Sean Kelly

Sean Kelly is delighted to announce Trust Me, Be Careful, I Like Your Shoes, Zipora Fried’s first solo exhibition in Los Angeles. Bringing together four bodies of work; large works on paper, new intimately scaled drawings, ceramic sculptures, and a monumental hanging drawing, this exhibition highlights Fried’s mastery of mark-making and her continued exploration of the transformative, manipulative potential of form, color, and gesture. Simultaneously an overview of her oeuvre and a step into a new, dynamic phase of her career, the exhibition captures a shift in Fried’s practice toward heightened energy and a more liberated, expressive engagement with her materials. There will be an opening reception on Saturday, March 15, from 5-7pm. The artist will be present.

Sean Kelly is delighted to announce Moon, Turn the Flames…Gently Gently Away, Awol Erizku’s inaugural solo exhibition at Sean Kelly, Los Angeles. Continuing his critical investigation of identity politics, resistance, and abstraction, Erizku offers a cosmology of visual language that disrupts conventional narratives of representation. The exhibition presents new photographs, neon installations, and sculptures that underscore Erizku’s distinctive approach to symbolism and cross-cultural dialogue. There will be an opening reception on Friday, May 16, from 5-7pm. The artist will be present.

Sean Kelly is delighted to present Subject to change, Sam Moyer’s fourth solo exhibition with the gallery. Featuring a dynamic body of new work, the exhibition features Moyer’s latest stone paintings, highlighting her distinctive combination of reclaimed stone and painted canvas, as well as oil on panel paintings and handmade paper works produced as artist in residence at Dieu Donné in the Brooklyn Navy Yard. There will be an opening reception on Thursday, May 1 from 6-8pm. The artist will be present.

Sean Kelly is delighted to announce Alec Soth’s fifth exhibition with the gallery, Advice for Young Artists which presents a curated selection of images from Soth’s recently completed body of work of the same name. Photographed during visits he made to twenty-five undergraduate art programs across the country from 2022 to 2024, the resulting pictures, interior studies, still-lives, and self-portraits depict Soth engaging with his subject while also reflecting, obliquely, on his life as an artist. There will be a reception on Thursday, March 6, from 6-8 pm. The artist will be present.

“A work of art is a kind of proposition presented within the context of art as a comment on art.” – Joseph Kosuth, 1969 Sean Kelly is honored to present Future Memory, a landmark exhibition celebrating the 80th birthday of Joseph Kosuth, one of the most influential and pioneering figures in conceptual art. This unique exhibition, his seventh with the gallery, distinguishes itself as a presentation about the work of Joseph Kosuth, rather than one conceived by him and features works from every decade of his career. Future Memory encapsulates Kosuth’s lifelong engagement with the fundamental questions of art, meaning, and language. There will be an opening reception on Thursday, March 6, from 6-8pm. Beginning with ‘One and Three Mirrors’ (1965) Kosuth established his lifelong commitment to investigating the production and role of language and meaning within art. Meaning is embodied in the relationship between the three parts that make up ‘One and Three Mirrors’, image, object and text. By placing a commonplace object, such as a mirror alongside its image and definition within an art context, two of Kosuth’s abiding influences, Ludwig Wittgenstein and Marcel Duchamp are strikingly clear. Wittgenstein’s contention that meaning is use is an abiding concern throughout Kosuth’s career as he continues to question the function of art; a question first posed by Marcel Duchamp. In the most recent work in the exhibition ’The Question (G.S.)’ (2025) Kosuth continues his personal and philosophical reflection on time. Here he both begins and ends with a question positioned on a clock whose hands mechanically carry on, oblivious to the human lives and narratives beyond their measure. Joseph Kosuth’s practice redefined the role of the artist, challenging traditional notions of art as object, artist as curator, language as art, and elevating the importance of ideas and critical thought. Future Memory highlights the continuity within his oeuvre and the profound impact of his inquiries into perception, memory, and the processes of thought. By employing language as both medium and message, Kosuth’s work continues to defy artistic boundaries, inviting viewers to rethink art’s place in culture and society. Joseph Kosuth has influenced generations of artists, philosophers, and cultural thinkers. His work is featured in major private and public collections worldwide including the Museum of Modern Art, NYC; the Tate Gallery, London; the Solomon R. Guggenheim Museum, NYC; the Whitney Museum of American Art, NYC; the Van Abbemuseum, Eindhoven; the Stedelijk Museum, Amsterdam; the Louvre Museum, Paris; the National Gallery of Victoria, Melbourne; the Museum of Contemporary Art, Sydney; the Centre Pompidou, Paris; and the Galleria Nazionale d’Arte Moderna, Rome amongst many others worldwide. His work has been the subject of solo exhibitions at institutions including the Louvre Museum, Paris, France; the Multimedia Art Museum, Moscow, Russia; the Kunstmuseum, Thurgau, Wrath, Switzerland; Haus Konstruktiv, Zurich, Switzerland; and the Australian Centre for Contemporary Art, Melbourne, Australia amongst others. He has also been invited to participate in numerous installations, museum exhibitions, and public commissions, including Documenta and the Venice Biennale on multiple occasions. In 2019 Kosuth installed a permanent public installation at the Miami Beach Convention Center, Miami, FL and the Bill Graham Civic Auditorium, San Francisco, CA. To honor this milestone anniversary, Sean Kelly, New York, Sprüth Magers, London and Lia Rumma, Naples, are dedicating three unique solo exhibitions to Joseph Kosuth in 2025: Sprüth Magers, ‘The Question’, January 24–March 15, 2025; Sean Kelly, Future Memory, March 7 – April 18; and Lia Rumma, ‘The Question’, April 10 – May. These exhibitions collectively reaffirm Kosuth’s enduring international importance and the ongoing influence of his work worldwide. For press, please contact Adair Lentini at Adair@skny.com For all other inquiries, please contact Cecile Panzieri at Cecile@skny.com

Sean Kelly, Los Angeles is delighted to announce Keep Your Wonder Moving, the West Coast debut of Chicago-based artist Lindsay Adams and her inaugural solo exhibition with the gallery. Titled after a note written by poet Patricia Spears Jones to philosopher Audre Lorde, the exhibition, presented on the third floor, consists of eleven abstract paintings. Keep Your Wonder Moving emphasizes the artist’s longstanding interest in world-building – Adams’ exploration of abstraction as a conduit for expanding the imagination while embedding deeply personal narratives. The exhibition opens on Saturday, January 18 from 5 - 7 PM. The artist will be present.

