Marianne Boesky Gallery

Marianne Boesky Gallery is pleased to present Celestine, an exhibition of new work by Allison Janae Hamilton (b. 1984; Lexington, KY). For her second solo exhibition with the gallery, Hamilton turns her attention to the revelatory relationship of land and sky, of earthly and celestial. Drawing on her upbringing in the American South, Hamilton weaves land-centric folklore, regional mythology, and family history into sculpture, paintings, photographs, and films that address the social and political concerns of the rural South. Layering narratives derived from folktales, hunting and farming rituals, Black feminist writings, and Baptist hymns, Hamilton imagines epic myths within the rural terrain as a way of examining environmental justice, land loss, climate change, and sustainability. With the new work on view in Celestine, Hamilton retrains her lens from the earth to the sky, imagining the rich landscapes that permeate her visual language in the vertical, extending not from sea to sea, but from soil to stars. Across new painting, sculpture, and film, Hamilton reinterprets the evocative visual motifs found throughout her practice, building upon her ever-evolving examination of place—and the untold stories of those places. Reimaging her embellished antique fencing masks in bronze, Hamilton frees them of their attachment to the wall, extending their vertical axis and adorning them with provocative symbols: flowers, antlers, and grapes. Undulating serpent ouroboroses—a motif Hamilton has previously employed in the form of alligators—frame a mirror in which the viewer can see themself, a subtle inversion of the way the nearby fencing masks obscure the face. Into the glass of the mirror, the artist has etched “BRILLIANT SKY,” a phrase borrowed from a painting by Mary Ann Carroll, the only woman among the group of late 20th century African American traveling landscape painters known as the Florida Highwaymen. Radiant and elusive, the stacked, repeated inscription sends the viewer’s gaze skyward. For a new series of small-scale sculptures, Hamilton cast the hands of the family and friends in white plaster with a ghostly, haint blue undertone. The gestures—a combination of prayer and figa, a symbol of divine protection throughout the African Diaspora—offer a direct link to the celestial. A suite of paintings and a new film bring the sky directly into the gallery. The trancelike, time-lapse film—titled Celestine (Florida Storm)—captures the sky over North Florida. A recording of Florida Storm, a 1928 hymn written by Judge Jackson in response to the Great Miami Hurricane of 1926—a text which has informed Hamilton’s work for years—plays on a loop underneath the astrophotography on screen. The meditative lyrics—performed in a rich, sultry voice by Florida native Candice Hoyes—provides the soundtrack to the moon and stars and clouds and treetops. With three large-scale paintings—an evolution of the artist’s Yard Sign works on canvas—Hamilton imagines vast, swirling skyscapes, the gestural nature of the paint application allowing stars to twinkle. Painting in oil, Hamilton subtly references the brutal history of turpentine production—a harsh industry that kept primarily Black laborers across the Southeast in debt for decades. Together, the film and paintings serve as a reminder that the sky—that the heavens, the weather, and everything in between—contains past, present, and future, unfolding ceaselessly above the land we inhabit. Hamilton’s practice has always been deeply connected to place—the artist was born in Kentucky, raised in Florida, and spent time on her maternal family’s homestead in western Tennessee. Throughout Hamilton’s work, the topography of the land itself—the soil, the foliage, the water—has been a primary protagonist, even as mythic figures appear throughout. At the heart of Hamilton’s connection to the Earth is an ever-present tension, between the magnificent, mythic power of the natural world and the violence inherent to the landscape, both natural and man-made. With Celestine, Hamilton draws her focus to the sky above—to hurricanes and heavenly beings and the remarkable beauty of the cosmos itself, heightening this ongoing tension. By bringing the celestial to the fore, Hamilton allows for new narratives to emerge, for the personal to take on a new element of the mythical.

