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5247 West Adams Boulevard
Los Angeles, CA 90016
323 452 9067
Shoshana and Wayne Blank opened their first gallery in 1986 in Santa Monica in a historic building that once housed the iconic Beach Boys’ Studio. From the very beginning the gallery had a mission to give women artists a platform for exhibitions in Los Angeles and to help energize and promote their careers. Gallery exhibitions often focused on discoveries of new, fresh talent. Among the artists exhibited at the gallery, in many cases early in their careers, were Nicole Eisenman, Kiki Smith, Arlene Shechet, Pae White, Yoko Ono, Dinh Q. Lê, Yuken Teruya, Mounir Fatmi, Lorna Simpson and Nan Goldin, to name a few.

Ono, for instance, was far more widely known in the 1990s as a celebrity than as an artist in her own right. When she came to Los Angeles to install her show and participated in a public program at the gallery in conjuction with LACMA, the show began to draw large crowds.

“West Coast Duchamp” in 1990 was a turning point in the gallery program, presenting a recreation of Duchamp’s first retrospective at the Pasadena Museum of Art in 1963, a show organized by the Museum’s legendary director Walter Hopps. The show included all the artist’s ready-mades, generously loaned by the Israel Museum in Jerusalem, with original artwork and photographs by Julian Wasser documenting the Pasadena show opening in 1963. The gallery sponsored an all-day symposium at the Santa Monica Library organized by Bonnie Clearwater. Participants included Walter Hopps, Beatrice Wood, Francis Naumann, Henry Hopkins, Robert Pincus, and more. The gallery together with Clearwater published a book tracing the connections between Duchamp and the West Coast.

The Duchamp show directed the focus of the gallery more toward conceptual art. Shoshana Wayne mounted important survey shows of Christian Boltansky and Bruce Nauman, as well as Viennese Actionism, to name a few. Rachel Lachowicz also staged “Red Not Blue” at the gallery, a seminal performance piece that is today widely referenced in books on contemporary art and feminism.

In 1994, the city of Santa Monica approached Wayne Blank to present ideas for developing a 6-acre lot with dilapidated industrial structures in the heart of Santa Monica. The city was interested in Wayne’s vision for the space after he developed artists’ studios at the Santa Monica airport by converting a run-down hanger.

In 1994 following the L.A riots and an earthquake that resulted in a recession and challenged the Los Angeles art scene, Wayne’s vision to build Bergamot Station as an art center was unanimously accepted by the city and six months later the center was completed with galleries open for business. Wayne’s early vision of converting industrial spaces into art galleries and museums became a model for other cities around the world. Bergamot Station (Wayne coined the name), included some of the best galleries in Los Angeles at the time – dealers like Patricia Faure, Rosamond Felsen, Burnett Miller and many more, including Shoshana Wayne which opened with a Joel Otterson exhibition in a custom built 5,000 square foot space designed by Fred Fisher & Associates. Thousands of people attended the gallery reopening at the new center.

Over the next 25 years the galley presented shows at Bergamot Station of Balthus (his first and only show in Los Angeles), Anselm Kiefer, Barbara Bloom’s “Pictures from the Floating World,” in collaboration with Leo Castelli Gallery, Michal Rovner, Mounir Fatmi, Yoko Ono, Dinh Q. Lê, Shirley Tse, Jeffrey Gibson, the YBAs (Young British Artists) presented in collaboration with Victoria Miro Gallery, Russell Crotty, and Arlene Shechet, just to name a few of the more memorable exhibitions.

Performances, lectures, curator talks, and occasional film screenings were also part of the gallery program. A Peter Hutton film series was a highlight, while Kelly Nipper staged a memorable performance that lasted for two weeks, “Norma - Practice for Sucking Face” with 5 dancers performing every day. During this time Shoshana Wayne Gallery collaborated with museums for exhibitions and placed artists in important collections worldwide, including Kiki Smith at the Israel Museum in Jerusalem, Dinh Q. Lê at MOMA and the Asia Society Museum in NY, Yoko Ono at the Israel Museum in Jerusalem, and at the Umm el-Fahem, Palestine. The gallery has also participated in major international art fairs including Art Basel, Art Brussels, Paris Photo, and the Armory Show.

Shoshana Wayne Gallery moved into a temporary exhibition space on Jefferson Blvd. in the West Adams district of Los Angeles in 2019, in anticipation of opening a new 7,000 square foot permanent home nearby.

