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OSMOS Station, 24 Railroad Avenue, Stamford, NY (2026)

05/15/2026

OSMOS is pleased to be mounting a solo presentation by Anton Stankowski at Independent 2026 ( ) at Booth 200. Visit us at Pier 36 between 11am and 5pm until Sunday, May 17th.

Anton Stankowski (1906–1998), renowned in his native Germany as one of the most distinctive graphic designers of the postwar period, was a photographer and visual artist who insisted on the interrelationship of applied and fine arts throughout his practice. Trained at the progressive Folkwangschule in Essen in the 1920s, Stankowski developed a formal vocabulary rooted in constructivist abstraction, influenced by Russian Constructivism and Dada collage. His photographs from this period feature unusual angles, radical perspectives, industrial subjects, and technical experimentation.

After returning to Germany in 1934 and later serving in World War II, Stankowski restarted his career in Stuttgart in 1951, becoming internationally recognized for his corporate logos, graphic identities, and posters, including work for Deutsche Bank and the 1972 Munich Olympics.

In the 1970s and 1980s, Stankowski returned to focus on painting and printmaking, revisiting earlier compositions and motifs. Featuring paintings from the 1960s–1990s alongside rare photographs and works on paper from the 1930s never before shown in the US, this presentation highlights many of Stankowski’s most iconic formal inventions, from geometric repetition and projection to more organic approaches to abstraction.

1. Installation view by Silvia Ros.
2. Anton Stankowski, Stufen (Steps), 1932
3. Anton Stankowski, Gitter (Grid), 1986
4. Anton Stankowski, Vergrößerung ohne Negativ (Fotogramm “Erbsen”), 1929
5. Anton Stankowski, Räumliche Bänder (Spatial Bands), 1977

05/14/2026

OSMOS is pleased to mount a solo presentation of works by Anton Stankowski during Independent 2026 at Booth 200.

VIP previews begin today, May 14 until 5pm, at Pier 36 on the Lower East Side.

Anton Stankowski (1906–1998), renowned in his native Germany as one of the most distinctive graphic designers of the postwar period, was a photographer and visual artist who insisted on the interrelationship of applied and fine arts throughout his practice. Trained at the progressive Folkwangschule in Essen in the 1920s, Stankowski developed a formal vocabulary rooted in constructivist abstraction, influenced by Russian Constructivism and Dada collage. His photographs from this period feature unusual angles, radical perspectives, industrial subjects, and technical experimentation.

After returning to Germany in 1934 and later serving in World War II, Stankowski restarted his career in Stuttgart in 1951, becoming internationally recognized for his corporate logos, graphic identities, and posters, including work for Deutsche Bank and the 1972 Munich Olympics.

In the 1970s and 1980s, Stankowski returned to focus on painting and printmaking, revisiting earlier compositions and motifs. Featuring paintings from the 1960s–1990s alongside rare photographs and works on paper from the 1930s never before shown in the US, this presentation highlights many of Stankowski’s most iconic formal inventions, from geometric repetition and projection to more organic approaches to abstraction.

1. Installation view by Silvia Ros.
2. Berührung (Touching), 1939, Gouache on board
3. Winkelköpfe braun (Corner heads Brown), 1939, Gouache on board
4. Gitter (Grid), 1986, Acrylic on canvas

05/04/2026

OSMOS is pleased to present Kate Steciw: Pictures, the artist’s first solo show with the gallery, on view May 7th until June 27th. Please join us for the opening reception Thursday, May 7th, 6-8pm.

