Marianne Boesky Gallery

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.

Marianne Boesky Gallery is pleased to present All Shall Be Well, an exhibition of new work by U.K.-based artist Martyn Cross (b. 1975, Yate, United Kingdom). In the paintings and drawings on view in his first major solo exhibition in New York, Cross populates uncanny mythical lands with earthly forms in the midst of bewildering, transcendent metamorphosis. Transporting viewers to surreal worlds removed from time and place, Cross meditates on the inextricable links between man and nature, between the corporeal and the mystical.

Marianne Boesky Gallery is pleased to present Tower of Song, a selection of new works by Philadelphia-based painter Barnaby Furnas (b. 1973; Philadelphia, PA). Set in the artist's studio, these paintings reflect the introspective turn in Furnas's ongoing examination of form, material, and the experiential nature of artistic production.

Marianne Boesky Gallery is pleased to present a series of new works by Ghada Amer (b. 1963; Cairo, Egypt) entitled QR CODES REVISITED—NEW YORK. Rethinking a textile appliqué tradition long associated with male tentmakers in Egypt, Amer masterfully pulls at the threads of cultural dualities—feminine and masculine, craft and art, abstraction and figuration, East and West—with sensitivity and specificity.

Marianne Boesky Gallery is pleased to present Meet Me on the Equinox, a solo exhibition of new work by New York-based conceptual artist Sanford Biggers (b. 1970; Los Angeles, CA). Biggers’s third solo exhibition with the gallery, Meet Me on the Equinox features new works from the artist’s quilt-based Codex series, sculptural Chimera series, and a site-specific anamorphic drawing. A foray into the origin of myth and the malleability of historical narrative, the exhibition blurs the boundaries between seemingly disparate elements of Biggers’s practice as the convergence of pattern, material, and allegory sets the stage for the creation of novel, discordant, and subjective mythologies.

Marianne Boesky Gallery is pleased to present a selection of ceramic works by Beirut-based artist Nathalie Khayat (b. 1966; Beirut, Lebanon) in Aspen, CO beginning August 7. With her stoneware vessels—serving bowls, candle holders, and vases—Khayat subverts the expectations of her delicate material. Deeply invested in the unique material properties of clay itself, Khayat produces work that references the inherently organic nature of stoneware. The sensual, undulating forms of her work—often reminiscent of coral growing from the floor of the sea—are a product of the artist's experiments with accidents and chance. Evoking the dualities of the natural world—of violence and calm, of growth and decay, of life and death—Khayat's ceramics represent a foray into a beautiful unknown.

Marianne Boesky Gallery is pleased to announce Part II of its summer presentation in Aspen, expanding on the gallery's longstanding engagement with the Colorado town's vibrant art community. Featuring new works by the Haas Brothers, Sarah Meyohas, and Celeste Rapone in the temporary space on East Hyman Avenue, the presentation showcases a selection of formally, materially, and technically inventive work from across its program.

Aspen, CO – Marianne Boesky Gallery is pleased to announce a return to Aspen, CO for the summer, expanding on the gallery’s longstanding engagement with Aspen’s vibrant art community. In a temporary space on East Hyman Avenue, the gallery—which has been a consistent presence in Aspen since 2017—will show work from its program, spanning mediums, movements, and generations.

