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©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

SOME RECENT COLLAGES BY LUC SANTE
August 1 - September 1, 2020

Noted writer Luc Sante is making his first gallery appearance with a show of collages. Although Sante has not previously presented his works in a gallery setting, he is not a newcomer to the medium. He began making collages as a teenager in the late 1960s; in the late '70s and early '80s his work appeared in photocopied zines and on gig fliers wheatpasted on downtown walls. He returned to making visual work a few years ago after a long absence, and has since regularly posted his work on social media, to considerable acclaim. 

That he always intended to return is attested by the fact that for decades he dragged his cache of materials through move after move. The heart of this cache he acquired as an employee (1976-79) of the Strand Bookstore, where he was often tasked with disposing of the extra matter--magazines, postcards, photographs, miscellaneous ephemera--that arrived alongside the books when the store purchased private libraries. He thus draws on a body of imagery that dates primarily from the late nineteenth century to the mid-twentieth. Those bracketing dates are significant because it was a period when illustration strove for clarity, not to mention neutrality and transparency. The artists and photographers thought they were representing the world as it was, rather than expressing an attitude about it. Now we can see just how far they were mistaken.
 

But the obliviousness of his sources makes them ideal for Sante's purposes. He employs the visual vocabulary of the past for its simplicity, its technical proficiency, its uninflected color, its pre-modern notions of composition, and its complacent belief in a set of comforting lies. As the critic Harold Rosenberg once put it, "American life is a billboard; individual life in the U.S. includes something nameless that takes place in the weeds behind it.” Sante likes to cut up the billboard to shed light on the nameless thing. 
 

Some of Sante's work is topical and direct; much of it is satiric or parodic; all of it is in some way narrative. He regards his topical work as declarative prose, while the rest he sees as a kind of poetry, hovering all around the edge of meaning without falling in. He is a devoted student and enthusiast of the cut-paper collage and its long history. He notes that collage effortlessly vaporizes the line between high and low; since the nineteenth century it has been practiced simultaneously by folk artists and avant-gardists. Of all the great collagists of the past, his biggest influence has been Bruce Conner, who managed to be at once bookish and blunt, intricate and explosive. Sante also situates himself in the visual tradition of punk, where he first found his footing. Accordingly, he sees all his works, whatever their size, as posters, meant to draw and hold the eye.
 

Sante was born in 1954 in industrial southeastern Belgium and came to the United States with his parents in the early 1960s. His books include Low Life (1991), Evidence (1992), The Factory of Facts (1998), Kill All Your Darlings (2007), and The Other Paris (2015). His new collection of essays and other writings, Maybe the People Would Be the Times, will be published in September by Verse Chorus Press. He teaches writing and the history of photography at Bard College and lives in Ulster County, New York.     

For further information please contact us at info@jamesfuentes.com.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

NELL PAINTER:
AMERICAN WHITENESS SINCE TRUMP
October 15 - November 1, 2020

James Fuentes Online is pleased to present Nell Painter’s new visual series, American Whiteness since Trump (2020). Over time, Painter has sought to create an intellectual history of the US, consistently paying close attention to images and iconography, while approaching history through text.
 

Conceived as an artist’s book, American Whiteness since Trump was created while Painter was in residence at the Bogliasco Foundation, Italy in February–March 2020. The project follows on from Painter’s The History of White People (2010), which was published within a conventional book format and became a New York Times bestseller. The History of White People was completed well before the presidency of Donald Trump—a period during which Painter mapped a history of Whiteness somewhat separate to that of white supremacy becoming a dominating refrain in mainstream US politics and rhetoric. Our current presidency has changed that, forcing millions in the country to grapple with their identity in new ways. American Whiteness since Trump addresses these changes, offering an update to Painter’s ongoing concerns through drawings, collage, and text. The project also marks the first fruits of Painter’s approach to combining her work as a historian and as a visual artist.
 