Kate Steciw’s practice is defined by a continual effort to cope with the perceptual crisis precipitated by image overload. There is a primal desire to make a mark, to assert herself somewhere in the unending stream of image data generated, shared or stored both personally and publicly. She is drawn to forgotten, authorless or “weak” images; the stock image used to signify anything from foot health to dish soap, images from Facebook Marketplace and special interest groups and the vast stores of her own personal images saved and resaved for reasons unknown over decades. Whether she’s working with editing software or by hand, Steciw layers and juxtaposes seemingly disparate images; to create pieces she refers to as “composites”. She intervenes (gently or aggressively, physically or digitally) to liberate herself, and the image from a prescribed context or convention and to propose new possibilities for interaction both between images as well as between images and their consumers/viewers. Decidedly “hand-made”, these paintings bear traces of their digital origins (a pixelated fragment, the hard circular edge of the “rubber stamp” tool). The scale and surface give weight to images that might otherwise be fleeting or disposable, inviting viewers to consider how meaning shifts when images are removed from their original context and forced into dialogue.

1. IMG_0383.HEICXPICT0711.JPG, 2023, Inkjet prints on canvas, collage on panel
2. N192914785151_Template015_111295017_10_18_2019
_ 08_55_47_EN, 2023, Inkjet prints on canvas, collage on panel
3. 20220926_frb_sm0199w1, 2024, Inkjet prints on canvas, collage on panel
4. EvotoInstaller-1.0.0-302_beta, 2025, Inkjet prints on canvas, collage on panel

04/20/2026

CHROMAZONE: Catherine DeLattre and Fred Herzog is currently on view at OSMOS.

This weekend we focused on a presentation of artist Fred Herzog with selected writing from Sophie Brodovitch’s essay, “Sensitive to Light,” from OSMOS Magazine Issue 30.

“Fred Herzog’s choice of a film process that produced luminous, saturated transparency, and that would be developed into a positive image rather than a negative one, feels especially revealing. After a youth shadowed by destruction and scarcity, Herzog sought brightness in both subject and process. His photographs were not just documents of a place; they were a quiet act of faith in color. His work reframed the city’s atmospheric character as an aesthetic condition rather than a limitation. In doing so,he produced photographs that were driven by hope and optimism.”
Sophie Brodovitch, OSMOS Magazine Issue 30

1. Fred Herzog, Maritime Mural, 1960

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04/18/2026

CHROMAZONE: Fred Herzog and Catherine DeLattre is currently on view at OSMOS.

This weekend we will be presenting a focus on artist Fred Herzog.

“In the mid-20th century, Vancouver was frequently blanketed in a heavy industrial haze. This ‘fog’ is a blend of humidity, coal smoke, and wood smoke produced by sawmill burners (‘beehives’) and home heating. Herzog was attentive to the quality of this light and consistently found ways to turn its limitations into strengths. His decision to photograph neon-lit streets at night or in the evening allowed a saturated, artificial glow to flood the frame, transforming an otherwise subdued city into one of colours and reflection. Robson/Granville, 1959, captures this interplay. A wide view looking south on Granville Street records rows of cinema and storefront signs casting a warm radiance over an otherwise grey intersection. The Brake light of the Volkswagen Beetle and the traffic signal above it become small but potent beacons of Kodachrome red, while two figures crossing the street echo the silhouettes on the neon coffee cup advertising ‘White Lunch.’ The composition is carefully orchestrated, its impact heightened by the contrast between the dull sky and the chromatic street, all activated by Kodachrome’s particular responsiveness to colour. Herzog’s sensitivity to light makes these photographs resonate: he largely chose to depict neon at night, working hand-held rather than with a tripod, to preserve the immediacy of the glow. When he photographed by day, he treated fog as a structural element, using it to lend atmosphere to a line of orange taxis or to seagulls circling the sky. He accepted the city’s lighting conditions as they were, absorbing their energy and translating it onto film. His photographs continue to echo that experience. He often told me that he wanted the city to appear ‘smooth and elegant’ in his photographs, and it does—the images are velvety and rich, giving the city’s light the quiet elegance that so captivated him.”
Sophie Brodovitch, OSMOS Magazine Issue 30

1. Fred Herzog, Granville Street at Night, 1959

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gallery

04/17/2026

This weekend OSMOS is presenting a focus on artist Fred Herzog.