Marianne Boesky Gallery is pleased to present Configurations in Black, an exhibition of new paintings and sculptures by South Africa-based artist Serge Alain Nitegeka (b. 1983; Rwanda). For his fifth solo exhibition in more than ten years with the gallery, Nitegeka imbues his newest body of work with symbolically and politically charged colors and forms. Deploying the visual language of minimalism and geometric abstraction, Nitegeka reappropriates modernism’s formal preoccupations with color, line, and space to examine the lingering effects—both personal and political—of forced migration. Drawing on his own history as a refugee, Nitegeka erects—at times quite literally—barriers, obstacles, and borders both visual and physical for the viewer to traverse. Conjuring unsettling abstracted, obstruction-laden landscapes—in both two dimensions and three—Nitegeka evokes the psychological experience of political displacement and statelessness. For Configurations in Black, Nitegeka debuts a new suite of paintings and sculptures—which he began working on more than two years ago, in a season of experimentation following a global pandemic. In the resulting paintings on plywood, Nitegeka conjures abstract landscapes defined by loose, organic planes of color—dark gray, bright orange, sunny yellow, vibrant teal. Heavy black lines run across the compositions at various angles while silhouetted figures—borrowed from the artist’s 2012 film Black Subjects—tumble through space, many of them balancing bundles on their backs or shoulders. On canvas, a material Nitegeka returns to for the first time since university, the heavy black lines that appear on plywood—and throughout the artist’s oeuvre—vanish, leaving the figures to float through the landscape with no sense of a horizon line, no sense of which way is up or down, no sense of where they’re coming from or where they’re going. With the painted wood sculptures, Nitegeka evokes the unnamed parcels that the figures in the paintings carry on their backs and shoulders, representing, perhaps the personal effects—and psychological burdens—that migrants carry along their journeys. Nitegeka’s work has long been characterized by a stark, limited color palette. In early work, the artist exclusively used black, white, red, on the golden grain of exposed plywood. In the mid-2010s—on the heels of working on a pair of outdoor sculptures—sky blues and sunny yellows began to appear in his work, as if the open sky under which he was working found its way onto the surface itself. With Configurations in Black, Nitegeka incorporates new hues into his work: greens, blues, grays—and a startling neon orange laden with symbolic and metaphorical potential. Nitegeka borrows his new orange shade from the life vests commonly worn by migrants and refugees crossing the Mediterranean Sea en route to Europe. Piled high on the shores of the Greek island of Lesbos, the life vests represent mass migration as a crisis of human rights and global politics; they also represent each individual who has made the treacherous journey in search of safety. Throughout these works, Nitegeka once again incorporates a series of motifs associated with movement—the raw plywood of shipping crates, bright red “fragile” stamps, and handling mark arrows—appear once again in these newest works. Nitegeka’s paintings embody a liminal space—one both physical and psychological. With his work, Nitegeka creates space—and a sense of a landscape that must be traversed. Then—having created a space to enter, be it visually or physically—Nitegeka blocks the entrance with heavy black lines or renders the landscapes too dense to navigate. Silhouetted figures and viewers alike are left to move through space without any indication of where they are going—there is no up or down, no gravity or horizon line, no clear path. Instead, there is only searching, an endless journey with no origin and no destination, weighed down by the ever-growing bundles they carry. With Configurations in Black, Nitegeka pushes his practice forward—both formally and conceptually. Nitegeka’s work speaks to his personal history and to the political, to crises of ceaseless war and famine, and to those who have no choice but to leave their homes in pursuit of another. “His art,” Allie Biswas wrote in 2015 “urges us to make connections with this global sphere of personal and collective disjuncture and trauma, where life is ruled by uncertainty and enforced readjustment. In doing so, his work becomes representative of a fundamental part of the present-day human condition. What Nitegeka ultimately reminds us is that the significance of a journey, whatever form it may take, lies in the process of allowing ourselves to enter into that which we cannot always control.” A decade later, as Nitegeka deepens his formal exploration of abstraction, expands his color palette, and further complicates his landscapes, Configurations in Black offers a stark reminder that migration is a journey begun but perhaps never ended, that the foreigner lives, perhaps, within, and that the burdens—physical and psychological—remain with us as the journey continues. A sense of suspended movement permeates the journey alluded to throughout Configurations in Black—perhaps related to the artist’s own status: for nearly 10 years, Nitegeka has been stuck in South Africa, unable to travel outside the country as his citizenship proceedings continue. The artist exists, at present, in a state of limbo, suspended within his own liminal landscape, with no real sense of when it will be resolved. Unable to attend the opening of the exhibition, the artist’s absence is a presence all its own, felt deeply within the work on view.