Sean Kelly, Los Angeles is delighted to present Fading Origin, Wu Chi-Tsung’s first solo exhibition in Los Angeles. Known for his experimental approach to photography, Chi-Tsung’s work bridges traditional Chinese art techniques and contemporary media, integrating Eastern and Western aesthetics. The exhibition features new works in Chi-Tsung’s signature Cyano-Collage series and marks innovative new developments in his Wrinkled Texture works. There will be a reception from 5 to 7 pm. The artist will be present. Wu Chi-Tsung was initially drawn to the cyanotype – an early form of photography requiring only basic chemicals and sunlight – in response to the rise of digital photography. For Chi-Tsung, what digital photography loses, and what his cyanotypes capture, is the medium’s openness to chance and its connection to the material world, qualities that make each cyanotype unique. Chi-Tsung’s renowned Cyano-Collage series synthesize his dual interests in Chinese landscape painting and experimental photography. This process begins by washing sheets of Xuan rice paper in photo-sensitive materials, which, when dried, Chi-Tsung creases by hand and exposes to sunlight. The subsequent abstract elements are collaged together on aluminum panels. The resulting images are open to interpretation perhaps evoking sublime mountainous landscapes or tumultuous seascapes. With their stunning formal cohesion and classical grandeur, the Cyano-Collages belie the inventive process of their creation. While Chi-Tsung conjures his panoramas through experimental photography, his use of the cyanotype process retains a connection to both the artist’s hand and the natural world. In this way, Chi-Tsung captures the spiritual depth of Eastern painting traditions dating back over a thousand years, while renewing it with a contemporary aesthetic. In the new Wrinkled Texture Fading Origin series the diptych and quadriptych works begin with a single, full sheet of exposed cyanotype paper. This print then becomes the basis for recursive cyanotypes within the same work, with each image becoming the negative for the adjacent sheet. The result is a mesmerizing shift between blue and white tones, where the original image gradually dissipates into a field of color. This process captures the ephemeral and transient qualities of the natural world whilst also emphasizing the slight, irreproducible differences unique to analog processes. By double-exposing the paper and exploring the faded origin of the image, the Wrinkled Texture Fading Origin series reflect Chi-Tsung’s commitment to advancing the medium while preserving the poetic, tactile qualities of analog photography. Wu Chi-Tsung believes his generation is the last to transition from analog to digital photography, a shift that profoundly informs his practice. Unlike digital images, where copies retain perfect fidelity, analog processes embrace subtle variations that reflect their individuality. In his Cyano-Collage series, breathtaking images emerge from the meticulous accumulation of numerous cyanotype prints, while his Wrinkled Texture works explore cycles of emergence and disappearance through innovative multiple exposures. Together, these works emphasize the conceptual depth, material innovation, and aesthetic sensitivity that define Chi-Tsung’s body of work. Wu Chi-Tsung’s work has been the subject of solo exhibitions at the Katonah Museum of Art, New York and TAO Art, Taiwan. His work has been included in international exhibitions at institutions such as the Mori Art Museum, Japan; the National Museum Cardiff, United Kingdom; the Long Beach Museum of Art, Los Angeles; the Casino Luxembourg – Forum d’art Contemporain, Luxembourg; the Museo Del Palacio De Bellas Artes, Mexico; the Central Academy of Fine Arts, Beijing; the Shanghai Art Museum and the Minsheng 21st Century Museum, Shanghai, China; the Seoul Museum of Art, South Korea; the Hiroshima City Museum of Contemporary Art, Japan; the Ullens Center for Contemporary Art, Beijing, and the Taipei Fine Arts Museum, Taiwan amongst others. Wu Chi-Tsung was the recipient of the Liu Kuo Sung Ink Art Award, Hong Kong in 2019, the WRO Media Art Biennial award in 2013 and the Taipei Arts Award in 2003. His work is included in renowned collections such as the Xie Zilong Photography Museum, the Post Vidai Collection, M+ Hong Kong, The Vero Beach Museum of Art, The Santa Barbara Museum of Art, and the Borusan Contemporary Art Collection. For additional information about Wu Chi-Tsung, please visit skny.com For press inquiries, please contact Adair Lentini at Adair@skny.com For all other inquiries, please contact Thomas Kelly at Thomas@seankellyla.com

Sean Kelly is delighted to announce the exhibition, Dawoud Bey: Stony the Road, the gallery’s third exhibition with the artist. The exhibition will feature the artist’s newest photographic series, Stony the Road, (2023), and his related film, 350,000, (2023) which center on Richmond, Virginia, as the historical terrain where African captives first arrived in the United States and were marched into enslavement. Commissioned and first exhibited by the Virginia Museum of Fine Arts in 2023, Bey’s Stony the Road series is the third chapter in the artist’s ongoing exploration of the deep connections between African American history, the American landscape and the traumas embedded in those landscapes. Dawoud Bey: Stony the Road marks the series New York debut, opening at Sean Kelly with a reception for the artist on Thursday, January 9, from 6-8pm. Bey’s landscape trilogy began with Night Coming Tenderly, Black, (2017) a series which depicted both real and imagined locations in northeast Ohio tied to the Underground Railroad. Bey’s exploration continued with In This Here Place, (2019) which documented the landscapes of plantations in Louisiana. With Stony the Road, Bey turns his lens to the beginning of the African American experience in America: the arrival of enslaved Africans and their first steps on an unfamiliar and unforgiving land. In an intimate, visual dialogue with the past, Bey’s series captures the historical and emotional texture of the Richmond Slave Trail—a well-trodden path of leaves, branches, and waterways that reveal the lingering imprints of the history of enslavement in America. "The ground is still holding its memory and its shape," describes Bey, emphasizing the spirit and tangible presence of the past. “This is ancestor work. Stepping outside the art context, the project context, this is the work of keeping our ancestors present in the contemporary conversation.” Central to the photographic series, the exhibition also features the artist’s film 350,000, which recalls the estimated 350,000 men, women, and children sold from Richmond’s auction blocks between 1830 and 1860. Projected on two large, back-to-back screens, the film takes the viewer on a journey along the Richmond Slave Trail, imagining that landscape as if through the eyes of the 350,000 enslaved Africans. Shot in black-and-white by cinematographer Bron Moyi, the film's visual intensity is amplified by a soundtrack featuring staccato breaths and body percussion, created in collaboration with choreographer and Virginia Commonwealth University Professor E. Gaynell Sherrod. The subtle, rhythmic soundscape, echoes the weight of the journey, resulting in a psychologically poignant sonic landscape that resonates with the sense of history and memory. Together, Bey’s film and photographic works offer a reflection into the psychic and physical landscapes of enslavement in America, and the enduring legacies these sites hold within the American consciousness and social fabric. Through this work, Bey contributes essential Black perspectives and experiences into contemporary discourse about landscape. Bey’s ability to re-envision key historical sites through photography and film offers viewers space for reflection and remembrance. Groundbreaking artist and MacArthur Fellow Dawoud Bey examines the Black past and present. His photographs and film installations have been exhibited in museums and galleries throughout the United States and Europe. Bey’s work has been the subject of numerous solo museum exhibitions, including Dawoud Bey: Street Portraits (2024-2025) at the Denver Art Museum, Dawoud Bey: An American Project organized by the San Francisco Museum of Modern Art and the Whitney Museum of American Art (2020-2022), and Elegy at the Virginia Museum of Fine Arts (2023-2024) and New Orleans Museum of Art (2026). He has been the subject of several monographs, including Elegy (Aperture/VMFA, 2023), which chronicles Bey's history projects and landscape-based work. Bey is the recipient of numerous awards including five honorary doctorates, and in 2024, the artist was inducted into the American Academy of Arts and Sciences. His forthcoming solo exhibition, Dawoud Bey: Street Portraits, opens at the Denver Art Museum in November 2024. Bey lives and works in Chicago and New York. He is currently a Critic at Yale University, where he received his Masters in Fine Arts, and is Professor Emeritus at Columbia College, Chicago.