In a recent interview, Painter expounds upon her approach to these two practices:
“Historian/writer wants intelligibility, but artist wants emotion, feeling, intensity of meaning that will not necessarily be viewed in the ways I was creating. Historian/writer always wants more words; artist keeps taking words out, or if not taking words away, then overwriting and obscuring them in the interest of intensity, of touching viewers first in the eye rather than in the mind. […] For me as historian as well as artist, meanings change as the times change and as the author/artist changes. My history writing now, as well as my art, insists first and last that things change.”—Nell Painter in conversation with Lauren O’Neill-Butler, November Magazine, No. 5, 2020.

Nell Painter (b. 1942 in Houston, TX; lives and works in Newark, NJ) is a painter, also known as the historian Nell Irvin Painter. Painter is the author of The History of White People (2010), Creating Black Americans (2006), and Sojourner Truth: A Life, A Symbol (1996); and the Edwards Professor of American History, Emerita, Princeton University. Painter’s artwork has been the subject of solo exhibitions at the Brooklyn Historical Society, CGIS at Harvard University, and the San Angelo Museum of Fine Art. She is represented in the collections of the National Museum of African American History and Culture, the W. E. B. Du Bois Institute at Harvard University, the Minneapolis Institute of Art, and Newark Museum, among others.

ALSO ONLINE:

Michael Ross 
Selected Works 1992-2020
Ronny Quevedo
schematics for a new armillary
Roy Ferdinand

For further information please contact us as info@jamesfuentes.com.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Art Basel OVR: Miami Beach

Jane Dickson
Juanita McNeely
Lee Quiñones

December 2 - 6, 2020 

James Fuentes is pleased to present works by Jane Dickson, Juanita McNeely, and Lee Quiñones on the occasion of Art Basel OVR: Miami Beach. Taking up experimental forms of portraiture between painting and drawing, the three artists began their careers in the 1970s in New York City, where they respectively became part of burgeoning artistic movements. Dickson, McNeely, and Quiñones each still live in New York today.

Jane Dickson is known for her glowing, atmospheric depictions of life in New York City and across the country. Born in Chicago in 1952, Dickson arrived to New York in 1977, where she soon began working the night shift programming visuals for Times Square’s first digital billboard, including the New Year’s Eve countdown. There, from her after-dark vantage point, she was witness to the continual movement of figures and upturned faces basking in the square’s hallucinatory light. As well as street scenes and individual portraits, Dickson’s subjects include the interiors of strip clubs and casinos, signage and highway billboards, tunnels and bridges, demolition derbies, and suburban dwellings—presenting a duality of attraction and repulsion within the promises, hopes, and desires that lie at the core of US culture. Into the early ‘90s, Dickson turned her focus from creating atmospheric outdoor and interior scenes to a series of individual portraits created in a drastically reduced palette, titled Trust Me. On view is a selection of works from this series, which presents a constellation of friends, family members, herself, and strangers alike within a smaller, oval format. Through this moment of grayscale simplification, each work takes on a more reflective, even sombre tone, cementing its subject in a moment in time. While capturing the seductive quality of time and place, Dickson’s works resemble time-capsules in themselves.

As well as being a deeply-rooted observer of street life, Dickson is an important part of the city’s creative history, involved in connecting the downtown art and punk scenes to uptown graffiti and hip-hop subcultures. At the time, Dickson was exhibiting at FUN Gallery as well as Fashion Moda of the South Bronx, and was an early member of the downtown collective Colab—whose watershed The Times Square Show was presented in an abandoned Times Square massage parlor, combining the visual, music, and performance cultures of uptown and downtown. Dickson has featured in a great number of solo and group exhibitions, including the 1985 Whitney Biennial; The Metropolitan Museum of Art (1991); Creative Time (1993); Jane Dickson: Paradise Alley, curated by Thelma Golden at the Whitney Museum (1996); and most recently in the survey exhibition New York Underground: East Village in the 80s, presented at the Seoul Museum of Art in 2019, now traveling through China. Jane Dickson in Times Square was published in 2018 by Anthology Editions. Her work is in the collections of the National Portrait Gallery at the Smithsonian, The Museum of Modern Art, The Metropolitan Museum of Art, The Whitney Museum, The Brooklyn Museum, The Art Institute of Chicago, and the Victoria and Albert Museum, London, among others. Dickson’s work can also be found at the MTA Times Sq-42 St subway station, where she completed a mosaic in 2008.