Marianne Boesky Gallery is pleased to present On the Water, an exhibition of aquatic-themed works by Jennifer Bartlett (1941–2022). Drawing from various bodies of work made throughout the artist’s prodigious career, On the Water is the first in a series of three exhibitions exploring the significant motifs of Bartlett’s practice. Jennifer Bartlett: In the House will open at Pippy Houldsworth Gallery in London on June 6; Jennifer Bartlett: In the Woods will follow at Paula Cooper Gallery in New York. An unwavering force in American art for more than 50 years, Bartlett’s expansive oeuvre is an intellectually rigorous, visually bold investigation into the very possibilities of painting. At various turns, Bartlett drew inspiration from Minimalism, from Conceptualism, from Neo-Expressionism, from a litany of modernist movements—yet, her work was never confined to any one movement or moment or idea. “Sometimes the entire history of modern art seemed to be making a guest appearance in her work,” critic Calvin Tomkins wrote of Bartlett, “without quite upstaging the host.” Bartlett was born and raised in Southern California, and the landscape of her childhood home had a lasting influence on the artist and her work—even long after she relocated to New York. “Bartlett,” critic Roberta Smith wrote in 1985, “spent the first seventeen years of her life in Long Beach, California, with the Pacific literally at her back door, and she swam in it daily; the impression it made, judging from her art, cannot be overestimated.” Water first appeared in Bartlett’s imagery in the mid-1970s, when she identified the ocean as one of the four figurative themes of her monumental masterpiece, Rhapsody, alongside the house, the tree, and the mountain. The final movement of the piece is a grand, 126-plate oceanscape incorporating 54 different shades of blue. For Bartlett, Rhapsody catalyzed a series of in-depth explorations of the themes revealed in the installation, first of houses with the Addresses paintings, and then, beginning in the late 1970s, of water. This motif would recur throughout her work for the next 40 years, appearing across Bartlett’s rather tenacious material and formal experiments. The earliest work featured in On the Water, a 1979 painting from the Swimmers series, incorporates both the artist’s distinct painted enameled-steel plates alongside more traditional oil-on-canvas, juxtaposing the modularity of her plates with the painterly freedom of canvas. With To the Island (1982)—a diptych made with Testors enamel paint on glass—Bartlett’s experiments with both materials and perspective come to the fore. Boats (1987) embodies the artist’s investigations into sculpture in the 1980s. A group of seascape pastels made during Bartlett’s various travels—from Long Island to Bermuda to the Caribbean island of Nevis—revel in soft painterliness, conjuring the experience of standing on the beach at sunset. A diptych—also depicting Nevis—reimagines sunrise over the beach in the unique crosshatch painting technique she developed in 2007. The most abstract work, Leaking Systems (2001), hearkens back to the playful systemization of Bartlett’s early plate works. Bartlett’s legacy is defined, in large part, by her relentless and thorough commitment to experimentation. Identifying an image or idea in the studio—or on her travels—the artist would examine it from every possible angle, employing every possible material configuration, invoking every imaginable artistic genre and movement. Frequently engaging seemingly universal motifs—like water, houses, and trees—Bartlett’s imagery belies its rich, autobiographical underpinnings. Drawing from different moments in this ongoing practice of investigation, On the Water offers an intimate view of the artist’s evolving vision of herself through the motif of water.