Additional forthcoming exhibitions include; a mid-career retrospective of Rachel Lachowicz, curated by UC Santa Barbara Professor of Art & Architecture Jenni Sorkin; and solo presentations of Stephen Antonakos, Tadaaki Kuwayama, Rakuko Naito, Sabrina Gschwandtner, and Thordis Adalsteinsdottir.
Artists Represented:

Stephen Antonakos 

Philip Argent

Zadok Ben-David 

Kathy Butterly 

Russell Crotty 

Mounir Fatmi

Chie Fueki

Sabrina Gschwandtner 

Tadaaki Kuwayama 

Rachel Lachowicz

Dinh Q. Lê

Sze Tsung Nicolás Leong 

Orly Maiberg

Mariko Mori

Rakuko Naito 

Yoko Ono

Izhar Patkin 

Elaine Reichek 

Michal Rovner 

Beverly Semmes 

Brad Spence 

Yuken Teruya 

Frances Trombly 

Shirley Tse 

Yvonne Venegas 

Gil Yefman 

Jinyoung Yu 


 
Past Exhibitions

Anina Major

Inheritance



September 17, 2022 - September 22, 2022
Shoshana Wayne Gallery is pleased to present ‘Inheritance’ by Anina Major. This is the artist’s first solo show with the gallery. ‘Inheritance’ will be on view from September 17th through October 22nd, 2022, with an opening reception on September 17th from 2-5 pm. The decision to voluntarily establish a home contrary to the location in which Major was born and raised (The Bahamas) motivates her to investigate the relationship between self and place. In search of a place to articulate the essence of her practice, the artist returns to the inspirational source of her work—the straw market, an actual place that possesses metaphorical meanings, to further explore her own migration and the emotional complexities of transactional relationships between people and places. At its juncture a sense of belonging is generated from a combination of characteristics, core values and deep-rooted histories that are often undervalued in the context of tourism. In the desire to fabricate her own terms of cultural integrity and its defining influence, viewers experience sculptural works that act as present-day manifestations of the traditional weaving technique known as plait, taught to Major by her grandmother. Beach balls and straw bags collide into forms that through the material transformation of clay, exemplify the power of legacy building through making. And vintage postcards provide composition for the performative video work, Heavy is the Head as an alternate narrative to the utopian landscapes promoted. As a counteraction to culture erasure, the work is a continued celebration and reclamation of the ideas behind ‘women’s work’, specifically regarding expressions of identity and imagination. Layering references to post-colonial themes, cultural commodification, feminism and migrational experiences, the abstract nature of the work has the capacity to exist in both traditional and contemporary realms. Anina Major was born in Nassau, Bahamas. She lives and works in New York. Major received an MFA in ceramics from Rhode Island School of Design (RISD), Providence, RI, and a BS in graphic design from Drexel University, Philadelphia, PA. She has exhibited in museums and galleries internationally, including Mass MoCA, North Adams, MA; New Museum, New York, NY; National Gallery of The Bahamas, Nassau, Bahamas; and DeCordova Sculpture Park, Lincoln, MA. Major’s work can be found in the permanent collections of the Museum of Fine Arts, Boston; the National Gallery of The Bahamas, Nassau, Bahamas; the RISD Museum, Providence, RI; and Los Angeles County Museum of Art (LACMA), Los Angeles, CA.

Jinyoung Yu

the LIFE II



August 6, 2022 - September 10, 2022
Shoshana Wayne Gallery is pleased to present the LIFE II by Jinyoung Yu. This is the Korean artist’s first solo show with the gallery. the LIFE II will be on view from August 6th through September 10th, 2022, with an opening reception on August 6th from 2-5 pm. Working with a cast of semi-transparent sculpted characters, Jinyoung Yu explores the disparity between the outer and inner self. Yu’s work acknowledges the anxiety of social situations and exposes implicit acts of cover-up one engages in when adhering to social conventions. This critique of social modes is developed using two opposing materials: vibrantly painted plaster and transparent PVC. The weight of the hardened façade of these figures is carried by their thin bodies, and some even appear to carry the weight of others. As the artist captures the many faces we have created for ourselves, she implores us to examine who we truly are. Behind the flamboyant exterior, outside of ever-present hierarchies and oppressive social structures, we may be left with a hollow shell conditioned to be invisible. Jinyoung has dealt with immense social anxiety and avoided being the center of attention from a young age. Though she as an artist utilizes extroverted expression to convey narratives, her introverted nature manifests in the transparent bodies of her sculptures. The subtle, nearly impassive expressions on the masks relate to the artist’s childhood, where she had to quickly notice subtle differences in the facial expressions of her parents to avoid being berated. The artist’s exploration of family dynamics and ego ultimately led her to delve into the insecurities and inequalities prevalent throughout society. She shifts her focus from the individual, to society, to the world, and reflects on our reality where no one can escape the weight of ‘life’. Jinyoung Yu exposes the dualities that exist within us all, urging viewers to look inward for a solution to break this cycle. Jinyoung Yu was born in Seoul, South Korea, where she lives and works. Yu received an MFA and BFA in sculpture from Sungshin Women’s University, Seoul, South Korea. She has exhibited in museums and galleries internationally, including the Vestfossen Museum, Norway; the Seoul Museum of Art, South Korea; the Yellowstone Art Museum, Billings, MT; Gyeongnam art museum, Gyeongnam, South Korea; and Woljeon Museum, Icheon, South Korea. the LIFE II is in collaboration with CHOI&CHOI Gallery, Seoul, South Korea; and Cologne, Germany.