Juanita McNeely depicts the extreme physicality and movement of the human figure, informed by her own detailed personal observations. McNeely’s vivid scenes are filled with radiant color palettes, stark use of lightness and shadow, and experimental framing devices. Born in St. Louis, Missouri, McNeely first moved to New York City in 1967, where her figurative work became central to the development of feminist art and contemporary discourses. As part of the community around the Westbeth artists’ coop, early in her career McNeely began meeting with a group of women artists in the city whose work was considered spectacular for its confrontation of personal, erotic, and taboo subjects. Faced with the political challenges and limitations of the male-dominated discourses of the time, they decided to begin exhibiting and speaking collectively, transforming notions of who may and may not handle certain imagery during this period of major societal and artistic evolution. On view are a series of portraits created at the end of the 1970s, depicting individuals who surrounded McNeely at arguably the most optimistic period in her life and career. While she would most often render self-portraits across single and multi-paneled works, this group of paintings lies among the small number of the artist’s portraits of others, delving into their individual characters. These portraits also offer a contrast to what is usually know of McNeely’s work in terms of the artist’s more complicated subject matter and visual devices, and yet the singular tension with which she expresses the human figure through line and form remains primary.

McNeely was the subject of Indomitable Spirit, a career survey curated by Susan Metrican at Brandeis University’s Women’s Study Research Center in 2014. McNeely was part of the Fight Censorship group founded in 1973 by Anita Steckel, alongside Judith Bernstein, Louise Bourgeois, Martha Edelheit, Joan Semmel, Hannah Wilke, and Eunice Golden, among others; as well as Women Artists in Revolution (W.A.R.), Redstockings, and other groups. McNeely has exhibited at venues including the Queens Museum, Art Institute of Chicago, Philadelphia Museum of Art, and Gemeentemuseum in The Hague, among others. McNeely received the Ellin P. Speyer Prize from the National Academy Museum, and honors from the Pollock-Krasner Foundation, the Gottlieb Foundation, and the New York State Council on the Arts. Her work is included in the collections of the Saint Louis Art Museum, the National Taiwan Museum of Fine Arts, and the Palacio de Bellas Artes in Mexico City, among others.

Born in 1960 in Ponce, Puerto Rico, Lee Quiñones grew up in New York City on the Lower East Side. Quiñones has triggered many conversations as to who was the most influential subway painter of the 1970s and ‘80s. Needless to say, the title has mostly been vested to Quiñones, whose LEE subway cars were unmissable. Quiñones was a pivotal part of the tightly-knit quintet of painters 'The Fabulous 5ive' throughout the ‘70s, and later appeared in Charlie Ahearn’s Wild Style (1983), which brought New York’s alternative underground art scene to international attention. In total he tagged over 100 whole cars, some of which would run for months or even years left untouched by the thousands of other writers painting on the subway at the time. Quiñones’ distinctive style is informed by a persistent attention to technique, through which he amassed a deep archive of visual and font studies that became central to his work at all scales. In most cases, Quiñones’ drawings are all that remain of his murals and subway car works. On view is the drawing Born Too Bomb (1980), which shows a highly stylized character among a series of tags, created as a farewell to the Fab 5 crew. Later, Quiñones sought to bring his work “aboveground,” transitioning to creating works on canvases and other surfaces, including the walls of his Brooklyn studio(s). Meticulously extracted, Quiñones describes these panels as tablets: kaleidoscopic documents of his artistic process, representing his meditations and immediate surroundings absent of predetermined margins. On view, Voices Carry (1940s-1996-2005) stands as both a time-capsule and a portrait of the artist, housing tags from a vast community of artists who came in and out of Quiñones’ studio, alongside spray-painted marks and handwritten text. These tags, notes, musings, and quotes remain open in their address, providing entry-points to the many references that connect at the core of Quiñones’ lifelong inventiveness with medium and language.