Calvairate, like every new installation of Svenja Deininger’s work, began much as a writer begins a sentence: treating each individual painting as a word, the artist carefully arranges them within the gallery to create a sense of rhythm, of purpose, of meaning. From this, a meandering conversation arises—as Deininger’s lines and forms and colors and patterns flow in and out of one another, shapes, colors, and patterns appear and reappear as ideas turn over again and again. For Calvairate Part II, Deininger rewrites the exhibition, moving it to Marianne Boesky Gallery’s adjoining gallery space at 507 West 24th Street. In its first iteration, the exhibition appeared in a narrow, winding gallery demarcated by self-contained spaces, creating tantalizing, provocative sight lines as the viewer rounded corners. In its second iteration, the exhibition appears in a large, open gallery space flooded with natural light. In this space, the flow of the sentence—the conversation created among these paintings—shifts fundamentally: a quiet, ambling conversation opens up to new ideas, to new connections throughout the gallery. “Were these paintings” critic Martin Herbert once wrote of Deininger’s work, “arranged in a different sequence, they would resonate anew.” The sense that a new installation would offer a radically new experience of the paintings is something often written of Deininger’s work—but rarely experienced. With Calvairate Part II, Deininger puts this theory to work, rearranging the same paintings, rewriting the sentence with the words in another order. And once again, Deininger proves that her paintings—that art itself—reveals possibilities only found in looking again.

Marianne Boesky Gallery is pleased to present Calvairate, an exhibition of new work by Austrian painter Svenja Deininger (b. 1974; Vienna, Austria). For her fifth solo exhibition with the gallery, Deininger continues her intuitive exploration of color and form. Through her improvisational process of painting, revising, and repainting, Deininger reveals abstract compositions defined by layered planes of rich colors, subtle textures, and delicate patterns. Beginning with a single form—little more than a shadow or memory of form—Deininger's compositions unfold slowly over time, as she carefully reworks the surfaces, revealing areas of opaque color and raw linen alongside thick, layered patches of color. Products of time, place, and process, Deininger's paintings nevertheless seem to deny all evidence of their making-their surfaces preternaturally devoid of brushstrokes, the layers of paint visible at the edges of the canvas providing the only index for how the work came into being. With Calvairate, Deininger presents a new suite of untitled paintings, developed concurrently over the course of the past year in her Milan studio. With these paintings, Deininger builds upon an earlier body of work, borrowing shapes, patterns, and colors she has used before. Formed by gently curving vertical lines and rounded corners and subtle cross-hatching, these visual motifs appear and reappear throughout the exhibition—modulating slightly upon each recurrence. Rich, saturated hues—indigo and cerulean, crimson and maroon, chartreuse—appear throughout the work, lending these paintings a concreteness unusual for Deininger's work. Understood, at first, as pure abstraction, Deininger's work is not—like much of the history of geometric abstraction—a rejection of the physical world; rather, the artist's intuitive geometries offer ceaseless allusions to the material. Amidst undulating planes of saturated color and delicate patterning, horizontal forces begin to suggest landscapes and vertical lines hint at the architectural while curves form figures and bodies. Within Deininger's paintings, these worldly allusions form a conversation amongst themselves-and with the viewer—taking on new associations and meanings as they emerge again and again throughout the exhibition. The compositions become akin to blueprints or maps, as if, in the intermingling of pattern and texture and color, Deininger is building a world entirely her own. Calvairate borrows its title from the Milanese neighborhood where the artist lives—where this body of work was made. Located southeast of the city's center, the largely residential district has deep roots in the region—the neighborhood dates to sometime in the 16th century. On a map, the neighborhood appears as a small, irregular rectangle with curved corners—a shape that, without being planned as such, recurs throughout the paintings in the exhibition. With Calvairate, Deininger continues a conversation that began not with this body of work, but with the entirety of her practice—or perhaps well before she ever started painting. There is boundless possibility to her imagery: entering the carefully installed exhibition, the viewer has the sense that they are wandering into a conversation begun long ago—or perhaps wandering down an old, barely remembered city street. For a moment, the viewer sits down at a sidewalk cafe to join this wandering conversation, enriching it with their own experiences, with their own insights. Eventually, they leave, comfortable in the knowledge that the conversation continues, that this city block will persist. And perhaps, upon the viewer's return, the conversation has returned to the same themes, the street is recognized once again—but understood anew.