Philip Argent, James Richards, Brad Spence

Inquiries in Abstraction



August 6, 2022 - September 10, 2022
Shoshana Wayne Gallery is pleased to present Inquiries in Abstraction featuring Philip Argent, James Richards, and Brad Spence. The exhibition brings together the work of three California-based painters who use abstraction to investigate materiality, the human condition, and the digital world. Each artist has presented two paintings created in the past year, which reflect the turbulence and uncertainty of the present moment. Inquiries in Abstraction will be on view from August 6th through September 10th, 2022, with an opening reception on August 6th from 2-5pm. Philip Argent’s paintings present an interpretation of the swift flow of experiential and technological influences. They also offer a counter to that rapidity; their meticulous surfaces and processes invite a slow read. Paint is applied using a variety of methods (masking, printing, atmospheric and linear) and allows for an intuitive selection of forms that often mutate, reappear, and transform as a series develops. The use of vivid color relationships stem from observations of natural phenomena, personal memory, and the influence of commercial or screen-based sources. Color plays an intrinsic role both as an indicator of depth and shape and as a referent for a non-objective internal logic. Brad Spence’s paintings are improvised abstract spaces for fantasy projection. Viewers’ bodies are mobilized in search of a distance where the scenes come into focus. However, clarity is just out-of-reach as what resembles human forms dissolves into fingered smudges at close inspection. The mingled clusters of marks suggest social events, the nature of which is elusive and changing. They shift between celebrations, rites of passage and rituals of the carnal and carnivalesque. The paintings are intended to provoke viewers’ subconscious yearnings as expressed in social ceremonies and unsober excess. They are meant to activate both memories and their erasure. James Richards’ two paintings initiate a new body of work inspired by the building technique of wattle and daub. Instead of mud on top of woven branches, paper-mache is applied to the expanded weave of the canvas. The paper-mache is then treated to look like unfired clay. An open structure of various materials including repurposed fabric, painted areas that mimic pen and ink drawings, and an ample amount of negative space contribute to an alchemy of surface and support. Philip Argent received an MFA from UNLV and a BA with honors from Cheltenham School of Art. Argent lives and works in Santa Barbara and teaches in the Department of Art at UC Santa Barbara. James Richards holds an MFA from Art Center of College and Design, Pasadena, CA and a BFA from California State University, Fullerton, CA. Richards lives and works in Los Angeles. Brad Spence holds an MFA from California Institute of the Arts, Valencia, CA and a BA from the University of Florida, Gainesville, FL. Spence lives and works in Los Angeles.

Shirley Tse

Lompoc Stories



June 18, 2022 - July 30, 2022
Continuing on the concept of “Stakeholders”- a solo exhibition representing Hong Kong at the 58th Venice Biennale in 2019- Tse wants to bring to attention the biggest stake we all hold as stakeholders is anthropogenic climate change. Her current work contemplates all form of sustainability: our environment, our energy use, our mental health and our economic disparity. Tse has relocated to Lompoc – “stagnant waters, or lagoon” in Purisemeño language by the Chumash people - in search of a model for a sustainable art practice. Non-human stakeholders of Lompoc- animals, minerals, flower seeds, rocket- enter into her studio. Incorporating shed snake skin, diatomaceous earth, tar and charred wood from wild fire into her sculptures, Tse makes palpable the fragility of our life-world. Hong Kong–born, California– based artist Shirley Tse works in the media of sculpture, installation, photography, and text. She at once deconstructs the world of synthetic objects that carry paradoxical meanings and constructs models in which differences might come together. To visualize heterogeneity, Tse conflates different scales, fuses the organic with the industrial, moves between the literal and the metaphorical, merges narratives, and collapses the subject and object relationship. Tse received a Master of Fine Arts degree from ArtCenter College of Design, Pasadena, California, and a Bachelor of Arts degree from the Chinese University of Hong Kong. Her work has been exhibited internationally at venues including: M+ Pavilion, Hong Kong (2020); the Pasadena Museum of California Art (2004/2017); Osage, Hong Kong (2010/2011); K11, Hong Kong (2009); Kettle’s Yard, University of Cambridge (2009); the Museum of Modern Fine Art, Minsk (2006); the Herbert F. Johnson Museum of Art, Cornell University (2005); Para Site, Hong Kong (2000/2005); the Kaohsiung Museum of Fine Arts (2003); the Art Gallery of Ontario, Toronto (2002); the Bienal Ceará América, Fortaleza (2002); the Biennale of Sydney (2002); Capp Street Project, San Francisco (2002); the Institute of Contemporary Art, Boston (2002); MoMA PS1, New York (2002); the New Museum, New York (2002); Palazzo dell’Arengo, Rimini (2002); the San Francisco Museum of Modern Art (2001); TENT, Centrum Beeldende Kunst Rotterdam (2001); and Govett-Brewster Art Gallery, New Plymouth, New Zealand (2000). Her work is held in the permanent collections of M+ Museum, Hong Kong, Hong Kong Heritage Museum, Vancouver Art Gallery, Rhode Island School of Design Museum, Altoids Curiously Strong Collection, among others. Tse represented Hong Kong at the 58th Venice Biennale in 2019. Tse received the John Simon Guggenheim Memorial Foundation Fellowship in 2009 and has been on the faculty at California Institute of the Arts since 2001.