Sean Kelly, New York is delighted to present Bruma, Ana González’s first solo exhibition in New York. The paintings and prints on fabric in Bruma depict the flora and fauna of González’s native Colombia and represent the ecosystems under threat from industries seeking to exploit them for their natural resources. González’s practice opposes the disappearance of these habitats, not only warning us of what will be lost in their destruction but proposing new ways to relate to the natural world. Bruma engages with the vast ecological and human history of these landscapes encouraging the viewer to see our environment in a new way. There will be an opening from 6 to 8 pm. The artist will be present. The works on view in Bruma were developed in response to González’s travels through the cloud forests of Colombia, an isolated region in the Andes Mountains which is both incredibly biodiverse – only an estimated ten percent of its species have been cataloged – and endangered by deforestation and climate change. In González’s paintings, the wax palms and other plants native to the Andes Mountains emerge from washes of white paint, referencing the mist that gives the forests and the exhibition their name. These landscapes reappear in the artist’s Devastations series, textiles onto which the artist prints photographs of Colombia’s vulnerable ecosystems. The monumental five-part work, QUIMBAYA offers a panoramic view of the cloud forest, capturing in monochromatic green the verdant abundance of the forest at an immersive scale. Here, as in all her Devastations works, González has partially unraveled the work, disrupting the coherence of the image and physically representing the ravaging of these sites. In her work González reflects upon the writings of 18th century German geographer and naturalist, Alexander von Humboldt, who revolutionized the way we understand nature by presenting it as an interconnected web of life. Humboldt observed, “If one thread is pulled, the whole tapestry may unravel,” a metaphor that resonates powerfully with González’s work. Her unraveled Devastation series poignantly embody this concept, suggesting that the destruction of even the smallest part of an ecosystem can threaten the stability of the whole. Devastations presents two possible futures for the ecosystems they depict: preservation and destruction. González asks viewers to see both possibilities at once – that while the abundance of life contained within these images is in immediate danger of being lost, there remains the potential for conservation if humanity reprioritizes its relationship with nature. As much as González’s practice is concerned with the future, it is equally attentive to history. This is most apparent in González’s decision to title the works in Bruma in the language of the Muisca, the indigenous civilization that inhabited the Colombian Andes from 600–1600 CE. Referencing a pre-colonial past, the titles invoke the spiritual importance that the Muisca placed on the environment, implicitly contrasting them with our contemporary culture of accumulation and consumption. The large-scale work ANGAPACCHA (“Powerful Waterfall,” in the language of the Muisca) spills off the wall and into the gallery space. According to Muisca specialist, anthropologist and ethnobotanist Wade Davis, “Waterfalls were seen as places of origin, liminal places, doorways to the divine.” ANGAPACCHA performs a similar function within the exhibition, inviting viewers to engage with the natural world as a sacred space. González’s works in Bruma are at once a return to the past and a reimagining of the future, reactivating ancient ways of interacting with the environment at a moment when they are urgently needed. Ana González is a graduate in architecture from Universidad de Los Andes in Bogotá, Colombia. She pursued advanced studies in Art and Gender at Trinity College in Dublin, Ireland, and completed a Master’s in Arts and Media, focusing on Photography, Printing, and Publishing, at both the École Nationale Supérieure des Beaux-Arts and the École Supérieure de Commerce de Paris in France. Her work is part of significant private and public collections, including the Patricia Phelps de Cisneros Collection, the Havremagasinet Länskonsthall Museum in Sweden, the National Museum of Colombia, the Bogotá Museum of Modern Art (MAMBO), the Santa Barbara Museum of Art, CA, the JP Morgan Chase Art Collection, NY, the Bancolombia Art Collection and the Museo de la Universidad de Antioquia, Medellín, Colombia. González has engaged extensively with Colombian Indigenous communities, implementing social and humanitarian projects with the Sierra Nevada de Santa Marta communities, the Nukak people of Guaviare, and Misak women in Cauca. She is currently collaborating with the Amazon Conservation

Sean Kelly is pleased to present Europa / America, Candida Höfer’s first solo exhibition at the Los Angeles gallery, curated by renowned architects Sharon Johnston and Mark Lee of the Los Angeles-based firm Johnston Marklee. Inspired by German-Prussian architect Erich Mendelsohn’s 1929 publication, Russland Europa Amerika: Ein architektonischer Querschnitt (An Architectural Cross Section), Johnston and Lee have selected fourteen photographs taken by Höfer between 1993 and 2015. Through Höfer’s carefully composed photographs of interior spaces primarily intended for entertainment, study, and worship, Europa / America explores sites that convey social significance in North American and European society. This novel grouping reveals a compelling impulse throughout Höfer’s oeuvre: to capture how architecture illuminates the cultural histories of a particular time and place. There will be an opening reception on Saturday, November 16, from 5 to 7 PM. The artist will be present.

