Skip to main content
212 Bowery
New York, NY 10012
212 206 9723
Andrew Edlin Gallery was established in 2001 in Chelsea with a program focused on Outsider Art, later moving to the Bowery in 2015. The gallery received early acclaim in 2002 for being the first Northern American gallery to exhibit the legendary Swiss artist Hans Krüsi. In 2006, the gallery was awarded exclusive representation of the estate of Henry Darger, one of the greatest American Outsider artists. Numerous exhibitions of his collaged, watercolor compositions have been staged at the gallery, most recently “The Double-Sided Dominions of Henry Darger” featuring nine double-sided works with supporting text by scholar Michael Bonesteel. 

Over the years, Andrew Edlin Gallery has come to represent the work and estates of both trained and untrained artists, including Beverly Buchanan, Joe Coleman, Susan Te Kahurangi King, Karla Knight, Terence Koh, Paulina Peavy and Eugene Von Bruenchenhein.
Artists Represented:
Vahakn Arslanian 
Pearl Blauvelt 
Tom Bronk 
Beverly Buchanan 
John Byam 
Joe Coleman 
Felipe Jesus Consalvos 
Henry Darger 
Tom Duncan 
Paul Edlin 
Brent Green 
Albert Hoffman 
Susan Te Kahurangi King 
Karla Knight 
Terence Koh 
Ray Materson 
Dan Miller 
Paulina Peavy 
Duke Riley 
Linda Carmella Sibio 
Eugene Von Bruenchenhein 
Melvin Way 
Domenico Zindato
Works Available By:
Morton Bartlett
Bruce Bickford
James Castle
Mario del Curto
Charles A.A. Dellschau
Thornton Dial
Valentino Dixon
Ralph Fasanella
Guo Fengyi
Willem van Genk
Gee's Bend Quiltmakers
Madge Gill
William A. Hall
Hans Krüsi
Marc Lamy
Helen Rae
Martín Ramírez
Rigo 23
Judith Scott
Janet Sobel
Charles Steffen
Marcel Storr
Ionel Talpazan
Bill Traylor
Esther Pearl Watson
Summer Wheat
George Widener
Agatha Wojciechowsky
Adolf Wölfli

 
Upcoming Exhibition

Roy Ferdinand

Roy Ferdinand: Gert Town, Sixteenth Ward, New Orleans



October 30, 2021 - December 4, 2021
Andrew Edlin Gallery is pleased to announce an exhibition of watercolor drawings by New Orleans artist Roy Ferdinand (1959-2004), known locally during his lifetime as the “Goya of the ghetto” for his grisly, realistic depictions of life during the crack wars of the 1990s. The show features roughly twenty-five works made between 1989 and 2004, and marks the first New York solo exhibition for the artist.

 
Past Exhibitions

Agatha Wojciechowsky

Agatha Wojciechowsky: Spirits Among Us



September 8, 2021 - October 23, 2021

Margot

Margot's Cosmic Sanctuary



September 8, 2021 - October 23, 2021

Eugene Andolsek, Charles Benefiel, Larry Calkins, JJ Cromer, Curtis Cuffie, Daniel Martin Diaz, Sam Gant, Edward Nagrodzki, Robert Sholties, Ionel Talpazan, Terry Turrell and Purvis Young

Nexus Singularity Takeover



July 12, 2021 - August 13, 2021
Featuring anonymous folk and vernacular objects, and artworks by self-taught artists Eugene Andolsek, Charles Benefiel, Larry Calkins, JJ Cromer, Curtis Cuffie, Daniel Martin Diaz, Sam Gant, Edward Nagrodzki, Robert Sholties, Ionel Talpazan, Terry Turrell and Purvis Young.