Marianne Boesky Gallery is pleased to present Morning Thoughts, an exhibition of new work by Jammie Holmes (b. 1984; Thibodaux; LA). For his second solo exhibition with the gallery, Holmes imbues large-scale paintings of gardens and flowers with potent narratives of love and loss, hope and survival, community and resistance. Throughout his intimate, intuitive paintings, Holmes captures poignant narratives of Black families, communities, and traditions in the American South. Drawing on memory and personal experience throughout his work, Holmes intersperses reflections on social, cultural, and political concerns with deeply felt meditations on family and home. With Morning Thoughts, Holmes probes the symbolic power of flowers. Mining traditions of landscape and still life, Holmes renders close-cropped daylilies in brilliant golds, burnt oranges, fiery reds and enchanting morning glories in rich, regal purples growing in gardens or lovingly arranged in vases. The insistently floral body of work in Morning Thoughts represents a marked departure for an artist best known for paintings populated with portraits of friends, family, and Civil Rights activists. Figures, often ubiquitous in Holmes’s oeuvre, appear only intermittently in these paintings—as darkened silhouettes against white picket fences or as faces growing out of enormous flower blooms. Yet, these paintings still bear traces of Holmes’s signature visual motifs: birds and butterflies flit through the gardens of Black Butterfly (2024) and Morning Glory (2024)bearing the markings of a trio of flags that appear throughout his work—the Pan-African Flag, David Hammons’s African American Flag (1990), and a flag of Holmes’s own devising. In Fresh Picked (2024), a vase of cut daylilies and morning glories sits atop a stack of Holmes’s Book Fa Black Folks, a book—loosely based on W.E.B. du Bois’s The Souls of Black Folk—that first surfaced in Holmes’s work in Make the Revolution Irresistible, an exhibition of the artist’s work at the Modern at Museum of Fort Worth in 2023. In Daylily (2024), Holmes incorporates a traditional Baule figurine, a nod to his family’s West African heritage. Flowers are a famously enduring subject in the history of Western painting. Through the religious imagery of the Renaissance, lilies denote the Virgin Mary’s purity. In Baroque vanitas paintings, cut flowers serve as a stark reminder of mortality. Monet and Matisse turned to botanical subjects to examine qualities of light and color. Surrealists incorporated floral motifs in their examination of dreams and metamorphosis. Georgia O’Keeffe deployed floral imagery in her close-cropped, nearly abstracted paintings to encourage the very act of looking. With his careful choice of floral subjects, Holmes evokes this sweeping history, appropriating the potent formal and symbolic potential of his flowers. Morning glories, as their name suggests, bloom in the cool light of early morning; their purple-blue flowers wilt by the time the sun sets that same evening. Daylilies, likewise, flower and die within the same day. Due to the nature of their blooming process, both morning glories and daylilies—flowers Holmes associates with his childhood and notions of home—have come to symbolize, at various turns, death and rebirth, the transience of time, the fleeting nature of life, new beginnings, and a spirit of resistance. The flowers in Holmes’s garden embody all of this allegorical power; they’re also an homage to his family and friends, to his heroes, to those who lost their lives too soon, to those who died fighting for freedom. With Morning Thoughts, Holmes paints a flower, perhaps, for every loss, for every success, for every memory of home, a flower for struggle, a flower for triumph. Morning Thoughts takes its title from a 1981 Gil Scott-Heron song by the same name. Throughout the song’s soft, spoken-word lyrics Scott-Heron meditates on the magical potential felt in the moment when night quietly turns to day—on the possibilities that radiate in the first light of morning, as the morning glory and daylily buds open. With his newest body of work, Holmes captures this moment of possibility alongside the inevitable moments of loss that follow as flowers wilt, as color seeps away—the dichotomy of morning and mourning. Underneath all of this, Morning Thoughts embodies the resilience of Holmes, of his community: morning glory and daylily flowers may wilt and die by dusk, but the plants and their roots remain. With Morning Thoughts, Holmes reminds us that hope and loss go hand-in-hand—but beauty remains for those willing to see it, that flowers bloom again in the morning.