Sean Kelly is delighted to announce Artificialis, Laurent Grasso’s sixth solo exhibition with the gallery. Grasso’s oeuvre blurs the line between temporalities, combining historical references and futuristic anticipations to create new, ambiguous, realities. The exhibition features the US premiere of Grasso’s films, ARTIFICIALIS and Orchid Island, along with two groups of new paintings related to each film. One of the series draws inspiration from the prominent 19th century American artist Frederic Edwin Church’s evocative landscape paintings of the Hudson River Valley. The exhibition confronts the rapid changes and existential challenges of our world where human cultural impact on nature is now indelible; it places viewers in a realm where distinguishing between the real and the artificial is questioned. There will be an opening reception on Thursday, October 24, 6-8pm. The artist will be present. The film ARTIFICIALIS originated from an invitation from the Musée d’Orsay, in Paris, France, asking Grasso to produce a large-scale work in response to the museum’s exhibition centered around Darwin’s legacy and the perception of nature. Both exhibitions were on view at the museum simultaneously in 2021, creating a dialogue between the historical and contemporary perspectives on exploration and our understanding of the natural world. Grasso’s film examines how 21st-century explorers document the world using modern tools, merging real and virtual worlds to envision a post-Anthropocene future. Produced with advanced vision instruments like LIDAR scanners and hyperspectral cameras, ARTIFICIALIS generates images that blur reality, nature, and artifice. The film challenges the possibility of exploration in a hyperconnected world, mapped by satellites and compressed in space and time, questioning traditional notions of exoticism. Described by Grasso as a “film-machine,” it evolves like a code, drawing information from the world as a database to spotlight areas where nature has mutated due to human impact. Musician Warren Ellis composed the soundtrack while watching the film in real-time, adding a dynamic layer to the film, while graphic creations by M/M lend a futuristic dimension. Part of Grasso’s process involves creating films that serve as the basis for other art forms, such as paintings and sculptures, resulting in a cohesive yet multifaceted oeuvre. New works from his Future Herbarium series, paintings of double-headed flowers, draw upon imagery from ARTIFICIALIS which are reproduced in oil and palladium leaf on wood. The mutations are transformations from a future that exists only in the artist’s imagination, creating “a sense of strangeness where beauty and anxiety intertwine,” states Grasso. Orchid Island, 2023, examines the idealization of nature in art history juxtaposed with contemporary climate issues. Set against Taiwan’s seemingly pristine landscapes, the film introduces a mysterious, levitating black rectangle, which casts its shadow on the area over which it flies. The film questions Western representations of exotic, imaginary settings, oscillating between archive footage and futuristic projections. With this work Grasso seeks to “activate an altered state of consciousness similar to that of hypnosis.” The music, composed by Nicolas Godin, blends an ethereal melody with the subtle pulse of a synthesizer, casting a surreal and otherworldly tone over the film. The accompanying paintings, part of Grasso’s series Studies into the Past, incorporate natural or supernatural phenomena – most often borrowed from his own films – into apparently historical canvases, creating an uncanny feeling of déjà-vu. Inspired by one of the most widely recognized painters of the Hudson River school, Frederic Edwin Church, Grasso’s paintings closely recall his idyllic nineteenth-century landscape paintings. Church was significantly influenced by the Prussian explorer and scientist Alexander von Humboldt, whose seminal work Cosmos articulated the interconnectedness of science, the natural world, and spiritual concerns. Humboldt’s dedication to landscape painting and his belief in the artist’s role in scientifically portraying nature, deeply impacted Church. This historical context aligns with Grasso’s interest in the sciences and his artistic exploration. By introducing a discordant element such as a large black rectangle into these idyllic landscapes, Grasso disrupts the traditional perception of nature. Without delivering a direct message, he invites the viewer to engage in a space for projection and reflection on our current fears. Grasso’s new Studies into the Past paintings also continue his long-established exploration of time travel and the viewer’s perception of reality. Laurent Grasso is the recipient of the Meru Art*Science Award in Bergamo, Italy, the Chevalier de l’ordre des Arts et des Lettres, and the Marcel Duchamp Prize. Grasso’s work has been the subject of solo exhibitions at international institutions, including the Abbaye of Jumièges, in France, Tao Art in Taiwan, the Collège des Bernardins and the Musée d’Orsay in Paris, the Centre Pompidou x West Bund Museum in Shanghai, the Jeonnam Museum of Art in Gwangyang, South Korea, the Palais Fesch, Musée des Beaux-Arts in Ajaccio, France, the Hermès Foundation in Tokyo, the Kunsthaus Baselland in Switzerland, the Musée d’Art Contemporain in Montréal, the Jeu de Paume and Palais de Tokyo in Paris, the Bass Museum of Art in Miami, and the Hirshhorn Museum and Sculpture Garden in Washington D.C. amongst others. He has also participated in several international biennials, such as the 21st Sydney Biennale, Australia; EVA International, Ireland; the Kochi Biennale, India; the Gwangju and Busan Biennales, South Korea; Manifesta 8 Cartagena/Murcia, Spain; the Sharjah Biennial, UAE; and the Moscow Biennale, Russia. Laurent Grasso has recently created several permanent installations in public spaces including Solar Wind on the Paris ring road, and a group of sculptures entitled Roots of the Future, which was installed for the 2024 Paris Olympic Village. Grasso was also commissioned to create a permanent site-specific installation for the ceiling of the new train station in Châtillon-Montrouge, as part of the Grand Paris project.

Sean Kelly is delighted to present Staring at the Moon, Brian Rochefort’s first exhibition at Sean Kelly, Los Angeles. Rochefort will present new sculptures in an installation that will reconfigure the architecture of the gallery. Rochefort’s mixed-media sculptures incorporate a variety of different textures, surfaces and colors to create rich, otherworldly forms. Referencing his travels to some of the most remote parts of the planet, such as the Amazon Rainforest, the Galápagos Islands, and the Ngorongoro Crater, in Tanzania, Rochefort internalizes and translates his experiences in these secluded, ancient landscapes into potent sculptural forms. There will be an opening reception on Saturday, September 14, from 5pm to 7pm. The artist will be present.

Sean Kelly is delighted to announce a sky filled with clouds and the smell of blood oranges, Janaina Tschäpe’s fourth solo exhibition with the gallery. This exhibition marks an exciting evolution in Tschäpe’s artistic journey, emphasizing a profound personal exploration, with a focus on the scale and fluidity of mark-making that characterize the artist’s vigorous abstractions. Coinciding with the exhibition, a major new monograph on Janaina Tschäpe’s work, featuring an erudite and informative essay by distinguished art historian Joachim Pissarro, is being published by Hatje Cantz and Sean Kelly. There will be an opening reception on Friday, September 6, 6-8pm. The artist will be present. Tschäpe’s latest body of work underscores the artist’s fascination with the emotional and poetic potential of art. In this exhibition, she explores the interplay between scale and intimacy, featuring works in oil and oil stick on canvas and works on paper in various scales, including multi-paneled paintings. In the diptych, Lion colored hills, 2024 and triptych, Walking through fields (Passeando no tempo), 2024, each painting functions both independently and as part of a unified narrative. Tschäpe’s artistic expression intertwines the sublime vastness of German landscapes with the vibrant essence of Brazilian culture, blending philosophical tenets from polymath Friedrich Schiller, the inspiring poetry of Octavio Paz, and the concept of observing and celebrating nature advocated by geographer Alexander Von Humbolt. Tschäpe’s works become sites of intense emotional and intellectual inquiry—the space between passion and reason—where the act of painting is both a meditation on and a resistance to its constraints. The paintings in this exhibition compose an environment in which each work converses with the next, fostering a continuous and evolving narrative. They showcase Tschäpe’s mastery harnessing the fluid dynamics of painting to depict a landscape that is both internal and external, mirroring the complexities of human emotion and perception. As Joachim Pissarro states in his essay, “Tschäpe’s canvases serve as arenas wherein the visible intermingles with the visceral, inviting us to traverse conceptual depths through layers of paint and memory that subtly insinuate rather than explicitly reveal.” Her paintings transform nature’s experiences into abstract movements, where air and light become extensions of her gestures. Each piece, rooted in layered memories of landscape, uncovers new connections and energies across the canvas. a sky filled with clouds and the smell of blood oranges highlights the different types of mark-making and media Tschäpe has incorporated throughout her work, spanning bold and dynamic brushwork to fine, drawing-like strokes and expansive, gestural applications of oil paint and oil stick. The exhibition also features her delicate watercolors and pastel works, creating a dialogue between different media and enhancing the interplay amongst her works. Inspired by the evocative, dreamlike qualities of August Strindberg’s landscapes, Tschäpe titled some of the new works with names influenced by the Swedish playwright and painter, such as flowers by the shore (after Strindberg), 2024. Strindberg’s ability to evoke the ethereal and the mystical in his depictions of the natural world resonates deeply with Tschäpe’s vision. Blending elements of lyrical abstraction with themes drawn from the natural world, Tschäpe’s use of color and form creates a visual language that is both deeply personal and universally resonant. Janaina Tschäpe’s work has been the subject of solo exhibitions at the Den Frie Center of Contemporary Art, Copenhagen, Denmark; the Sarasota Art Museum, Florida; the Musée L’Orangerie, Paris, France; the Museum of Contemporary Art, Tucson, AZ; Kasama Nichido Museum of Art, Kasama, Japan; the Irish Museum of Modern Art, Dublin, Ireland, and the Contemporary Museum of Art, St. Louis, MO. She has been featured in numerous group exhibitions at venues including NCA Taipei, Taiwan; Whitechapel Gallery, London; TBA21-Augarten, Austria; CCBB, Rio de Janeiro, Brazil; Centre D’Art Contemporain de Normandie, France; 21st Century Museum of Contemporary Art, Kanazawa, Japan; Instituto Tomie Ohtake, São Paulo; National Museum of Women in the Arts, Washington D.C.; Ronnebaeksholm, Denmark; Museum of Fine Arts Boston, MA; and Museum of Contemporary Art Taipei, Taiwan. Her work is found in important public collections including the Centre Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Harvard Art Museum, MA; Museu de Arte Moderna do Rio de Janeiro, Brazil; Moderna Museet, Stockholm, Sweden; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; and the Solomon R. Guggenheim Museum, New York, amongst others. Published in conjunction with the exhibition, a major new monograph, Janaina Tschäpe, extensively documents Tschäpe’s work over the past seven years, alongside installation images of her museum and gallery exhibitions worldwide. This publication documents a prolific period of creativity and boundary-pushing use of media. For additional information on Janaina Tschäpe, please visit skny.com For press inquiries, please email Adair Lentini at Adair@skny.com For all other inquiries, please email Cecile Panzieri at Cecile@skny.com Image caption: Janaina Tschäpe, Walking through fields (Passeando no tempo), 2023, Oil and oil stick on linen, overall: 92 x 222 x 1 1/2 inches Each panel: 92 x 70 x 1 1/2 inches © Janaina Tschäpe Courtesy: the artist and Sean Kelly, New York/Los Angeles

