching together the fabric of a community scarred by the legacy of colonization.

In each work, Nyamai juxtaposes news accounts of political unrest with depictions of people at leisure, allowing multiple narratives to unfold simultaneously. He photo-transfers newsprint and images capturing pivotal and often violent moments in Kenyan history and other parts of Africa directly onto the surface of his paintings; binding the past and the present. These figures fade in and out of view, much like a memory, revealing themselves through layers of paper and paint.

🔗 Learn more about Kaloki Nyamai and explore the gallery’s presentation at Art Basel Miami Beach via link in bio.

📸: KALOKI NYAMAI, Nilika kiwuni ona mwalea II (I will swim even if you refuse), 2024, mixed media, acrylic, collage stitching on canvas, 78 3/4 x 78 3/4 in., 200 x 200 cm.

12/04/2024

See new work by Fred Tomaselli at Booth G22 in James Cohan’s presentation at Art Basel Miami Beach. The fair is open to the public from December 5 to 8, with VIP Previews beginning today, December 4.

Since the early 1990’s, Fred Tomaselli has created multimedia paintings which explode in mesmerizing and hallucinatory patterns. Their various components—organic matter from his garden, collaged elements from printed sources, and hand-painted fauna and ornament—are all suspended in layers of clear, polished resin. There is always a suggestion of transformation in the materials encapsulated in resin, creating a tension between the dynamism of the image and the stasis of its medium.

🔗 Learn more about Fred Tomaselli and explore our presentation at the fair online via link in bio.

📸: FRED TOMASELLI, A Year in One Day, 2024, acrylic, photo collage, leaves and resin on wood panel, 60 x 60 in., 152.4 x 152.4 cm. Photo by Phoebe d’Heurle.

12/03/2024

For the 2024 edition of Art Basel Miami Beach, James Cohan will present a selection of new work by Claudia Alarcón & Silät, Ranti Bam, Alexandre da Cunha, Mestre Didi, Simon Evans and Sarah Lannan, Spencer Finch, Trenton Doyle Hancock, Federico Herrero, Byron Kim, Josiah McElheny, Christopher Myers, Jordan Nassar, Kaloki Nyamai, Eamon Ore-Giron, Naudline Pierre, Yinka Shonibare CBE, Elias Sime, Kelly Sinnapah Mary, Alison Elizabeth Taylor, Fred Tomaselli, and Kennedy Yanko at Booth G22. The fair opens for previews tomorrow, December 4.

A highlight of the gallery’s presentation at the fair are new applique textile works by Christopher Myers, including Thesmophoria (Blueberries), 2024, that continue his ongoing intertwining of classical Greek mythology with contemporary tales of migration.

Thesmophoria refers to a three day festival that honors Persephone when young women would often sleep in fields on top of buried entrails and offal, hoping that this intimacy with the land and decay would bring fertility to their own lives. The rites associated with honoring Persephone combined her dual roles as a deity of fertility/ life and a chthonic deity, establishing the linkage between life and death embodied in her migration.

Thesmophoria (Blueberries), 2024, honors a that the artist was told about three women who were working in blueberry fields and who were tragically sprayed with chemicals from dust cropping planes. As they tried to escape the chemicals they were overcome by the poison and when they awoke had permanent nerve damage.

📸: CHRISTOPHER MYERS, Thesmophoria (Blueberries), 2024, appliqué textile, 93 1/4 x 63 1/2 in., 236.9 x 161.3 cm. Photo by Phoebe d’Heurle.

11/29/2024

🎻 Please mark your calendars for Luminous Being, a multisensory musical performance at 48 Walker Street on December 10, 2024. This performance is presented in conjunction with These Days, Alexandre da Cunha’s first exhibition with the gallery, on view through December 21, 2024. This evening is presented as part of the gallery’s ongoing Art in Conversation program, a series of events that facilitate unexpected encounters between art and music.

Luminous Being is a performance for solo violin and sound responsive light art created by violinist Audrey Wright and artist Geoff Robertson, interweaving classical repertoire spanning the 12th through 21st centuries with Wright’s original music and arrangements for a magical, poetic, and playful exploration into the connections between sound, light, and technology.

Part solo recital, part installation, and part theater distilled into one unique and intimate space, Luminous Being is a collective experience that transports and illuminates.