Stone the crows by all means, but let the birds of paradise get on with the business of being gorgeous. - Paul West, "In Defense of Purple Prose" Marianne Boesky Gallery is pleased to present Purple Prose: Queer Illiteralism & A Flowering Cacophony, a summer group exhibition featuring works by Felix Beaudry, John Burtle, David Gilbert, Borna Sammak, Marisa Takal, and Michaela Yearwood-Dan. Taking its title from the literary term for an overly embellished writing style, Purple Prose is a queer celebration of the fanciful, the excessive, the transgressive. Organized by Kory Trolio, the exhibition embraces the artist's rambling plight and the tortuous journey of queer being, foregrounding playful narratives of evolving selves. Beaudry, Burtle, Gilbert, Sammak, Takal, and Yearwood-Dan rely on their idiosyncrasies, sensibilities, and extravagances, all "over-responding" and "intolerably vivid"-to borrow a pair of phrases from "In Defense of Purple Prose," Paul West's influential 1985 essay advocating for flowery language in literature. These purplists-as West refers to architects of excess-are fantasists scrawling in the margins, an inherently queer place to inhabit. Their works are a mouthful, an eyeful, a campy cacophony; they overwhelm the senses, calling attention to themselves, to their flagrant refusal to conform, to minimize, to present a clear narrative. These meandering daydreams tussle with an art world whose oppressive demands of branded authorship and "simplistic formulas" (again, West) sideline the messiness and multiplicity inherent to contemporary life. Rejecting these demands, this demiurgic group booms with voices flowing between dissonance and harmony rather than superficial style. Felix Beaudry (b. 1996; Berkeley, CA) places two oversized, loosely stuffed humanoid bodies on a tacky floral sofa straight out of a 1970s midwestern living room. These gargantuan bodies completely overwhelm the couch, their flaccid limbs spilling unashamedly onto the surrounding floor. Unsettling in both scale and visage, Beaudry's figures are excess embodied, sinew and viscera adorned in machine-woven skin bags, liberated from the constraints of the normative by embracing, by indulging, by celebrating their own monstrous mutability. John Burtle (b. 1985; Long Beach, CA) draws with rubber stamps collected from second-hand stores and eBay, composing, piece by piece, a cartoon simulacra inked in PAID-stamp red. Burtle's gesture is relentless in its repetition-the stamps are necessarily limited in number, yet, the combinations they produce are endless, inexhaustible, serendipitous. Burtle's purplist prowess lives in the depths of this accumulation, of the artist's imagination, of their affinity for excess. David Gilbert (b. 1982; New York, NY) compiles the unassuming debris and detritus of quotidian life-ribbons, rope, string, scraps of paper, a lone glove, a strand of silk ivy-into insouciant, yet decadent, compositions. After memorializing these theatrical sculptural forms in photography, Gilbert strikes the set, only to begin again with the same gusto and wonder-and often the same material. The resulting works are both intimate and monumental, contained by the frame of the camera yet reveling in their own dishevelment, their own illiteralness, their own material indecision. Captured with exuberance and pride, Gilbert's photographs record the perpetual process of creation, a process that, to again quote West, "ponders things in detail, takes its time and habitually masticates its object until a wonder leaps forth." Borna Sammak (b. 1986; Philadelphia, PA) embroiders cut patches of brightly colored beach towels onto canvas, transforming this garish pop fodder into a collage of verdant foliage that spills out of an embroidered trompe l'oeil martini glass. Splashed against a velvety black background, the image Sammak produces is pure kitsch, reminiscent of hazy memories of liquid feasts, of basements and back rooms, of curiosities consumed and satisfied. Marisa Takal's (b. 1991, Montclair; New Jersey) practice is an intrepid foray into the multitudinous nature of being. Her canvas Unborn Star attempts to contain these multitudes; her decorated tea boxes release them. Takal's collaged boxes are unfolding, introspective narratives that viewers can touch, experiencing the ripeness of their potential. With these autobiographies of the everyday, Takal relates and reassures-offering a smiling mirror, a generous, familiar connection shared between author and reader. Michaela Yearwood-Dan's (b. 1994; London, UK) lush paintings are unapologetic in their coquettishness and abstract sensuality. Her colors and gestures are unruly, free, instinctual. Within her fertile compositions, Yearwood-Dan embeds pieces of language-song lyrics, poetry, personal meditations-at varying levels of legibility, allowing her paintings to bluster with a voice unlocked straight from the diary. But there is no storm in these works, just the losing of oneself in the luxuriousness and joy of paint, indulging in love and self-fulfillment. Purple Prose is a delectable, chaotic, anarchist, baroque, subversive, queer world; it's an exultant and gilded tangle edging, refusing to finish, to be definitive. These works-these artists-are in the process of endlessly proliferating, creating, becoming; they reveal multi-faceted tensions of dreamer artists navigating the internal self and the external world through reverie, through unexpected materiality, through new combinations of color and sense and language. ... indulge yourself. What's a self for, anyway?