Bruce Bickford

Bruce Bickford: The Uplands



July 12, 2021 - August 13, 2021
Bruce Bickford: The Uplands Curated by Eric White July 12 – August 13, 2021 Andrew Edlin Gallery 212 Bowery New York NY 10012 Electric Lady Studios 52 W 8th Street New York 10011 By appointment only Andrew Edlin Gallery is pleased to present the first New York gallery exhibition of drawings by celebrated artist Bruce Bickford (1947-2019). Best known for his groundbreaking 1970s stopmotion animations for Frank Zappa, Bickford was a prolific independent animator and illustrator whose legacy of films, graphic novels, and drawings are rooted in a narrative blend of B-movies, advertising icons, war, alternate histories and paranormal phenomena. The Uplands presents works created from 2012 until the artist’s passing and includes a series focused on the structure of Bickford’s fictional Pacific-Northwest landscape; outtakes from his graphic novel Vampire Picnic; and a suite of images depicting Zappa himself, which will be displayed at Electric Lady Studios where the musician recorded part of his renowned 1974 album Apostrophe’. A series of his graphite-on-paper animations will be screening at both exhibitions. Bickford’s drawings, like his perpetual motion animations, depict a reality that was constantly unfolding in front of him. Much of this is evident in the Uplands, about which he wrote: “Several cults and interest groups exist in the Uplands, but the main society there has been quite stable for centuries, dating back to the early Viking settlements. Fortunately for them, there is a power that hovers over the Uplands, a barely visible shroud of energy which prevents the usage of modern electronic devices.” These drawings function as articulate, seemingly objective descriptions of Bickford’s universe of ideas because his mechanical pencil strokes never vary in width and seem as sure-footed as the lines made by an engineer carefully delineating a gear shift. They are unaffected, objective, like the early animation pioneer Winsor McCay or the contemporary surrealist Jim Shaw. And then the strange creeps in. Bruce Bickford was raised in Seattle, Washington, the son of a Boeing engineer. He and his brothers grew up with a lust for action and a love of movies. “Fantasy,” Bickford said, “is usually about perfecting your imperfect life.” His imperfect life included enlisting in the U.S. Marine Corps in 1966 followed by an eleven-month stint in Vietnam. Upon returning home in 1969, Bickford threw himself into filmmaking. Impressed by Frank Zappa’s film 200 Motels (1971) and having completed numerous clay animation sequences of his own, in 1973, he sought out the musician in Los Angeles. In his lengthy creative partnership with Zappa, he producedmultiple films and animation sequences. From 1981 until his passing in April 2019, Bickford made his own films, some of which were screened internationally, and in later years created stand-alone images and graphic novels. Though he rarely spoke of influences outside of cinema, a link can be traced between Bickford and cartoonists and animators such as Robert Crumb and Victor Moscoso, who share his fascination with the endless mutability of the body and space; and with H.R. Giger, who built a fictional world with scaffolding so elaborate that the viewer or reader might only see the surface. But when we step back to look at Bickford’s drawings, it’s the Belgian master James Ensor who looms over the activity: the woozy lines, the deftly orchestrated parades of beings, the obsession with what lies beneath, and shimmering colors. In Bickford’s world, each image is the manifestation of a living consciousness that he is both generating and documenting, producing equal parts wonder and bafflement. Bruce Bickford (1947-2019) is widely considered a pioneer and master of clay animation, creating uniquely bizarre narratives in perpetually morphing plasticine. Although primarily known for his clay and line animation, the artist spent much of his later life creating intricate paintings, drawings, graphic novels, and sculptural objects. The artist gained a cult following in the 1970s when his animations were featured extensively in the films of Frank Zappa, including Baby Snakes (1979), The Dub Room Special (1982) and The Amazing Mr. Bickford (1987). Subsequently, he produced his most highly regarded piece, the award-winning 1988 feature Prometheus' Garden, as well as his final film, CAS’L’ (2015). In 2004 he was the subject of an award-winning feature-length documentary Monster Road by Brett Ingram. More recently, some of Bickford’s last works, as well as a sequence of never-before-seen animation from the 70s, appeared in Alex Winter’s documentary feature Zappa (2020). Eric White (b.1968) is an artist currently based in Los Angeles. His work has been exhibited extensively in galleries and museums around the world. He is represented by Grimm Gallery in New York and Amsterdam.

Carroll Dunham, Susan Te Kahurangi King, Gladys Nilsson and Peter Saul

Parallel Phenomena: Works on Paper by Carroll Dunham, Susan Te Kahurangi King, Gladys Nilsson and Peter Saul