🕐 Entry at 6 PM, performance begins promptly at 6:30 PM. RSVP recommended. Reserve your tickets and learn more on our website via link in bio.

📸: Performance view. Photo by Henry Ng.

11/27/2024

Through surprising juxtapositions of paraphernalia including keys, belts, brushes and bottles, as well as commercial materials such as plastic, glass, and concrete, Alexandre da Cunha connects abstracted forms to our lived experiences and behaviors. These thoughtful and often humorous arrangements activate broader conceptual associations to socially reinforced patterns of consumption ranging from fashion and beauty to construction.

Da Cunha’s ongoing Ikebana series, in which two or three elements are carefully organized into delicately balanced yet unexpected compositions sealed in sleek concrete, brings these concepts to the foreground. The Ikebanas represent striking arrays of the physical residue of our lived experience in the present while also suggesting an archaeological future beyond functionality.

🗓️ These Days, Alexandre da Cunha’s first solo exhibition at James Cohan, is on view through December 21, 2024. Please note that our galleries are closed in observance of Thanksgiving, and will reopen on Tuesday, December 3.

📸; ALEXANDRE DA CUNHA, Ikebana (relief II), 2020, acrylic, hand scythe, weight, 16 x 12 1/4 x 2 1/8 in, 40.8 x 31 x 5.3 cm; Ikebana (Leche), 2024, drain, ping pong racket, mallet, acrylic paint, 15 x 10 5/8 x 6 3/4 in., 38 x 27 x 17 cm. Photos by Edouard Fraipont.

11/26/2024

Don't miss Torpedoboy and the Revisionist Mystery, Trenton Doyle Hancock's solo exhibition at James Cohan's 52 Walker Street location.

For almost 30 years, Trenton Doyle Hancock has intertwined a materially innovative and accumulative approach to painting with unflinching self-examination, incisive cultural commentary, and worldbuilding. Drawing from omnivorous realms of influence–from the paintings of Hieronymus Bosch and Stanley Whitney to Lee Bontecou and the RAW comic anthologies of the 1980–Hancock creates a syncretic and ever-evolving epic narrative. Within this fantastical universe, he contends with American identity, artistic legacy, and autobiography, shot through with pathos and humor.

Torpedoboy and the Revisionist Mystery features new collaged paintings that expand upon Hancock’s acclaimed Step and Screw series. These works portray the artist’s superhero alter ego Torpedoboy in a series of ambiguously-charged moments of exchange with one of the buffoonish Klansman who populate Philip Guston’s paintings. Hancock’s latest chapter of this unfolding saga represents a dramatic evolution of the action at hand. Torpedoboy and the Klansmen engage in a physical struggle, with the tides of victory shifting from frame to frame. At times, the erstwhile hero even turns–violently–on his own creator. In other works, he incrementally morphs into a hooded Klansman himself.

🔗 Learn more about Trenton Doyle Hancock and explore the exhibition online via link in bio.

📸: TRENTON DOYLE HANCOCK, Money Monster Management and the Magnificent Mess, 2024, acrylic and mixed media on canvas, 48 x 60 in., 121.9 x 152.4 cm. Photo by Dan Bradica.

11/21/2024

These Days, Alexandre da Cunha’s current exhibition at James Cohan, marks the first large scale presentation of work from da Cunha’s Exile series, gouache paintings on paper that have been framed without glazing to emphasize their direct relationship with the viewer, as if they were personal messages or letters. The series is an exploration of flux and movement between spaces, both physiologically and physically. Intimate, immediate, and portable, these notebook scaled works were made between London and São Paulo, coinciding with the period that the artist was traveling between homes.

These Days is on view at James Cohan’s 48 Walker Street location through December 21, 2024. Learn more about da Cunha and explore the exhibition online via link in bio. 🔗

📸: ALEXANDRE DA CUNHA, Exile (Growth), 2023, gouache on paper, 11 3/8 x 8 1/4 x 4 in., 29 x 21 x 10.2 cm; Exile (Field of Lust), 2024, gouache on paper, 11 3/8 x 8 1/4 x 4 in., 29 x 21 x 10.2 cm; Exile (Beauty), 2024, gouache on paper, 11 3/8 x 8 1/4 x 4 in., 29 x 21 x 10.2 cm. Photos by Dan Bradica.