Marianne Boesky Gallery is pleased to present Inner Homeland, an exhibition of new work by Dutch painter Hannah van Bart (b. 1963; Oud-Zuilen, Maarssen, the Netherlands). For her seventh solo exhibition with Marianne Boesky Gallery, van Bart captures fleeting sensorial memories in vivid, evocative landscapes. Throughout van Bart’s intimate, atmospheric paintings, haunting landscapes and imagined figures materialize out of dense, painterly fogs. Drawing inspiration from a host of disparate sources—from the warm golden light of the Dutch Old Masters to the gestural freedom of Abstract Expressionism—van Bart articulates the physical and emotional contours of her forms with remarkable psychological depth, evoking at once a sense of longing and unease, of inescapable familiarity and acute uncertainty. With Inner Homeland van Bart turns her focus to the landscape, imbuing her settings with a potent sense of freedom. Recently, van Bart has returned to a group of pencil drawings she made in the early 1980s as a young artist living in Oud-Zuilen—the Dutch village near Utrecht where she grew up. In these intimate drawings, van Bart captured dense, wooded landscapes and sparse meadows. Filtered through leafy canopies, dappled sunlight shines on forest floors marked by subtle fencing and evocative houses emerging from the trees. Made more than 40 years ago, the drawings are unmistakably van Bart’s—the careful repetition of the line, the emotive quality of light, and the unmistakable sensation of feelings remembered all so characteristic of the artist’s hand. For the new works in Inner Homeland, van Bart borrows from these drawings—as well as more recent drawings—reimagining anthropomorphic houses, fragments of forests, and lengths of fencing into delicate, ethereal paintings. These paintings are products of time: van Bart works in layers, building up the surfaces over time, erasing and reworking as she goes. Each painting contains a fleeting moment that has been turned over and over again in one’s mind as areas of loosely smudged paint creating a tangible sense of memories just out of reach. Alongside new landscape paintings, Inner Homeland also features van Bart’s newest portraits and still lifes. In these portraits, recurring characters from across the artist’s oeuvre appear anew, sipping cups of tea or resting their cheeks on gently closed fists. In the still lifes, van Bart renders patterned tea sets—pots, cups and saucers, spoons—in loose, painterly strokes. For van Bart, the subject of these works matters far less than the feelings expressed within them; the marks that make up the corner of an eye, the buttons on a blouse, the curve of a handle, the lace of a boot all visual manifestations of interiority articulated on canvas. In the context of Inner Homeland, these portraits and still lifes come to be read as landscapes themselves—a figure’s shoulders transforming into a horizon line or a spoon containing within its bowl an entire universe. With the work in Inner Homeland, van Bart embarks on an exploration of memory—turning recollections over and over again in her mind before reconstructing them on canvas, layer by layer—exploring subtle changes in the light, the way a shadow or a brushstroke conjures a reflection completely unprompted. While van Bart’s work is steeped in notions of memory, there is no nostalgia here—there is no desire to go back, no longing for some bygone time. What van Bart captures, instead, is memory as a sensorial experience—offering a window to places no longer there, to moments that live only within one’s mind. With Inner Homeland, van Bart makes present that which is ordinarily invisible or unseen—embracing the brook on its melodious journey through the darkness.

Marianne Boesky Gallery is pleased to present Divine Consumer, an exhibition of new paintings by Gina Beavers (b. 1974; Athens, Greece). For her newest body of work—the Comfortcore Paintings—Beavers transforms into intimate textured relief paintings an endless digital stream of domestic goods for sale in a seductive range of comforting patterns, colors, and textures.

Marianne Boesky Gallery is pleased to present Devolve, an exhibition of new work by Jay Heikes (b. 1975; Princeton, NJ). For his sixth solo exhibition with the gallery, Heikes peers into an imagined, post-human future as nature takes hold of the ruins and relics of human society.

Marianne Boesky Gallery is pleased to present Curious Geometries, an exhibition of new works by Sanford Biggers, Svenja Deininger, Sarah Meyohas, and Claudia Wieser at the gallery’s Aspen space. Throughout their work, Biggers, Deininger, Meyohas, and Wieser all examine notions of the geometric, drawing on pattern and contour to think about history, space, time, and perception.

Marianne Boesky Gallery is pleased to return to Aspen, CO for the summer, continuing the gallery’s longstanding engagement with Colorado town’s vibrant art community. In the space on East Hyman Avenue, the gallery will present an exhibition of new work by Ghada Amer, opening at the end of June, followed by a presentation of work by Sanford Biggers, Svenja Deininger, and Claudia Wieser, opening at the end of July.