Quiñones has been included in many solo and group exhibitions since the 1970s. In 1979, at age 19, Quiñones was included in the first major international exhibition of graffiti-based art at the Galleria La Medusa in Rome, Italy—a groundbreaking venture for presenting post-graffiti when Lee was in the midst of transitioning into the realm of contemporary art at the time. Shortly after, he was included in the seminal Times Square Show organized by COLAB (1980); Graffiti Art Success for America at Fashion Moda (1980); New York/New Wave curated by Diego Cortez at PS1 (1981); and Documenta #7 along with Basquiat, in Kassel, Germany (1982). Quiñones has held exhibitions at White Columns, Lisson Gallery, Barbara Gladstone Gallery, Rudolf Zwirner Gallery, FUN Gallery, and most recently at James Fuentes gallery, New York and Charlie James Gallery, Los Angeles. Quiñones’ works are held in the permanent collections of the Whitney Museum of Art, Museum of Modern Art, Brooklyn Museum, the Museum of the City of New York, Groninger Museum, and Museum Boijmans Van Beuningen (Rotterdam, Netherlands). He was featured in the documentary Boom for Real: The Late Teenage Years of Jean-Michel Basquiat, directed by Sara Driver (2017). Quiñones will be included in forthcoming exhibitions at the Ludwig Museum, Cologne and the K11 Foundation, Hong Kong, and is currently featured in Writing the Future: Basquiat and the Hip-Hop Generation at the Museum of fine arts Boston. 

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

COLAB NO MORE STORE! 

We are pleased to announce a virtual opening of the exhibition. Hoping you can join us at 5pm on December 9th EST. 

Join Zoom Meeting:
https://zoom.us/j/91777663747?pwd=b1ZhK2tVcHU4bmdBUHcyL0RtRkVJdz09

Meeting ID: 917 7766 3747
Passcode: COLAB

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Gallery hours are Tuesday through Saturday, 10am to 6pm. For further information please contact us at info@jamesfuentes.com.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Gallery hours are Tuesday through Saturday, 10am to 6pm. For further inquiries, please contact Katrin or James at info@jamesfuentes.com.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Please feel free to contact us for more information info@jamesfuentes.com.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Jamaal Peterman

Grunch In Bed 

December 10, 2020 – January 17, 2021

James Fuentes is pleased to present Jamaal Peterman, Grunch In Bed, the artist’s first solo exhibition in New York.

Jamaal Peterman has developed a highly encoded language of abstraction that ricochets inside of, between, and beyond the frame of the image. In this new body of work Peterman depicts the world as a global simulation. Illusionistic framing devices transform each painting into a portal through which ominous glitches in time, place, and scale occur. These works describe an interlocking system of abstract macro structures—representing legal giants, multinational corporations, massive algorithmic flows, and the weapons of destruction that protect them—across which a superimposed human figure sequentially moves. The problem of how to visually convey, in order to intercept, the invisible structures that historically dictate the format and flows of our world lies at the core of this project.

Peterman’s dazzling geometric abstraction illuminates an “absolute reality” in which color and form communicate hierarchies of space and movement as well as class and race. Central to Peterman’s landscape work is the artist’s reflection on how black and brown bodies navigate through urban space. Shades of black and brown encode certain elements in the paintings as representative of black bodies, communities, businesses, and ecosystems. Lines of connection run between these forms, while their quantity and direction suggest routes of access and exclusion, at once making reference to flows of information, the design of a circuit board, and processes of redlining. In this way, Peterman’s visual symbols are designed to aid in marking the time, history, and spaces that black bodies have continually navigated and constructed. Resembling sidewalks, bricks, or building facades, textured sections of each canvas are embedded with expressionistic marks and symbols that act as possible cheat codes for entering the image. Just like a handprint or name pressed into sidewalk cement, these tactile details represent memory and the disappearance of physical identity. 