Marianne Boesky Gallery is pleased to present the first solo exhibition of New York-based conceptual artist Sarah Meyohas (b. 1991, New York, NY). Experimenting with artificial intelligence and complex uses of holographic and photographic technology, Meyohas expands upon her long-standing engagement with optics and perception and reveals a new fascination with anatomy—from the female form to the human eye.

Marianne Boesky Gallery presents Michaela Yearwood-Dan: Some Future Time Will Think of Us, the London-based artist’s second solo exhibition with the gallery. The new paintings, ceramics, works on paper, and site-specific mural and sound installation embody Yearwood-Dan’s ongoing investigation of contemporary culture and millennial political concerns, as well as her desire to build spaces of queer community, abundance, and joy. Yearwood-Dan (b. 1994; London, UK) has developed a singular visual language that draws on a diverse range of influences, including Blackness, queerness, femininity, healing rituals, and carnival culture. Moving freely between painting, drawing, and ceramics, Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy, swirling forms and heavy drips of paint. From the monumental scale of her paintings to the more intimate scale of her ceramics and works on paper, Yearwood-Dan’s practice frequently reflects an inviting domesticity. Resisting any singular definition of identity, the artist explores the possibilities of creating spaces—physical, pastoral, metaphorical—that allow for unlimited and unbounded ways of being. Some Future Time Will Think of Us features new paintings—including a monumental, multipanel painting, the artist’s largest to date—alongside works on paper and ceramics in the gallery’s 507 W 24th Street space. In the gallery’s adjacent space at 509 W 24th Street, Yearwood-Dan will produce an immersive mural and accompanying sound installation. Lush and brightly hued, this work is at once personal and political, exemplifying Yearwood-Dan’s distinctive approach to engaging materials and colors for their symbolic associations. The handbuilt ceramic vessels are an unmistakable nod to women’s work and domesticity—as women have been the primary producers of ceramic goods throughout history. The pale pinks, brilliant oranges, deep violets, and rich blues employed throughout her work subtly echo colors of the lesbian and bisexual pride flags. Ceramic petals collaged into her paintings make reference to queer history—pansy petals reclaim a common slur for gay men, while green carnations recall the lapel pins popularized by Oscar Wilde and worn to signal queerness in England and the United States in the 19th century. Language intertwines with botanical motifs throughout Yearwood-Dan’s work: abstract habitats teem with painted plant life while live houseplants grow out of wall-mounted ceramics. Within the paintings, she inscribes lines of text—pulled from song lyrics, poetry, or her own diaristic writings. These meditations, appearing at various scales and degrees of legibility, are at once insightful and funny, confident, and questioning. Her words beckon the viewer into a vivid, welcoming world of paradox, play, and contemplation formed within an atmosphere of swirling forms and brilliant hues. The exhibition takes its title from a poem by Sappho; titled “You may forget but,” the fragment is a brief, optimistic stanza: You may forget but let me tell you this: someone in some future time will think of us Yearwood-Dan’s work has been shown at the Contemporary Arts Center, Cincinnati, OH; Scottsdale Museum of Contemporary Art, AZ; the Green Family Art Foundation, Dallas, TX; Palazzo Monti, Brescia, Italy; and the Museum of Contemporary African Art, Marrakesh, Morocco, among others. Her work is included in the permanent collections of the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Institute of Contemporary Art Miami, FL; the Crocker Art Museum, Sacramento, CA; the Jorge M. Perez Collection, Miami, FL; and the Columbus Museum of Art and the Pizzuti Collection, Columbus, OH. In 2022, she produced her first public mural installation for Queercircle, London, UK. She has participated in a range of fellowships and residencies, including the Palazzo Monti Residency, Brescia, Italy, and Bloomberg New Contemporaries in Partnership with Sarabande: The Lee Alexander McQueen Foundation, London, UK. The artist received her B.A. from the University of Brighton in 2016. Yearwood-Dan lives and works in London.