May 13, 2021 - July 2, 2021
Parallel Phenomena compares and contrasts the distinct yet related worlds these four artists have constructed and woven into being with graphite, colored pencil and watercolor. Every paper surface becomes the territory for a series of eccentrically fueled and compulsively composed narratives, each distinguished by a level of figurative distortion that bears the unmistakable signature of its author. By exploring the compositional and conceptual connective tissue among the works of Carroll Dunham, Susan Te Kahurangi King, Gladys Nilsson and Peter Saul, one can trace the mysterious phenomena of unorchestrated communal responses to deeply held individual impulses or needs. Through this clarifying process one can simultaneously highlight individual inspiration and celebrate the shared instincts and aesthetic parallels. Composite Image Caption: Carroll Dunham (b. 1949), Land (detail), 1998, graphite on paper, 15 x 21.5 inches. Courtesy of the Artist; Private Collection, Connecticut. Photo Kevin Nobel. Gladys Nilsson (b. 1940), Blue Glass (detail), 1985, watercolor on paper, 21.75 x 41.75 inches. Courtesy Garth Greenan Gallery. Susan Te Kahurangi King (b. 1951), Untitled (detail), c. 1965-70, graphite and colored pencil on found paper, 12.5 x 10 inches. Courtesy Andrew Edlin Gallery and The Susan Te Kahurangi King Trust. Photo Nicolas Knight. Peter Saul (b. 1934), Untitled (detail), 1962, crayon on paper, 35 x 39 inches. Courtesy KAWS Inc. © 2021 Peter Saul / Artists Rights Society (ARS), New York. Photo Farzad Owrang.

Beverly Buchanan

Beverly Buchanan: Shacks and Legends, 1985-2011



March 20, 2021 - June 8, 2021
The work of African American artist Beverly Buchanan (1940-2015), which drew from her childhood memories and subsequent travels in Georgia and the Carolinas, pays tribute to the vestiges of Southern Black heritage, and, in the process, offers a distinctive view of the rich culture of this often overlooked segment of rural American life.

Abigail DeVille

Abigail DeVille: Homebody



March 20, 2021 - May 8, 2021
Andrew Edlin Gallery is pleased to present "Homebody," an installation by Abigail DeVille. DeVille's body of work is centered around the cosmologies of marginalized people and places. "Homebody" explores the legacy of homemaking and displacement through her family's experiences in the Great Migration. In the 1930s, DeVille's family moved north from Richmond, Virginia, landing first in Harlem and later, in the 1950s, the Bronx. This project was inspired as a dialogue with the gallery's concurrent show, Shacks and Legends, 1985-2011, a solo exhibition by Beverly Buchanan (1940-2015), which is presented in the adjacent space.

Henry Darger

The Double-Sided Dominions of Henry Darger



September 26, 2020 - November 28, 2020
Andrew Edlin Gallery is excited to present “The Double-Sided Dominions of Henry Darger,” the first solo exhibition of the artist’s work at the gallery in over a decade. The show features nine double-sided watercolor drawings, eighteen compositions in all, which were originally hand-bound by the artist into at least three separate gigantic pictorial albums. They represent three distinct periods of Darger’s development and trace the evolution of his art from the 1930s through the 1950s.

Karla Knight

Karla Knight: Notes from the Lightship



February 28, 2020 - July 10, 2020
Andrew Edlin Gallery is pleased to present "Notes from the Lightship," an exhibition of new work by Karla Knight. Knight’s first solo show with the gallery features visionary paintings and drawings made over the past three years.

Joe Coleman

Joey Coleman and the Shadow Self



October 25, 2019 - December 21, 2019
"Joe Coleman and The Shadow Self" surveys the past twenty-five years of the artist’s degenerate and deviant portraiture. Coleman's subjects are at once subjective and self-reflexive; contemplations of the other as reflections of his own identity and abiding sense of humanity. Whether self-portraits, depictions of his friends or––with the greatest affection, his wife and muse Whitney Ward––or invocations of infamy like the insurrectionist abolitionist John Brown, the medieval composer Carlo Gesualdo, who murdered his wife and her lover and then put them on display, or Swift Runner, the Cree hunter, who when facing starvation as a result of the alien European extinction of the buffalo murdered and cannibalized his family, Coleman’s art is painted with an impassioned degree of love and understanding that is rare and somewhat reviled in the profession of fine art.

Paulina Peavy

Paulina Peavy/Lacamo: They Call us Unidentified



September 6, 2019 - October 19, 2019
There are few figures in the world of arts and culture who have conjured a worldview so fully complete in its internal logic and yet as terrifyingly radical as Paulina Peavy (1901-1999). Peavy’s artwork, writings and films appear to those of us mired in conventional reality as unhinged. She painted while wearing a mask and served as a channel for a being she described as her personal “UFO,” a highly evolved teacher from the future named Lacamo. The ability Lacamo gave her to see past and future helped make her artwork indescribable and breathtaking in its sumptuous timelessness and world-making, or perhaps world-saving, ambition.