Sean Kelly is delighted to announce Seeds of Time, James Casebere’s ninth solo exhibition with the gallery. Continuing Casebere’s ever-evolving exploration of form at the intersection of architecture, sculpture, and photography, this new body of work celebrates three fundamental principles: biomorphic design, social responsibility, and environmental sustainability. Through a meticulous process of artistic reinterpretation, Casebere transforms architectural designs into striking two-dimensional images. There will be an opening reception on Wednesday, June 26, 5-7 pm. The artist will be present. The exhibition delves into contemporary architectural trends, using water as a central theme to evoke an awareness of climate change. Each structure in Seeds of Time is surrounded by water, often a symbol in Casebere’s work for the unconscious, the passage of time, and memory. These new works internalize the urgency and emotional context of the climate crisis and celebrate human ingenuity. Drawing inspiration from Indian-born Pritzker Prize-winning architect Balkrishna Doshi (1927-2023), the photographs Balconies and Stairs, are based on Doshi’s vibrant color drawings of his low-cost housing development, The Aranya, in Indore, India. Unlike many public or low-income housing projects in India, which were often bleak, Doshi’s designs were lively and intended for modification by their inhabitants. Casebere intensified the colors in his works to echo the transformations made by residents. Both Cavern with Skylights images reference Amdavad ni Gufa, an underground art gallery designed by Doshi. The concept was to create an open building that blurs the boundaries between formal and informal spaces while increasing interaction with nature. These images emphasize the natural geological forms to highlight the biomorphic qualities of the architecture. Casebere further explores biomorphic forms in Patio with Blue Sky and School to create works that focus on the integration of natural and synthetic elements, in an interpretation of Burkinabé-German architect Francis Kéré’s (b.1965) “Startup Lions Campus” in Kenya. Greenhouse, extends the bio-morphic design language by merging sculptural forms with natural foliage, creating a living sculpture set within a pond. Beach Huts (Day) and Beach Huts (Night), draw on Kéré’s innovative complex in Burkina Faso. These photographs depict colorful huts that explore themes of community and the needs of marginalized populations, a testament to the dynamic relationship between individual creativity and social group dynamics. Likewise, Chulah Cookstove is inspired by Pakistani architect Yasmeen Lari’s (b.1941) innovative design, which highlights the need for elevated outdoor stoves designed to mitigate flooding and improve health in impoverished areas. The exhibition showcases James Casebere’s unique ability to intertwine artistic vision with pressing contemporary issues. In Seeds of Time, Casebere reflects on the potential of architecture to foster sustainable and socially responsible solutions. His use of water, both as a symbol and a material, underscores the delicate balance between human innovation and environmental stewardship. This body of work not only celebrates architectural ingenuity but also challenges us to consider our role in shaping a sustainable future. James Casebere was the winner of the American Academy in Rome Abigail Cohen Rome Prize Fellowship for 2019-20 and has been the recipient of numerous fellowships, including three from the National Endowment for the Arts, three from the New York Foundation for the Arts and one from the John Simon Guggenheim Memorial Foundation. His work is permanent collections of institutions including the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the Walker Art Center, Minneapolis; the Los Angeles Museum of Contemporary Art; the Los Angeles County Museum of Art; and the Victoria and Albert Museum, London, England, among many others. In 2016, Casebere was a New York Foundation for the Arts Hall of Fame Honoree and the subject of important survey exhibitions: Fugitive at the Haus der Kunst in Munich, curated by Okwui Enwezor; Immersion at Espace Images Vevey in Switzerland; and After Scale Model: Dwelling in the Work of James Casebere, at the BOZAR/Centre for Fine Arts in Brussels, Belgium. James Casebere lives and works in New York. Shou Sugi Ban A Series of Sculptural Work by James Casebere will open at ‘T’ Space in Rhinebeck, NY, during Upstate Art Weekend (July 20 – 21). The exhibition will present a new series of large-scale wooden geometric sculptures that engage notions of synthetic nature: bio-design—or self-generating forms that suggest organic or inorganic growth. The exhibition will be on view until October 13, 2024. For press, please contact Adair Lentini at Adair@skny.com For all other inquiries, please contact Cecile Panzieri at Cecile@skny.com