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11/19/2024

When Water Embraces Empty Space, Tuan Andrew Nguyen’s first solo museum exhibition in Germany, is on view at the Edith Russ Haus for Media Art in Oldenburg through January 5, 2025. The exhibition, organized by Edit Molnár and Marcel Schwierin, will subsequently travel to The Showroom in London and the AGYU Art Gallery of York University in Toronto.

When Water Embraces Empty Space marks the premiere of Nguyen’s newly commissioned three-channel video installation of the same name. The film follows the story of a majestic hand-carved wooden boat. The sixteen-meter-long outrigger sailboat in question is called the Luf boat, named after the Papua New Guinean island from which it was stolen, and is now housed in Berlin’s Humboldt Forum. According to the historian Götz Aly in his book The Magnificent Boat, the arrival of the Luf boat to the Berlin collection has a dark and troubling history. The object is connected to the sustained violence that the Imperial German Navy and German traders perpetrated on the people of Papua New Guinea.

The exhibition’s series of multichannel film installations together present a narrative built from conversations between the Luf boat builders’ descendants—Stanley Inum, Fordy Stanley and Enoch Lun—and the Humboldt Forum team as well as documentation of the islanders’ long-awaited meeting with the boat. Other videos present footage of the Luf community’s attempt to rebuild the boat. The aim is to create an object that would resolve the relationship between object and narrative, between maker and keeper, and between trauma and healing.

🔗 Learn more about Tuan Andrew Nguyen and explore the his recent exhibitions on our website via link in bio

📸: TUAN ANDREW NGUYEN, When Water Embraces Empty Space, 2024 (still)andrew.nguyen

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Videos

🥳 ✨ 2024, that's a wrap! Happy New Year from all of us at James Cohan. While our galleries are closed for the holiday break, we're taking a look back at the exhibitions we mounted in the last 12 months, from gallery-spanning group shows and New York debuts to groundbreaking historical exhibitions and the freshman year of The Campus. Looking forward to what's to come in 2025 and welcoming you back to our galleries on January 10, when we open Katie Paterson: There is another sky and Behind The Bedroom Door. #YearInReview #JamesCohanGallery #ContemporaryArt

Go behind the scenes with Trenton Doyle Hancock as he discusses his current exhibitions in New York at James Cohan’s 52 Walker Street location and The Jewish Museum. 🗓️ Join us this evening at 52 Walker for a conversation between Hancock and David Norr, partner and co-owner of James Cohan. Doors open at 6 PM, and the artist talk will begin promptly at 6:30 ⏰ Torpedoboy and the Revisionist Mystery, Hancock’s solo exhibition with the gallery, is on view through this coming Saturday, December 21. 📍Draw Them In, Paint Them Out: Trenton Doyle Hancock Confronts Philip Guston is on view at The Jewish Museum through March 31, 2025 🔗 Learn more about Trenton Doyle Hancock and plan your visits via link in bio. 🎬 by @djgregpoole #TrentonDoyleHancock #Torpedoboy #JamesCohan #TheJewishMuseum #PhilipGuston #MustSee #ContemporaryPainting #NYCMuseumShow #ArtistTalk