Marianne Boesky Gallery is pleased to present Sublime Spirit, a summer group exhibition organized by Marianne Boesky. Featuring work by 12 artists from around the world, Sublime Spirit explores the animal urge to give oneself over to nature, to retreat from society and return to an arcadia of one’s own imagining.

Marianne Boesky Gallery is pleased to present Material World, a group exhibition curated by gallery artist Gina Beavers. With Material World, Beavers brings together 22 artists who examine the power in everyday objects—artists who have served as points of inspiration and reflection for Beavers as she works toward her next solo exhibition at Marianne Boesky Gallery, opening in September 2024.

Marianne Boesky Gallery is pleased to present Highland Seer, an exhibition of new work by Suzanne McClelland (b. 1959; Jacksonville, FL). For her second solo exhibition with Marianne Boesky Gallery, McClelland turns her keen observational eye to notions of measurement and prediction, incorporating divergent materials, forms, and modes of painting that she has developed throughout the course of her 35-year career.

Marianne Boesky Gallery is pleased to present Highland Seer, an exhibition of new work by Suzanne McClelland (b. 1959; Jacksonville, FL). For her second solo exhibition with Marianne Boesky Gallery, McClelland turns her keen observational eye to notions of measurement and prediction, incorporating divergent materials, forms, and modes of painting that she has developed throughout the course of her 35-year career.

Marianne Boesky Gallery is pleased to present Inner Visions, an exhibition of new work by the Los Angeles-based artist duo the Haas Brothers (b. 1984; Austin, TX). Featuring all-new sculptures and paintings, Inner Visions—the Haas Brothers' third solo exhibition with Marianne Boesky Gallery—captures the precise physics, disciplined methodology, and subtle spirituality underpinning their ongoing material experimentations. Inner Visions coincides with Haas Brothers: Moonlight, on view at the Nasher Sculpture Center, Dallas, TX, May 11 - August 25, 2024.

Marianne Boesky Gallery is pleased to present Inner Visions, an exhibition of new work by the Los Angeles-based artist duo the Haas Brothers (b. 1984; Austin, TX). Featuring all-new sculptures and paintings, Inner Visions—the Haas Brothers' third solo exhibition with Marianne Boesky Gallery—captures the precise physics, disciplined methodology, and subtle spirituality underpinning their ongoing material experimentations

Marianne Boesky Gallery is pleased to present Quiet Storm, an exhibition of new work by Danielle Mckinney (b. 1981; Montgomery, AL). In this ambitious new suite of oil paintings, Mckinney infuses intimate settings with radical beauty and striking emotional sway. Quiet Storm comes on the heels of the opening of Mckinney’s first institutional solo exhibition, Fly on the Wall, on view at the Fondazione Sandretto Re Rebaudengo in Turin, Italy through October 2024.

Marianne Boesky Gallery is pleased to present HECHO EN MÉXICO—a mano (MADE IN MEXICO—by hand), an exhibition of all-new work by American painter Mary Lovelace O’Neal (b. 1942; Jackson, MS). In these monumental canvases—all made over the past three years in the artist’s Mérida, Mexico studio—Lovelace O’Neal mines the visual language she has developed over her six-decade career, iterating on the imaginative forms, innovative materiality, and inventive handling of color that have come to define her practice. Mary Lovelace O’Neal: HECHO EN MÉXICO—a mano coincides with Lovelace O’Neal’s inclusion in the 2024 Whitney Biennial, opening March 20, and a solo exhibition of her work at the San Francisco Museum of Modern Art, opening March 16.

Marianne Boesky Gallery is pleased to present In the distance there was a glimpse, an exhibition of new work by Franco-Russian artist Apollinaria Broche (b. 1995; Moscow, Russia; lives in Paris, France). For her first solo exhibition in New York, Broche pulls at threads of fantasy, myth, and memory, crafting surreal dreamworlds and imagined escapes that echo the political concerns of her generation.