The title of the exhibition refers to R. Buckminister Fuller’s allegorical final book, Grunch of Giants (1983), in which he argues that humanity would be better off imagining its future beyond the unsustainable limitations and domination of the Gross Universal Cash Heist (GRUNCH) that we find ourselves within. With Grunch In Bed, Peterman not only encodes and decodes the invisible forces that reproduce the landscape of our world; he does so in order to present alternative visions of this landscape by simultaneously interrupting and taking hold of the fundamental concepts of structure, visibility, information, flow, and time that the body must move through in order to transform it.

Jamaal Peterman (b. 1990, Fort Lauderdale, FL; lives and works in Brooklyn, NY) received his BFA from the University of Maryland Eastern Shore (2014) and his MFA at Pratt Institute (2019). Most recently, he undertook residencies at MASS MoCA, Wassaic Project Residency, and Fountainhead Residency. Peterman has presented work in numerous solo and group exhibitions within the US. Grunch In Bed follows Peterman’s presentation of paintings on paper through James Fuentes Online in November 2020, Tales from the Hood.

For further inquiries, please contact Katrin or James at info@jamesfuentes.com.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

L.E.S. Summer Night
Thursday, July 30th, 6-8 PM

This coming Thursday, 24 galleries on the Lower East Side will be open late to celebrate our current exhibitions throughout the neighborhood. An interactive map of the participating galleries can be viewed at this link.
 

MIGUEL ABREU GALLERY
Rochelle Goldberg
Psychomachia
88 Eldridge Street, 4^th Floor
www.miguelabreugallery.com     

My thoughts remain with Mary, beaming alone in the desert.
In the desert she digs up roots
silly soil, low drainage, roots emerge shallow
did she survive on love alone?

Sequence 7: Veit Laurent Kurz
Plant Fear
36 Orchard Street

Plant Fear suggests an altered world resulting from unprecedented local events that affect imperceptible change on an immense scale. 


MITCHELL ALGUS GALLERY
George Ortman
Against Abstraction
132 Delancey Street, 2^nd Floor
www.mitchellalgusgallery.com    

The current exhibition, the first since the artist’s death in 2015 and timed to coincide with the Museum of Modern Art’s Donald Judd retrospective, is built around four of Ortman’s masterpieces from the 1950s and early 1960s: Stages of Life,1956; Tales of Love,1959; Peace II,1961; and Omen,1962. The show also includes works on paper highlighting the artist’s extraordinary draftsmanship.

ASHES/ASHES
Jean-Baptiste Bernadet and Antoine Donzeaud
Transparent Barricade
56 Eldridge Street
www.ashesonashes.com

The exhibition features four recent works by Bernadet's signature series of Fugure paintings. These are displayed one at a time and changed out every two weeks, progressing in luminosity from pale through bright to deeply saturated tones that evoke the passage from dawn to sunset. They are paired with nine works by Bernadet comprised of colored grids, which also elicit a play of light and color. Alongside them are works by Donzeaud that highlight the architecture of the gallery as well as the bodies that occupy it. 

BODEGA
Gene Beery
Transmissions from Logoscape Ranch
167 Rivington Street
www.bodega-us.org          

Transmissions from Logoscape Ranch presents an overview of Gene Beery’s gregarious, trailblazing, and under-known painting practice alongside videos featuring the family compound in the foothills of the Sierra Nevadas, where the artist has lived and worked for over 40 years.


CALLICOON FINE ARTS
Rochelle Feinstein and Ulrike Müller
Coming Soon
49 Delancey Street
www.callicoonfinearts.com           

Works made collaboratively during New York City’s COVID-19 lockdown, and viewable through the gallery’s storefront window starting July 30 at 6pm.