“Born in Stuttgart in 1930, Fred Herzog grew up amid the rubble of war. He later described his early surroundings as almost entirely gray and brown, a world in which everything was functional and few true luxuries existed. When he emigrated from Germany to Canada in the early 1950s, Vancouver must have appeared as a revelation: a growing city marked by color, surplus, and possibility. The abundance of second-hand shops was particularly striking—the idea of objects being discarded long before exhaustion was unimaginable in his youth. At the same time, bridges were rising, shipping terminals expanding, and a new central post office signaled an increasingly outward-looking city connected to an international network. By night, the neon glow proclaimed postwar confidence; by 1953, Vancouverwas home to nearly 19,000 neon signs, said to outnumber those in Los Angeles or Las Vegas.”
Sophie Brodovitch, OSMOS Magazine Issue 30

1. Fred Herzog, Cafe, Main, 1960
2. Fred Herzog, Buying a Hat, 1959
3. Fred Herzog, Hastings & Seymour, 1961

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gallery nycgallery

04/11/2026

Visit us at EXPO Chicago Booth 124 in the Focus Section to see a continuation of Herbert Holsey’s work in conversation with artist Kate Steciw (). Steciw explores self-liberation through what she refers to as “composites” in her large-scale pieces alongside Holsey’s smaller-scale collages that suggest a tender gaze of male desire and dreams of space travel.

1. Installation image courtesy of the gallery.
2. Kate Steciw, EvotoInstaller-1.0.0-302_beta, 2025, Inkjet prints on canvas, collage on panel. 40” x 50”
3. Kate Steciw, Airbrush-IMAGE-ENHANCER-1767139117711-1767139117711.jpg, 2026, Inkjet prints on canvas, collage on panel. 40” x 50” in
4. Kate Steciw, IMG_0383.HEICXPICT0711.JPG, 2023, Inkjet prints on canvas, collage on panel. 40” x 50”

📍Booth 124
EXPO CHICAGO

04/10/2026

Thank you Artsy for including us in the list of best booths at EXPO Chicago! If you’re in Chicago, be sure to stop by booth 124 in the Focus section.

***rart

04/10/2026

We are pleased to present Herbert Holsey’s work in conversation with Justine Kurland’s today at EXPO Chicago. Both artists utilize collage as a medium to explore q***rness, sexuality, and gender with Kurland’s large-scale feminist q***r compositions challenging white supremacy and patriarchy embedded in the medium of photography.

Today’s presentation is a continuation of placing Holsey’s work in dialogue with other artists.

📍Booth 124
EXPO CHICAGO

04/09/2026

EXPO CHICAGO opens today!

Visit us at Booth 124 in the Focus Section to see Herbert Holsey’s work in conversation with artist Kate Steciw ().

For OSMOS founder Cay Sophie Rabinowitz, this presentation is deeply personal: “Herbert was a friend from Atlanta, who invited me into his home to collaborate and watch the soaps if I brought my scissors and a stack of magazines to cut up. He left all his work with me.” Holsey was a q***r veteran (of Vietnam and other deployments), who served as an MP and lived with his lover, an officer in the US Army, when stationed in Germany, where he started to work prolifically in photo collage. His compositions and commentary represent a candid, humorous, and at times acerbic look at personal, political, social issues of the 1980s and 1990s. They suggest a tender gaze of male desire, imagine dreams of space travel, and revel in the delicacies of intricate and expertly executed scissor work and abrupt scale change. Above all, Holsey’s works express a deeply held personal need to create, utilizing whatever materials were close at hand. Holsey was an occasional performer at Atlanta’s Backstreet, the most iconic 24-7 gay club in the deep south. Holsey used drag to personify a “housewife” or a “bag lady” while the likes of Charlie Brown and Ru Paul would come on later in the evening and present the glamorous side of drag celebrity. Holsey died of AIDS at home in Midtown Atlanta, surrounded by the cut-up bits and pieces he used to assemble a story of his own.

Over the following days, we will also have Holsey’s work in dialogue with artists Justine Kurland (Justine Kurland) and Darrel Ellis (Darrel Ellis Estate).

📍Booth 124
EXPO CHICAGO

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