Sean Kelly is delighted to announce The Color of Shadows, the fifth solo exhibition of Ilse D’Hollander with the gallery. Spanning the latter half of her career, the exhibition includes a selection of oil paintings from the artist’s estate, including To Goethe, 1991, one of only three known serial bodies of work made by the artist. This exquisite curation of intimate paintings emphasizes the harmonious and transformative essence of D’Hollander’s oeuvre — qualities inherent to the processes found in nature that influenced her approach as a painter. There will be an opening reception on Wednesday, June 26, from 5-7pm. Drawing inspiration from Johann Wolfgang von Goethe’s “Theory of Colours,” 1810, D’Hollander’s suite of four oil paintings titled To Goethe anchors the exhibition. In his research, Goethe theorized the complexity of color and how human perception and psychological experience influence its interpretation. In her series, D’Hollander’s color associations exude a poetic and sensitive quality that invites the viewer to be an active participant by completing the work with their own interpretations. “The viewer who turns [their] gaze on my paintings remains even more fundamental,” stated D’Hollander. It is with a skillful hand and delicate approach that D’Hollander’s masterful interplay of hues evokes profound connections far beyond the spectrum of color. As a painter, D’Hollander’s intuition led her to arrive at a practice that combined total abstraction with discernable elements of the natural world. Found within her paintings are the flourishing landscapes of the Flemish countryside rendered with bursts of thick pigments, resulting in a geometric precision that documents her quaint studio life. D’Hollander’s canvases offer an immersive experience, where each layer of brushstroke reveals nuanced shifts in hue and delicate lines of color, illustrating a deep engagement with the dialogue between representation and abstraction. Her refined palette and minimalist compositions underscore a tangible and sensual exploration of the medium, imbuing each piece with a profound humanistic touch. In her sole written reflection, D’Hollander observed, “A painting comes into being when ideas and the act of painting coincide. When referring to ideas, it implies that as a painter, I am not facing my canvas as a neutral being but as an acting being who is investing into the act of painting.” This philosophical approach enabled D’Hollander to traverse seamlessly between subtle representation and pure abstraction, harmonizing her internal and external artistic realms. Her work invites deep contemplation, serving as a remarkable testament to the fundamental and generative nature of painting. D’Hollander’s legacy continues to captivate and inspire, offering a poignant exploration of the interplay between form, color, and emotion. Born in Belgium in 1968, Ilse D’Hollander graduated from the Hoger Instituut voor Schone Kunsten, Antwerp, in 1988 and the Hoger Instituut voor Beelende Kunsten, St. Lucas, Ghent, in 1991. Her work has been the subject of solo exhibitions at institutions including The Arts Club, London; FRAC Auvergne, Clermont-Ferrand, France; and M Museum, Leuven, Belgium. She has also been featured in group exhibitions at the Museum Dhondt-Dhaenens, Sint-Martens-Latem, Belgium; the Provinciaal Cultuurcentrum Caermersklooster, Ghent, Belgium; and the Center for Contemporary Non-Objective Art, Brussels, Belgium amongst others. For additional information on Ilse D’Hollander, please visit skny.com For media inquiries, please email Adair Lentini at Adair@skny.com For all other inquiries, please email Janine Cirincione at Janine@skny.com

Sean Kelly is delighted to present It Never Entered My Mind, a group exhibition featuring fifteen artists working in painting and sculpture, curated by Los Angeles-based collector and producer Michael Sherman. There will be an opening reception on Saturday, May 18, from 5-8 pm. Titled after Miles Davis’ rendition of the iconic showtune “It Never Entered My Mind,” each artist in the exhibition takes up the perennial concerns of art making — including place, personal and cultural history, and the body — in their own, distinctive manner, not unlike a great jazz ensemble. Eschewing an overarching theme, It Never Entered My Mind presents the singular talents and conceptual concerns of each artist, many of whom are exhibiting in Los Angeles for the first time. The exhibition brings together artists living and working in disparate parts of the world in a variety of styles and media. In addition to the works on view, It Never Entered My Mind features music direction by Los Angeles-based musician and record producer MELO-X, inspired by each artist’s studio practice.

Sean Kelly is delighted to announce As For Now, Hugo McCloud’s fifth solo exhibition with the gallery. Marking a shift in his methodology, McCloud revisits earlier bodies of work armed with a deeper understanding of the materials he employs and how they interact, as well as new insights informed by recent life experiences. He reinterrogates these materials and subject matters, exploring how past events have transformed both him and his artistic process. Occupying the front and main galleries, the exhibition presents new works from his signature plastic and tar stamped painting series, highlighting his fluid movement between figuration and abstraction. There will be an opening reception on Friday, May 10, 6-8 pm. The artist will be present. At its core, the exhibition represents a departure from previous presentations which drew inspiration from external experiences and shifts towards a more inward-looking examination of self, process, and materiality. McCloud’s abstract stamped paintings combine unconventional industrial materials such as aluminum sheeting, silver aluminum butane paint, and black liquid tar on tar paper with traditional pigments and woodblock printing techniques. Transitioning from the elaborate ornamentation of previous works in this series, McCloud has simplified the design to a single, minimal repeating shape. Streamlining this process has allowed for a repetitive, though more nuanced, intuitive approach. This change reflects a newfound confidence in his artistic vision, prompting him to question the necessity of each element within the composition. McCloud also embraces a more vibrant palette inspired by his time in Mexico. As McCloud revisits his Burdened Man series, he finds himself more personally connected to the imagery, seeing his reflection in carrying the burden of life’s experiences within the works. Despite the meticulous and exacting creative process – using hundreds, even thousands, of small cut-out pieces of single use plastic to “paint” the compositions – these new figurative works incorporate abstract elements, embracing a sense of freedom in his approach to representational imagery. McCloud's flower series, on view in the front gallery, were initially begun as a daily meditative practice during the pandemic to document the passage of time. The works are constructed of single-use plastic with oil paint to accentuate the blossoms. There are also watercolors on the wax paper McCloud uses in the fabrication of his plastic paintings. As with all of McCloud’s oeuvre, material regeneration is a prevalent connection within his work. His ability to elevate industrial elements into fine art materials is consistent throughout the exhibition, serving as a linear narrative that underscores his dedication to pushing boundaries and exploring the breadth of his creativity. Hugo McCloud lives and works in Los Angeles. His work has been the subject of solo exhibitions at The Aldrich Contemporary Art Museum in Ridgefield, Connecticut, The Arts Club, London, and Fondazione 107, in Turin, Italy. He has also been featured in group exhibitions at the Virginia Museum of Contemporary Art, Virginia, the Studio Museum in Harlem, New York, and The Drawing Center, New York. His work is in the collections of the National Museum of African American History and Culture in Washington, D.C., the North Carolina Museum of Art, the Detroit Institute of the Arts, The Margulies Collection at the Warehouse, the Nasher Museum of Art at Duke University, the Brooklyn Museum, the Mott Warsh Collection, and The Joyner/Giuffrida Collection. For additional information on Hugo McCloud, please visit skny.com For press, please contact Adair Lentini at Adair@skny.com For all other inquiries, please contact Lauren Kelly at Lauren@skny.com