Etel Adnan, Kahlil Robert Irving, Colter Jacobsen
49 Delancey Street

Works by three artists from the gallery’s program who, as Etel Adnan writes, “are aware that there is interference and intervention between the world and ourselves.”


JAMES COHAN GALLERY
Grace Weaver
STEPS
291 Grand Street
www.jamescohan.com       


COMPANY
Jeanette Mundt
Still American
88 Eldridge Street, 5^th Floor
www.companygallery.us   

Still American’s serialized reproductions exist, semi-altered, in a synergy of transference, from abstraction to figuration and back again. Mundt takes ownership and mastery of heavily utilized motifs in the history of painting: Landscape, Nude, Self-Portrait, then sets them ablaze.


BRIDGET DONAHUE GALLERY
Lisa Alvarado
Thalweg
99 Bowery, 2^nd Floor
www.bridgetdonahue.nyc 

Thalweg forms an alignment of free-hanging paintings, photos, sound and sand. The works are repositories of memory, vibrational maps and reminders of invisible states.


DEREK ELLER GALLERY
Nancy Shaver
fastness, slowness and Monsterous Beauty
300 Broome Street
www.derekeller.com          

“Context need not be narrowing. There are a billion threads. Billions of objects, billions of thoughts, I am a part of it all.” – Nancy Shaver

David Korty
300 Broome Street, Project Room

David Korty’s new works on paper speak to the artist’s roots as a printmaker and draughtsman. Both figurative and constructivist, the drawings embody a collision of ideas and themes both personal and imagined.


ESSEX STREET
Park McArthur
Edition One and Two Fantasies
55 Hester Street
www.essexstreet.biz           


FIERMAN
Cristine Brache
Commit Me, Commit to Me (Cázame, Cásame)
127 Henry Street
www.fierman.nyc    

Commit Me, Commit to Me (Cázame, Cásame) is a sculptural installation by Brache investigating the role of women in the Surrealist movement as well as medical gaslighting.


FOXY PRODUCTION
Sojourner Truth Parsons
Sex and love with a psychologist
2 East Broadway, 200
www.foxyproduction.com 

If to enter this exhibition is to enter the interior landscape of a heart that’s broken, its eau de vie is the glittering tear. Sliced-up imagery reveals the tactile joy of art-making, where paint breaks the canvas into frames within frames, which become windows, or mirrors, or screens, or city lights, or printed-out photos affixed to the wall in tape. As if lifted from the visual language of a ‘90s power ballad, eyes cry in a sliver of light or contemplate a hunger as operatic as the New York they’re painted in. 


PETER FREEMAN, INC
Matt Mullican
Universal Perspective
140 Grand Street
www.peterfreemaninc.com          

Matt Mullican: Universal Perspective brings together several themes and mediums from the multi-pronged practice Mullican has been developing for more than forty years. The exhibition focuses on new works: rubbings on painted canvas, sculpture, including modified objects from the turn of the century, a twenty-foot square banner, and watercolors on wood panels, a medium Mullican is showing for the first time. The exhibition ends Friday, July 31. 


JAMES FUENTES 
Keegan Monaghan
Threads
55 Delancey Street
www.jamesfuentes.com    

James Fuentes is thrilled to announce Threads, Keegan Monaghan’s second solo exhibition with the gallery, opening to the public on August 3, 2020 and running through September 27, 2020. This will be our first exhibition in the gallery since closing on March 13, 2020.  The gallery will be previewing the exhibition on July 30th as part of L.E.S. Summer Night.  Viewing appointments can be scheduled through See Saw.


KARMA
(Nothing but) Flowers
188 E 2nd Street
www.karmakarma.org        

(Nothing but) Flowers is a group exhibition consisting of over fifty artists with works spanning the last one hundred years that explores the capacity of the humble botanical motif.


DAVID LEWIS
John Boskovich
88 Eldridge Street, Fifth Floor
www.davidlewisgallery.com         

Four complete rooms - the Millennial Hallway, Rude Awakening Coffee Nook, Mess Hall, and the fabled Psycho Salon - from John Boskovich's legendary Los Angeles home, studio, and conceptual theater, the self-titled 'Boskostudio."