For the 2024 edition of Art Basel Miami Beach, James Cohan will present a selection of new work by Claudia Alarcón & Silät, Ranti Bam, Alexandre da Cunha, Mestre Didi, Simon Evans and Sarah Lannan, Spencer Finch, Trenton Doyle Hancock, Federico Herrero, Byron Kim, Josiah McElheny, Christopher Myers, Jordan Nassar, Kaloki Nyamai, Eamon Ore-Giron, Naudline Pierre, Yinka Shonibare CBE, Elias Sime, Kelly Sinnapah Mary, Alison Elizabeth Taylor, Fred Tomaselli, and Kennedy Yanko at Booth G22. 🗓️ The fair is open to the public from December 5 to 8, with VIP Previews on December 4. Preview a selection of available works from our booth ahead of the fair via 🔗 in bio. 📸:EAMON ORE-GIRON, Infinite Regress CLIV (Variation I), 2024, smalti hand-cut mosaic glass and 24 carat gold. Photo by Phoebe d’Heurle; FRED TOMASELLI, A Year in One Day, 2024, acrylic, photo collage, leaves and resin on wood panel. Photo by Phoebe d’Heurle; KENNEDY YANKO, In Ochre, 2024, paint skin, metal. Photo by Oriol Tarridas; NAUDLINE PIERRE, To Remain Persistent, 2024, oil and oil stick on linen. Photo by Dan Bradica; ALEXANDRE DA CUNHA, Vitral (Den), 2024, shovel handles, cloth. Photo by Eduoard Fraipont; KELLY SINNAPAH MARY, The Fables of Sanbras: The New World, 2024, acrylic on tapestry. Photo by Phoebe d’Heurle; JORDAN NASSAR, Song of the Flowers, 2022, hand-embroidered cotton on, cotton. Photo by Mel Taing. . . . @artbasel . #ABMB2024 #ArtBasel #JamesCohan #EamonOreGiron #FredTomaselli #KennedyYanko #NaudlinePierre #AlexandreDaCunha #KellySinnapahMary #JordanNassar #ContemporaryArt #ArtCollectorsOfIG

🎥 Kennedy Yanko: Wildflowers | The second in a series of short films highlighting our artist presentations at Frieze London 2024, this video feature takes you inside the studio with artist Kennedy Yanko as she discusses the process and inspirations behind her newest body of work, a series of paint skin and chrome sculptures that will debut at the fair next week. Working with paint skins and found metal, Kennedy Yanko constructs sculptures steeped in the visual language of Abstract Expressionism, Action, and Color Field Painting that defy the limits of their own materiality. For this presentation, Yanko is reducing her scale, creating her own version of miniatures. Learn more about Kennedy Yanko and explore her Frieze London presentation via link in bio. 🎥 by @djgregpoole #KennedyYanko #FriezeLondon #FriezeLondon2024 #JamesCohan #ContemporaryArt #ContemporarySculpture #GreatWomenArtists @kennedyyanko @frieze.london @friezeofficial

🎥Jesse Mockrin: The Descent | The first in a series of short films highlighting our artist presentations at Frieze London 2024, this video feature takes you inside the studio with artist Jesse Mockrin as she discusses the process and inspirations behind The Descent, 2024, her monumental five panel painting which will debut at the fair next week. Jesse Mockrin’s newest paintings for Frieze explore biblical and classical narratives – Mockrin notes, “these age-old stories are united by an overarching theme: the exploitation of the vulnerabilities of women.” Mockrin’s paintings “serve to expose these biases hidden within the canon – to make them visible, to upend them.” This new body of work will be the focus of a forthcoming solo exhibition of Mockrin’s work at the Art Gallery of Ontario, Toronto (AGO) opening September 2025. 🔗 Learn more about Jesse Mockrin and watch the full film via link in bio. 🎥 by @djgregpoole #JesseMockrin #FriezeLondon #FriezeLondon2024 #StudioVisit #DocumentaryShort #AGO #JamesCohan #JamesCohanGallery #GreatWomenArtists @jessemockrin

NXTHVN Artist Spotlight: Cohort 05 Studio Fellow Adrian Armstrong @adrianarmstrongart shares insights about his creative practice, subject matter, and approach towards researching Black culture. Adrian’s work is on view alongside Cohort 05 in “Double Down”, located @thecampusupstate . Details about the exhibition below 🖤 About The Exhibition: Continuing a tradition of collaborating with New York-area galleries on a culminating exhibition for our fellowship year, James Cohan @jamescohangallery and The Campus are partnering with NXTHVN to present Cohort 05’s annual exhibition. The exhibition features the work of Studio Fellows Adrian Armstrong, Alexandria Couch, Eric Hart Jr., Fidelis Joseph, Jamaal Peterman, Eugene Macki and Alex Puz and is organized by Curatorial Fellows Marquita Flowers and Clare Patrick. Double Down joins presentations from Bortolami, James Cohan, kaufmann repetto, Anton Kern, Andrew Kreps and kurimanzutto for the inaugural exhibition at the galleries’ new shared upstate space, The Campus. The Campus exhibition connects new and historical works by more than 80 artists. Embracing a collaborative model, the galleries have turned an abandoned former school building into a platform for dynamic cultural exchange. Vacant since the ‘90s, the 78,000-square-foot building of the Ockawamick School, built in 1951 and largely unrenovated, has been ripe for reanimation. Colorfully painted classrooms, mid-century architectural details, and generous natural lighting create a compelling context for artists to engage with the space, the original purpose of the structure, and one another. DOUBLE DOWN at The Campus 341 NY-217 Hudson, NY 12534 On View June 29 - October 27 (Open Saturday + Sundays 12-5PM) Short Film by John Dennis @madbasic Courtesy of NXTHVN #NXTHVN #adrianarmstrong #jamescohangallery #thecampusupstate #5yearsatnxthvn