Sean Kelly is pleased to announce the opening of Turn, Callum Innes’s first solo exhibition in Los Angeles in over thirty years. The exhibition features a group of his latest Tondo works, alongside his iconic Exposed Paintings, Split Paintings, and Shellac Paintings. There will be an opening reception on Saturday, March 16, from 5-7 pm. The artist will be present. At 6pm, Callum Innes will be in conversation with writer and curator, Hunter Drohojowska-Philip. The talk will be followed by a signing of Innes’ newest publication produced by Sean Kelly Gallery. From the onset of his career, Innes has created lushly painted and subtly nuanced canvases in a rectilinear format. In 2022, the artist added a striking new format to his repertoire, the Tondo. The catalyst for this transformative shift occurred when Innes was asked to paint the end of a whisky cask for a charity event. With these works, the artist mastered an entirely new set of technical and aesthetic challenges, confronting a format rich with art historical resonances. While his working methodology remains consistent—the repeated addition and removal of pigment in the Exposed Paintings and Split Paintings and the interaction of two different substances in the Shellac Paintings— the Tondos have necessitated a number of important evolutions in the way that Innes makes the work, both psychologically and formally. The materiality of the plywood panels accelerates Innes’s practice, providing a quick, firm surface. He also uses a smaller, rounded brush which introduces a completely different physicality, offering more fluidity and enabling a more direct interaction with the work. In contrast, his previous works on canvas offer a slower, softer surface, inviting a more meditative way of working. The exhibition also includes rectangular Exposed and Split Paintings. The rectangle, with its rational four points and sides, symbolizes elements, seasons, and reason itself, while the oval, with its earthier, sensuous nature, signifies unity and balance. This exhibition makes evident the expansion of Innes’ language and his mastery of technique, materiality, and emotional resonance throughout his acclaimed body of work. Callum Innes’s new publication, extensively illustrated with images from the Tondos series and installation views of key exhibitions, explores how the artist has challenged traditional perceptions of shape and form to create dynamic and immersive visual experiences. A pivotal essay by art historian Éric de Chassey, traces Innes’ encounter with the tondo and its progenitors in the history of art, firmly cementing his breakthrough in the pantheon of important works rendered in this distinctive style. Callum Innes lives and works in Edinburgh, Scotland and Oslo, Norway. In 1992, Innes had major exhibitions, at the ICA, London, and the Scottish National Gallery of Modern Art, Edinburgh. In 1995, he was short-listed for the Turner Prize and was awarded the Nat West Prize in 1998 and the Jerwood Prize for Painting in 2002. His critically acclaimed museum exhibition, From Memory, traveled throughout Europe and Australia from 2006-2008. In 2016, he was the subject of a major retrospective survey exhibition and accompanying monograph, I’ll Close My Eyes, at the De Pont Museum in Tilburg, Netherlands. In 2018, his first major solo exhibition in France, In Position, took place at Château la Coste in Provence, with an accompanying publication. Innes will have an exhibition at Kode – Lysverket Museum, Bergen, Norway in 2024. His work is included in major public collections worldwide including: the Tate Gallery, London; the Kunsthalle, Bern, Switzerland; the National Galleries of Scotland, Edinburgh; the Solomon R. Guggenheim Museum, New York; the Centre George Pompidou, Paris; The Irish Museum of Modern Art, Dublin; The Museum of Fine Arts, Houston; the Museum of Modern Art, Fort Worth; The Dallas Museum of Art; The San Francisco Museum of Modern Art; The Philadelphia Museum of Art; the Phillips Collection, Washington, D.C.; The National Gallery of Australia, Canberra; the Museu d’Art Contemporani de Barcelona; the Albright-Knox Art Gallery, Buffalo, New York; the Art Gallery of Ontario, Toronto; the Hilti Art Foundation, Vaduz, Lichtenstein; and Deutsche Bank, London, and Sydney. For media inquiries, please contact Adair Lentini at Adair@skny.com For all other inquiries, please contact Thomas Kelly at Thomas@seankellyla.com or Cecile Panzieri at Cecile@skny.com Image caption: Callum Innes, Exposed Painting Sapphire Blue, 2022, oil on Birch Ply, 70 7/8 x 68 7/8 inches © Callum Innes Courtesy: Sean Kelly, New York/Los Angeles

Sean Kelly is pleased to present After…, Idris Khan’s fourth solo exhibition with the gallery. There will be an opening reception on Thursday, March 14, 6-8 pm. The artist will be present. This presentation coincides with his first major museum exhibition in the US at the Milwaukee Art Museum, opening to the public on April 5. After… showcases several exciting developments in Khan’s practice. The exhibition introduces a process whereby the artist deconstructs art historical masterpieces to rich pallets of color referencing the volume and importance of the original painting’s power. Khan’s newest explorations focus on color and music, and their abilities to contain a world of memories, associations, and emotions which resonate on a universal level. Utilizing technology as complex as it is sensitive and poetic, Khan scans photographic reproductions of these artworks into a sound software that reveals their tone and color density. He then creates separate oil and water-based ink works with the dimensions of each color corresponding to the percentage in which it appears in the original painting. Each artwork is comprised of a grid-like structure of individually framed elements denoting the original work’s specific color palette. Khan also assigns musical notations to each hue and transcribes them to create a score for each painting. The panels are repeatedly stamped, in Khan’s signature style, with each works distinctive notation and overlaid with collaged sheet music, carefully selected for its shape and pattern. With this new body of work, Khan moves from representing a collapse in time to making evident the soundscape of each masterpiece. After… takes as its source iconic paintings so familiar that they now form part of the collective unconscious, including Leonardo da Vinci's Mona Lisa, Johannes Vermeer's The Milkmaid, and his Girl Reading a Letter at an Open Window. Idris Khan’s oeuvre draws on diverse cultural sources–literature, history, art, and music–to shape a distinctive narrative featuring densely layered images that metaphysically condense time into single moments. After… marks an important evolution in Idris Khan’s artistic practice and pays homage to the twentieth anniversary of Every…, Khan’s MFA exhibition from the Royal College of Art in London. It signifies a compelling shift in Khan's artistic paradigm, inviting viewers to take a nuanced and multi-level approach to how they perceive a work of art. The exhibition includes a selection of new oil and water-based ink works and gesso on aluminum panel paintings, for which Khan is known, incorporating into the work a striking new palette. Idris Khan’s first US museum solo exhibition, Repeat After Me, opens at the Milwaukee Art Museum on April 5, 2024. Featuring major works covering every facet of Khan’s career, the exhibition includes new works that respond directly to paintings in the museum’s permanent collection. The exhibition will be on view through August 11, 2024. Idris Khan lives and works in London, United Kingdom. His work has been the subject of major solo exhibitions at international institutions, including Chateau la Coste, France; The New Art Gallery Walsall, Walsall, UK; the Whitworth Gallery, the University of Manchester, UK; Gothenburg Konsthall, Sweden; the Museum of Contemporary Canadian Art, Toronto, Canada; Kunsthaus Murz, Mürzzuschlag, Austria, and K20, Dusseldorf, Germany. Khan’s design for Abu Dhabi’s memorial park, Wahat Al Karama, was awarded the 2017 American Architecture Prize, and he was appointed an OBE for services to Art in the 2017 Queen’s Birthday Honors List. His work is in the permanent collections of many institutions worldwide, including the Los Angeles County Museum of Art; the Albright-Knox Museum, New York; The British Museum, London; the National Gallery of Art, Washington, D.C.; the San Francisco Museum of Modern Art; the Solomon R. Guggenheim Museum, New York; the Norton Museum of Art, Palm Beach, FL; the Tel Aviv Museum of Art, Israel; the Art Gallery of New South Wales, Sydney, Australia; the Philadelphia Museum of Art; the de Young Museum, San Francisco; and the Centre Georges Pompidou, Paris, France. For additional information on Idris Khan, please visit skny.com For press, please contact Adair Lentini at Adair@skny.com For all other inquiries, please contact Janine Cirincione at Janine@skny.com

Sean Kelly is delighted to announce Photographic Memory, Jose Dávila’s first exhibition at the Los Angeles gallery. Photographic Memory is comprised of a series of Dávila’s signature cut-out works, which reference Richard Prince’s solo exhibition at LACMA in 2018. The exhibition features large-scale photographic works in which Dávila has removed the main figure of Prince’s influential Untitled (cowboy) series. Challenging conventional connotations and limitations of photography in today’s image driven society, Dávila’s cut-outs interrogate originality, appropriation, and the truth behind an image. There will be an opening reception on Saturday, January 20, from 5-7pm. The artist will be present.