KLAUS VON NICHTSSAGEND GALLERY
Benjamin Butler and Bastian Muhr
Ludlow/Leipzig
54 Ludlow Street, Front Gallery
www.klausgallery.com       

Ludlow/Leipzig is a two-person show: German artist Bastian Muhr's work was made while on residency at the Josef and Anni Albers Foundation in 2020. American painter Benjamin Butler created his work in Vienna, where he has lived since 2012. The artists have had a continuing dialogue about the influence of the aesthetics of minimalism on their practices, with an emphasis on craft and the mark of the hand.

Pamela Jorden
54 Ludlow Street, Main Gallery

Installed in the Main Gallery are a number of paintings by Pamela Jorden, including diptychs from her recent show, Reflector, which was closed early due to COVID-19. 


MAGENTA PLAINS
Jennifer Bolande
The Composition of Decomposition
94 Allen Street
www.magentaplains.com  

The Composition of Decomposition is Jennifer Bolande’s first solo exhibition in New York since 2008. Through sculpture, photographs and photo-reliefs, the works on view consider news and history, stacking and excavating, composition and decomposition. The exhibition articulates new developments in Bolande’s decades-long engagement with the delineations between the flatness and transitory nature of images and the presentness of dimensional space. This body of work began with a picture Bolande came across in The New York Times of a group of 14th century plague victims whose remains had been excavated from a London cemetery. Gradually yellowing in her archive, this image of decomposing bones launched Bolande on a six-year inquiry into newspapers as shapers of meaning.


KAI MATSUMIYA
Pedro Wirz
Sour Ground
153 ½ Stanton Street
www.kaimatsumiya.com   

Kai Matsumiya presents Sour Ground, a solo exhibition of Swiss-Brazilian artist Pedro Wirz’s latest work consisting of nascent life and soil, literally. In the face of environmental decline, the artist advances his investigations into the interwoven realms of the organic, synthetic, and technological, as each combat fundamental battles between renewal and extinction. Sour Ground may be argued to be based on the intuitive observation that world-wide disasters, natural and unnatural, beg an expression of universal human solidarity; collective reflection on the proper relation of the human being to his aesthetic environment; and the renewed alternatives for what could emerge from the imaginations of new life.


PERROTIN
The Secret History of Everything
130 Orchard Street, First Floor
www.perrotin.com  


On the first floor, The Secret History of Everything brings together seven artists — Katherine Bernhardt, Mauro Bonacina, Sayre Gomez, Julia Wachtel, Daniel Arsham, Cosima von Bonin, Nick Doyle — who reckon with the sprawl of mass media’s infinite image bank. 

Guillaume Ziccarelli
The Holy Third Gender: Kinnar Sadhu
130 Orchard Street, Second Floor

We are also pleased to present, on the second floor, The Holy Third Gender: Kinnar Sadhu, a new body of work from French documentary photographer and artist Guillaume Ziccarelli, a team member who has worked with Perrotin for over a decade and was instrumental in the opening of our New York space.

Bharti Kher
The Unexpected Freedom of Chaos
130 Orchard Street, Third Floor 


REENA SPAULINGS FINE ART
The Sewers of Mars
Shadi Habib Allah, Kai Althoff, Marie Angeletti, Ei Arakawa, Merlin Carpenter, Leidy Churchman, Brice Dellsperger, Peter Fischli, Juliana Huxtable, Larry Johnson, Jutta Koether, Klara Liden, Jill Mulleady, New Models x Bjarne Melgaard, Ken Okiishi, Henrik Olesen, Josephine Pryde, Heji Shin, Josh Smith
165 East Broadway (enter on Rutgers Street)
www.reenaspaulings.com 

Poster by Peter Fischli


MARC STRAUS
Omar Rodriguez-Graham
Michael Brown
MORIS
Sandro Chia
299 Grand Street
www.marcstraus.com         

Omar Rodriguez-Graham digitally modifies key Renaissance paintings from historic masters and transforms them into his dynamic abstractions, which he digitally modifies key Renaissance paintings from historic masters and transforms them into his dynamic abstractions.