Marianne Boesky Gallery is pleased to present an exhibition of new work by Anthony Pearson, the Los Angeles-based artist's sixth solo presentation with the gallery. The exhibition, featuring work from Pearson's Embedments and Casements series, embodies a new chapter in his career-spanning investigation of form and material. Renowned for his inventive processes and sensitive approach to materials, Pearson (b. 1969; Los Angeles, CA) has built a body of work that exudes an intimate, poetic certitude. Through ongoing experimentation with the formal and technical limits of his chosen materials, he has developed a singular visual vocabulary rooted in abstraction that interrogates the balances of positive and negative, light and dark, control and chance. Working seamlessly across an ambitious range of media that includes photography, drawing, installation, and sculpture, Pearson elevates the intrinsic qualities of his materials, yielding an understated and unexpectedly sensitive oeuvre.

Marianne Boesky Gallery is pleased to present Jennifer Bartlett: Works on Paper, 1970-1973. Featuring never-before-exhibited Bartlett drawings, the exhibition offers a window into the artist's early practice, as she developed and rehearsed the forms and ideas that she returned to throughout her career. Jennifer Bartlett: Works on Paper is the first exhibition to exclusively feature the late artist's drawings from this foundational period.

Marianne Boesky Gallery is pleased to present Model _______, Los Angeles-based artist Dashiell Manley’s third solo exhibition with the gallery. Comprising three extensive new triptychs alongside two individual paintings, the exhibition continues Manley’s exploration of language, repetition, meditation, and play.

Marianne Boesky Gallery is pleased to present Golden Hour, Danielle Mckinney’s first solo exhibition at the gallery’s New York space. In the new works on view, Mckinney expands and deepens her exploration into female subjecthood. The show’s title, Golden Hour reflects the mood and aesthetic sensibility of her paintings––the soft, resonant light of a particular time of day that often inspires self-reflection and signals the beginning of a period of relaxation. Emotionally as much as physically, Golden Hour marks the transition from the external world of work and play to the internal world of rest and solitude.

Marianne Boesky Gallery presents Roarings Further Out, the first New York solo exhibition of the Bristol, United Kingdom--based artist Martyn Cross. Executed at a small scale, the all-new works on view unfurl into luminous, uncanny landscapes informed by Cross’s fascination with medieval imagery and the speculative literary genre known as weird fiction. The exhibition takes its title from a series of four novellas by Algernon Blackwood, one of weird fiction’s most prolific authors, and touches on the genre’s themes, including otherworldly environments and alternative human experiences.

Marianne Boesky Gallery is pleased to present What We Talking About, Jammie Holmes’s debut solo exhibition in New York. Holmes, a self-taught artist, creates complex allegorical works that draw on personal memory, self-portraiture, recurrent motifs, and intersocial relationships to investigate and illuminate themes of Black life across America. What We Talking About will be on view from September 8 – October 8, 2022 at the gallery’s 507 West 24th Street location.

Marianne Boesky Gallery is pleased to present When will my feet catch fire?, a solo presentation of five new paintings and a sculptural work by Lagos, Nigeria-based artist Chidinma Nnoli. The works on view explore various modes of processing trauma and healing, and delve into the ways in which stigma, dissociation, and dominant societal narratives limit discourses around traumatic events. For Nnoli, the works pose the question: “When will the things I am going through be ‘big’ enough for me to speak about?”