James Cohan is pleased to present Mother Lode: Material and Memory, organized by Abigail Ross Goodman, Molly Epstein, and Ellen Langan, on view from June 21 through July 26, 2024, at 48 and 52 Walker Street. The gallery will host an opening reception on Friday, June 21 from 6-8 PM. “Mother lode” is a term used to indicate the primary vein of a valuable resource, or, more colloquially, to point to the real or imagined origin of something of great import or abundance. Plumbing the possibilities of this linguistic trope, this exhibition brings together more than forty artistic practices, choreographed in chapters as a collective cohabitation that offers myriad ruminations on beginnings. Mother Lode: Material and Memory features work by Kelly Akashi, Alma Allen, Mark Bradford, Richard Van Buren, Kathy Butterly, Sarah Charlesworth, Ann Craven, Abraham Cruzvillegas, N. Dash, Moyra Davey, Leonardo Drew, Bracha Ettinger, Rochelle Feinstein, LaToya Ruby Frazier, Nancy Graves, Reggie Burrows Hodges, Gary Hume, Lotus L. Kang, Clementine Keith-Roach, Antonia Kuo, Mernet Larsen, Heidi Lau, June Leaf, Yasue Maetake, Wallen Mapondera, Teresa Margolles, Nick Mauss, Tuan Andrew Nguyen, Gabriel Orozco, Julia Phillips, Howardena Pindell, Marianna Pineda, Garnett Puett, Ronny Quevedo, Maja Ruznic, Grace Schwindt, Joan Semmel, Erin Shirreff, Rose B. Simpson, Michelle Stuart, Antonio Tarsis, Sara VanDerBeek, Willa Wasserman, Emmi Whitehorse, and Yu-Wen Wu. Learn more about Mother Lode and the artists featured via link in bio. . . 📸: CLEMENTINE KEITH-ROACH, courtesy P.P.OW, photo by Damian Griffiths; ANTONIO TARSIS, courtesy Carlos/Ishikawa, photo by Damian Griffiths; LATOYA RUBY FRAZIER, courtesy Barbara Gladstone Gallery; SARAH CHARLESWORTH, © The Estate of Sarah Charlesworth. Courtesy Paula Cooper Gallery, New York. Photo by Steven Probert; ABRAHAM CRUZVILLEGAS, courtesy kurimanzutto; KELLY AKASHI, courtesy Tanya Bonakdar Gallery. . . . . . #MotherLode #JamesCohan #JamesCoh

🎆 Happy new year from all of us at James Cohan. We look forward to welcoming you to our galleries in 2024! Arcadia and Elsewhere, an expansive group exhibition celebrating the breadth and complexity of contemporary landscape painting practices across geographies and generations, will open at 48 & 52 Walker Street and 291 Grand Street on January 12, 2024. On the first day of the new year, we’re taking a look back at the exhibitions we were proud to present across our three New York galleries over the last 12 months. Explore past exhibitions and discover our upcoming program for the year on our website via link in bio . . . @shonibarestudio @kathybutterly @kalyban @jessemockrin @lengua @michelleagrabner @alisonelizabethtaylor @simonevanstm @federicoherrero @jordannassar . #JamesCohan #JamesCohanGallery #YearInReview #TeclaTofano #JosiahMcElheny #YinkaShonibare #KathyButterly #ChristopherMyers #JesseMockrin #EamonOreGiron #MichelleGrabner #MaryGrigoriadis #AlisonElizabethTaylor #FedericoHerrero #JordanNassar #SimonEvansTM #ShinichiSawada #BillViola #LeeMullican #ElsaGramcko #YunFeiJi