Michael Brown creates sculptural paintings, profoundly beautiful and tactile, they are made by laying a ground of 24 karat gold leaf onto the canvas on which oil paint is then applied in patterns somewhat akin to spider webs and thread with allusions to Agnes Martin and Gego's works.

MORIS' work addresses representation, social and subjective agency, urban issues, and marginal cultures in Latin America often taken for granted in mainstream society. With many found objects and silkscreened canvases, his work offers an emotive connection with difficult subject matter.

Sandro Chia celebrates man’s sensuality, vitality and relationship with nature. Assimilating culture and imagery from the troves of art history, particularly the Italian Renaissance and Futurism, he depicts narratives of eroticism, melancholy and death, often abound with historical cameos and references.


SIMONE SUBAL GALLERY
Anna K.E. and Florian Meisenberg
Electric Forest (Bowery)
131 Bowery, 2^nd Floor
www.simonesubal.com     

Electric Forest (Bowery) is K.E. and Meisenberg's first collaborative exhibition at the gallery. It continues their excavation of the digital in an analogue world.


RACHEL UFFNER GALLERY
In Real Life
Sara Greenberger Rafferty and Arghavan Khosravi
170 Suffolk Street
www.racheluffnergallery.com      

In Real Life is a physical show based on the gallery’s recent online presence, specifically our online viewing room organized for the Frieze NY Art Fair this past May. Our original plan for the art fair was to mount a solo presentation of new work in the form of an installation by long-time gallery artist, Sara Greenberger Rafferty. With the cancellation of the real-life art fair we decided to show a combination of work by Rafferty along with an artist new to the gallery’s program, Arghavan Khosravi. Now, upon reopening to the public, we are taking this opportunity to view the artwork IRL.

Curtis Talwst Santiago
an erratum
170 Suffolk Street, upstairs

An erratum is a term used in writing to indicate a correction within an already published and circulated text. The show coincides with Can’t I Alter on view at The Drawing Center, the artist’s first institutional solo exhibition in New York. Continuing themes explored at The Drawing Center, here, Santiago considers genetic and ancestral imagination while questioning the means and production of our contemporary understanding of history. The show focuses on new sculpture and wall work which utilize an array of material, from cast-paper made from brick walls in Brooklyn to glass beads sourced from South Africa. 

For more information, please write to post@miguelabreugallery.com, or call +1.212.995.1774.

Miguel Abreu Gallery
88 Eldridge Street / 36 Orchard Street, New York, NY 10002
212.995.1774 • post@miguelabreugallery.com • www.miguelabreugallery.com
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Rochelle Goldberg
Psychomachia (continued)
88 Eldridge Street
through August 26

Sequence 7: one work, several weeks
Veit Laurent Kurz, Plant Fear
36 Orchard Street
through August 8

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Please note new gallery hours:
Tuesday - Sunday, 10am - 6pm

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Gallery hours are Tuesday through Saturday, 10am to 6pm.

Appointments can be booked through SeeSaw.

For further inquiries, please contact Katrin or James at info@jamesfuentes.com.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Please feel free to contact us for more information.

info@jamesfuentes.com 

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

Gallery Summer hours are Monday–Friday, 10–6 (August 3–August 28) and Wednesday–Sunday, 10–6 (September 2–September 27). Individual or small group appointments are also possible Monday through Friday in the month of August. For further information about the show or to schedule an appointment, please contact us at info@jamesfuentes.com. Appointments will also be possible to schedule through See Saw.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY

The gallery will be closed for the holidays as of December 20, 2020 and reopen January 5, 2021.

©2020 JAMES FUENTES
55 DELANCEY ST, NEW YORK, NY