Marianne Boesky Gallery and Goodman Gallery are pleased to announce Fragile Crossings, a pair of jointly organized exhibitions opening this summer in New York City and London. The first iteration will open in Marianne Boesky’s New York space June 23; its counterpart will open at Goodman Gallery’s London Space July 21. Artists include Ghada Amer, Sanford Biggers, Allison Janae Hamilton, and Serge Alain Nitegeka from Marianne Boesky Gallery’s program, and works by ruby onyinyechi amanze, Carlos Garaicoa, Kapwani Kiwanga, and Misheck Masamvu from Goodman Gallery’s roster. This is the two galleries’ second major collaboration following a pop-up exhibition in the Miami Design District in December 2020.

Marianne Boesky Gallery is pleased to present Pastel Looks, an exhibition of new works on paper by Gina Beavers. With these works, Beavers continues her examination of the performative nature and myopic self-obsession of social media, particularly within the phenomenon of makeup tutorials. Beavers sources imagery and inspiration from Instagram, YouTube, and other online sources for her drawings, mimicking stills from make-up tutorials as well as images that reference “food porn” photography and the proliferation of consumer culture. The use of pastels references both a commonly recognized tool in Western artmaking and an online genre of makeup techniques called “pastel looks;” thus the title of the show acts as a double entendre that both indicates and enacts the collapse of language into meme-ready sound bites.

Marianne Boesky Gallery is pleased to present Nightshade, Celeste Rapone’s first solo show with the gallery. For this exhibition, the artist will debut a group of nine paintings. In her newest body of work, Rapone continues to examine the potential of painting through the human form. Drawing inspiration from her native New Jersey, Rapone seeks to communicate both personal and collective feelings of anxiety, longing, and nostalgia experienced in contemporary life. Nightshade will be the artist’s first solo exhibition in New York and is on view May 4 – June 11, 2022, at the gallery’s 507 West 24 Street location.

Marianne Boesky Gallery is pleased to present Daisy Chain, a solo presentation of paintings by Maud Madsen. In a new group of large-scale paintings, Madsen expands on her exploration of our emotional connections to a specific time and place and the sanitization of memory. Through her portrayals of the female body, the artist sheds light on topics that are at times uncomfortable to leave room for an unvarnished and more complex truth. Daisy Chain is on view May 3 through May 28, 2022 at the gallery’s space at 509 W 24th Street. This exhibition follows the artist’s inclusion in the gallery’s group show In Situ in 2021.

Marianne Boesky Gallery is pleased to present Painting as a Butterfly, Pier Paolo Calzolari’s (b. 1943) fourth solo exhibition with the gallery, on view March 18 – April 23, 2022, and spanning both spaces. This marks Calzolari’s first solo show in the United States since 2017 and will feature more than 30 paintings made over the past four years. Many of these new works were created in isolation and delicately channel a collective longing for human connection. New paintings depicting a howling wolf, flowing rivers, and suspended shoes dancing in space are included alongside works from a new series of paintings entitled “Shop Signs” (2019-ongoing). These smaller scaled paintings are inspired by the absence of daily rituals. Hung salon-style, they reimagine the pleasure of a stroll past a flower shop, a hatter, or a shoemaker in the artist’s native Marche Valley village in Italy. The gallery is also pleased to present this new body of work in dialogue with two monumental historical paintings by Calzolari shown for the first time in the United States.

Marianne Boesky Gallery is pleased to present Painting as a Butterfly, Pier Paolo Calzolari’s (b. 1943) fourth solo exhibition with the gallery, on view March 18 – April 23, 2022, and spanning both spaces. This marks Calzolari’s first solo show in the United States since 2017 and will feature more than 30 paintings made over the past four years. Many of these new works were created in isolation and delicately channel a collective longing for human connection. New paintings depicting a howling wolf, flowing rivers, and suspended shoes dancing in space are included alongside works from a new series of paintings entitled “Shop Signs” (2019-ongoing). These smaller scaled paintings are inspired by the absence of daily rituals. Hung salon-style, they reimagine the pleasure of a stroll past a flower shop, a hatter, or a shoemaker in the artist’s native Marche Valley village in Italy. The gallery is also pleased to present this new body of work in dialogue with two monumental historical paintings by Calzolari shown for the first time in the United States.