Sean Kelly is delighted to present VERDES, Ana González’s first solo exhibition in Los Angeles. Through her artistic practice González captures the duality of the natural world – its fragile state due to humanity’s extraction of natural resources and the political and spiritual power inherent to it. Drawing upon the landscapes of her native Colombia, and her collaborations with the indigenous communities that protect them, González’s work serves as both a warning of the gradual disappearance of a vital, historic ecosystem and a celebration of its sensual power. Occupying Sean Kelly, Los Angeles’ third-floor space, the exhibition features paintings, textiles, works on paper, and sculptures. There will be an opening reception on Saturday, January 20, from 5 – 7pm. The artist will be present.

Sean Kelly Gallery is delighted to present John Guzman’s solo exhibition Drowning in Harmony. Guzman’s visceral artworks deconstruct the body to navigate the unpredictable, unusual, and at times, unbearable moments of life. Featuring a compelling series of new large and small oil paintings and works on paper, the exhibition delves into the complexities of the human experience. There will be an opening reception on Thursday, January 11, from 6-8pm. The artist will be present. Drowning in Harmony presents Guzman’s distinctive style and thought-provoking narrative to explore his unique visual language. His innovative approach to painting serves as a form of documentation, revealing the transformative nature of the body by reducing it to textured lines and muted colors. Drawing from lived experiences in the Southside of San Antonio, Texas, Guzman’s paintings abstract the human figure to reflect the unrecognizable transformations of the body resulting from stress. Guzman’s mastery of form, color, and conceptual depth is evident in this new series of works which demonstrate his ability to push artistic boundaries. The works on paper further highlight Guzman’s versatility, translating intricate concepts into a more intimate medium. Positioning his figures within domestic architecture, Guzman intricately weaves links between the environment and its inhabitants. In his paintings, Guzman assembles distorted, tangled figures confined in cramped domestic spaces, creating a visual language for the condition of existence at the edge of survival. The exhibition creates a link between the environment and its inhabitants as Guzman explores space, style, subject matter, and line, addressing the fragility of the psyche and altered landscapes. John Guzman received formal training from the Southwest School of Art, San Antonio, TX. In June 2022, he had his first museum solo exhibition, John Guzman: Flesh and Bone at Blaffer Art Museum, Houston, TX. He is a graduate of NXTHVN’s Fellowship Program in New Haven, CT, which had its culminating exhibition, Undercurrents at Sean Kelly, New York in June 2022. He currently lives and works in New Haven, CT. For additional information on John Guzman, please visit skny.com For media inquiries, please email Adair Lentini at Adair@skny.com For all other inquiries, please email Janine Cirincione at Janine@skny.com

Sean Kelly is delighted to present Julian Charrière’s Buried Sunshine, the artist’s third solo exhibition with the gallery in New York. Capturing the delirium of the petroleum industry and the burning of lithic landscapes, Charrière brings his film Controlled Burn together with sculptures and a new series of heliographic photographs to unearth the ‘fossilized sunshine’ upon which the mythos of Los Angeles was built. Examining the material reality of hydrocarbons and how our modern world is organized around the energy they provide, the exhibition draws parallels between the image-making machine of Hollywood and our dependence on fossil fuels, both of which exert gravitational forces that bend our perception of reality. There will be an opening reception on Thursday, January 11, from 6-8pm. The artist will be present. In his new photographic series Buried Sunshines Burn, Charrière reveals the City of Angels as a special anomaly: a place built not only by hydrocarbons, but on top of them, with 5,000 active oil wells beneath the second largest city in the United States. Employing heliography, one of photography’s oldest techniques, first developed by French inventor Nicéphore Niépce in 1822, Charrière uses a light-sensative emulsion incorporating naturally occurring tar collected from the La Brea, McKittrick, and Carpinteria Tar Pits in California to create photographic imprints of local oil fields. Shot from a bird’s eye perspective, the images–printed on highly polished stainless-steel plates–survey some of the state’s largest reserves, including the immense Kern River Oil Field in the San Joanquin Valley, the Placerita and Aliso Canyon Oil Fields in Santa Clarita, and the giant Inglewood Oil Field situated in the heart of the city. Charrière’s film Controlled Burn invites viewers on a cosmic journey, soaring through an aerial landscape of imploding fireworks. Filmes using a drone, this disorienting voyage takes place in open pit coal mines, discommissioned oil rigs, and rusting cooling towers. Amid whirling smoke and fire, implosions are intercut by flashing images of primordial ferns and fluttering moths–beings that evolved during the carboniferous geological period. Charrière cites these organisms as spirit guides and living tokens for the vitality of fossil fuels, and markers for how the agency of coal, oil, and tar has come to haunt our contemporary imagination. Linking celebratory pyrotechnics with architectures of extraction, explosive momentum, and technological obsolescence, Controlled Burn stages the fantasy of a dramatic return to sources of energy via implosion. Also featured in the exhibition are two obsidian sculptures, Thickens, pools, flows, rushes, slows. Made from large pieces of polished volcanic glass–colled magma which has erupted from the Earth’s core. Charrière draws on this material as an ancient means of divination. A readily available resource in Mesoamerica, both Mayan and Aztec civilizations believed obsidian to unlock doors to other times and realms; the hardness of the glass made it one of the earliest materials to be traded across vast distances. In the present, the dark vitality of obsidian is eerily reminiscent of our technological black mirrors, themselves questionable portals beyond the present. As an exhibition, Buried Sunshine expands upon Julian Charrière’s ongoing inquiry into how our species inhabits the world, and how it in turn inhabits us. Charrière combines a unique industrial history with a historic form of image-making, creating an immersive landscape where our most urgent ecological concerns can be addressed. Utilizing photography, film and sculpture, Buried Sunshine investigates sense of place through the lens of geological time, in the process urging viewers to reflect on how our relationship with the materials we appropriate as fuel comes to inform how we perceive the world around us. Julian Charrière’s work has been the subject of solo presentations at major international institutions, including SFMOMA, San Francisco; Langen Foundation, Neuss; Dallas Museum of Art, Dallas; MAMbo, Bologna; Berlinische Galerie, Berlin; Parasol Unit Foundation, London; Musée des Beaux-Arts, Lausanne; and Centre Culturel Suisse, Paris. Charrière has also been prominently featured at the 59th Biennale di Venezia; 57th Biennale di Venezia; the Antarctic Biennale; the Taipei Biennial; the 12th and 16th Biennale de Lyon; Centre Pompidou, Paris; Sprengel Museum, Hannover; Aarhus Kunstmuseum, Aarhus; SCHIRN Kunsthalle, Frankfurt; Hayward Gallery, Southbank Centre, London; and Palais de Tokyo, Paris. Julian Charrière is a former participant of the Institute for Spatial Experiments, an experimental education and research project at the Berlin University of the Arts led by Olafur Eliasson. A nominee for the Prix Marcel Duchamp in 2021, in 2022 Charrière received the 14th SAM Prize for Contemporary Art. For additional information on Julian Charrière, please visit skny.com For media inquiries, please email Adair Lentini at Adair@skny.com For all other inquiries, please email Lauren Kelly at Lauren@skny.com