Marianne Boesky Gallery is pleased to present Winner Takes All, a group exhibition co-curated by visual artist Amoako Boafo and curator Larry Ossei-Mensah. Winner Takes All features new works by nine emerging painters whose practices contend with history and the complexity of identity through experimentation with figurative forms, including Sophia-Yemisi Adeyemo-Ross, Jessica Alazraki, Aplerh-Doku Borlabi, YoYo Lander, Anoushka Mirchandani, Zéh Palito, Adjei Tawiah, Nigatu Tsehay,and Didier Viodé. The exhibition is on view from January 13 to February 19, 2022, at the gallery’s 507 West 24th Street space. Long-time collaborators, Boafo and Ossei-Mensah recently presented Boafo’s first museum solo exhibition, Souls of Black Folks, on view at the Museum of the African Diaspora in San Francisco, California, from October 22, 2021 through February 27, 2022.

Marianne Boesky Gallery is pleased to present Cuttings, a solo presentation of paintings by Antone Könst. This focused exhibition will feature a new group of flower paintings by Könst—a recurring motif that has appeared throughout the artist’s diverse painting practice. Cuttings is on view beginning January 6, 2022, at the gallery’s space at 509 W 24th Street. This past summer, Könst presented Dear Future, a solo exhibition of new figurative paintings with Marianne Boesky Gallery in Aspen, CO.

Marianne Boesky Gallery is pleased to present In Between, Repeated, Svenja Deininger’s fourth solo exhibition at the gallery. In Between, Repeated features a new body of paintings by Deininger, reflecting the artist’s deliberate yet fluid explorations of the dialogues between shape, color, texture, and surface that reside in her complex compositions. The exhibition will be on view from November 4 through December 18, 2021, and is accompanied by an essay written by curator, writer, and art historian Luca Cerizza.

Marianne Boesky Gallery is pleased to present The Women I Know Part II, Ghada Amer’s inaugural solo exhibition with the gallery. The exhibition highlights new works from Amer’s most recent series of paintings, The Women I Know. In this series, the artist creates intimate painted and embroidered portraits of the women she knows personally to explore the dynamics of the gaze and female identity that are exchanged between artist, subject, and viewer. The exhibition also includes new cast sculptures, highlighting the artist’s diverse practice that delves into varying mediums. The Women I Know Part II will be on view September 9 – October 23, 2021, at the gallery’s 507 West 24th Street location in New York.

Marianne Boesky Gallery is pleased to present Be Gentle With Me, a presentation of new paintings by Michaela Yearwood-Dan at the gallery’s 509 West 24th Street location. Be Gentle With Me is the artist’s first solo presentation with the gallery and is on view from September 9 to October 23, 2021.

Marianne Boesky Gallery is pleased to present A Thought Sublime, a group exhibition featuring works by Pier Paolo Calzolari, Martyn Cross, Molly Greene, Jay Heikes, Sheree Hovsepian, Wanda Koop, William J. O’Brien, and Thiago Rocha Pitta. Shown together, the works on view present a range of perspectives on one’s position in the cosmos, offering meditations on recent paradigm shifts within our shared world. A Thought Sublime will be on view June 17 - August 6, 2021 at the gallery’s 507 West 24th Street location in New York.

Marianne Boesky Gallery is pleased to present PLAYLIST, Suzanne McClelland’s first solo exhibition at the gallery, on view May 4 – June 5, 2021 at 507 West 24th Street in New York. For the past 30 years, Suzanne McClelland’s paintings, drawing, collaborative unbound books, multiples and prints have explored the visual, linguistic and acoustic dimensions of language.

Marianne Boesky Gallery is pleased to present A Romance of Paradise, Allison Janae Hamilton’s inaugural solo exhibition with the gallery. For A Romance of Paradise, Hamilton will present new photographs, videos, and sculptural works that highlight the artist’s ongoing exploration of interwoven themes such as environmental justice, folklore and mythologies, and the traditions of communities living in vulnerable landscapes within the rural American South. The title of the exhibition takes the original denotation of the word paradise, meaning “heaven,” underscoring the myths of an Edenic southern landscape formed during the exploitative and violent southward expansion of the United States. A Romance of Paradise will be on view March 27 – April 24, 2021 at the gallery’s 507 West 24th Street location in New York. Marking a major milestone at the gallery, A Romance of Paradise will be the first carbon-conscious exhibition at Marianne Boesky Gallery.

Marianne Boesky Gallery is pleased to present Echo in Color, Jay Heikes’ fifth solo exhibition with the gallery. With his upcoming show, Heikes continues his exploration of alchemical processes and the fleeting sense of connection that can be found when turning to nature and the universe. The exhibition will feature a selection of new and recent paintings from the artist’s Mother Sky series and Minor Planets sculptures. Echo in Color will be on view February 13 – March 13, 2021 at the gallery’s 507 West 24th Street in New York. On the occasion of this exhibition, the artist’s first comprehensive monograph will be published in cooperation with Gregory Miller & Co. and distributed by Distributed Art Publishers and will feature text by Sarah Lehrer-Graiwer, Jenelle Porter, Philippe Vergne, and an interview between Heikes and Hamza Walker.

Marianne Boesky Gallery is pleased to present In Situ, a group exhibition featuring new and recent paintings by thirteen artists: Cecily Brown, Olivia Erlanger, Barnaby Furnas, Jammie Holmes, Forrest Kirk, YoYo Lander, Maud Madsen, Chidinma Nnoli, Collins Obijiaku, Celeste Rapone, Lorna Robertson, Eleanor Swordy and Michaela Yearwood-Dan. Using Charlotte Perkins Gilman’s seminal 1892 text “The Yellow Wallpaper” as a point of departure, In Situ brings together paintings created throughout 2020 that offer reflections of life in isolation as necessitated by the current health crisis – private and still, yet restless and resolute.

Marianne Boesky Gallery is pleased to present Black Migrant, Johannesburg-based artist Serge Alain Nitegeka’s fourth solo exhibition with the gallery. Throughout his career, Nitegeka has sought to evoke the physical and emotional experiences of forced migration through abstract experimentations with color, form, and space. With his upcoming presentation, which will feature new paintings, a large-scale site-specific installation, and a voice recording, Nitegeka reasserts both the figural and the personal in his work. Together, the works examine the particulars of being a black migrant as distinct within the dialogues of the African refugee. Black Migrant will be on view at the gallery’s 509 W. 24th Street location from February 25 through April 18, 2020. An opening reception will be held on March 5, from 6:00-8:00 PM, to coincide with Armory Art Week.

Marianne Boesky Gallery is pleased to present Restless Animal Kingdom, Jessica Jackson Hutchins’ third solo exhibition with the gallery. The Portland, Oregon-based artist will present a selection of new, large-scale ceramics, including several sculptures that can be worn—bringing the presence of the body even more directly into view in her creative output. On March 5, in conjunction with Armory Art Week, Marianne Boesky Gallery will host a special reception featuring a performance developed by Hutchins in collaboration with dancers from the Trisha Brown Dance Company and Antonio Ramos and the Gang Bangers in New York. Throughout the evening, performers outfitted in Hutchins’ wearable ceramics and clothing screen-printed by the artist will move through the gallery to the music of cellist Ayu Wang, performing a range of improvised motions and serving food and beverages from the vessels.