Thordis Adalsteinsdottir

Living in the End Times



June 18, 2022 - July 30, 2022
Shoshana Wayne Gallery is pleased to present Living in the End Times by Thordis Adalsteinsdottir. This is the Icelandic artist’s second solo show with the gallery. Living in the End Times will be on view from June 18th through July 30th, 2022, with an opening reception on June 18th from 2-5 pm. Taking inspiration from her personal surroundings and current events, Adalsteinsdottir’s surrealist paintings let go of any notion of sense or reason. Living in the End Times, whose title is inspired by its biblical theme and a Slavoj Žižek book of the same name, is comprised of paintings created between 2020 and 2022. Works included in Living in the End Times display scenes from everyday life: a man uses his phone in bed, a boy smokes a pipe, two figures play badminton; but Adalsteinsdottir makes sure these events are anything but ordinary. Animals often cohabitate with humans, vacuuming our floors and wearing our clothes, often appearing so large that seem like our equals. Figures are set against vivid colors and beautiful patterns, making these routine events into dreamlike compositions. A lack of separation between an inner world and our environment, and portraying the inappropriate desire to define reality, is at the heart of Adalsteinsdottir’s paintings, and much of the work deals with spectatorship. Humans and animals peak into the windows of these interior scenes, becoming part of the composition as they watch from the background. The inclusion of security cameras and cellphones reinforces this ill-defined boundary between public and private life, hinting that these moments are much less intimate than they appear. To summarize the experiences and feelings that inspired the works in Living in the End Times, the artist has prepared a statement for the show’s press release: I am with everyone at once and never with anyone. Kissy-wink-face, heart emoji, thumb up my butt. I live in someone’s diary, it’s written in 1898. The world will never be the same. A large window is open and someone plays an instrument on the cobblestoned street. I check my phone, longing for nighttime and longing for sleep. Luckily the days rush past at lightning speed. Someone goes out running, his woolen socks make a thump thumping sound on the cobblestones. He is building up strength and stamina, it is important so that he can run with other people who have built up strength and stamina. This seems to be a great year, a good diary; the smog is thick, the injustice is endless. I keep planting strawberries and the cats keep pooping on them. Thump- thump-thump- thump- This man is very good at running and knowing what is important. Finally, an angry pigeon closes the window from the outside, and I cannot hear the musical instrument anymore. I turn up the news and realize that the world will never be the same. Someone looked up and everyone was dead. In a square meant for young people drinking and old people kissing, I kiss a running man on the lips and realize that the world will never be the same. Thordis Adalsteinsdottir was born in Reykjavik, Iceland and splits her time between Reykjavik and Rennes, France. She received an MFA from the School of Visual Arts, NY after graduating from the Icelandic Academy of Arts and the Universidad de Barcelona, in Spain. Adalsteinsdottir has exhibited in galleries and museums nationally and internationally with exhibitions at The Reykjavik Art Museum, Reykjavik Iceland, Shoshana Wayne Gallery, LA, Myokos Biennale, Greece, Laumeier Sculpture Park, Saint Luis, MO, Chiang Mai Art Center, Thailand, and Socrates Sculpture Park, New York.

Max Colby

Revival



April 30, 2022 - June 11, 2022
Shoshana Wayne Gallery is pleased to present Revival by Max Colby. This is the artist’s first solo show with the gallery. Revival will be on view from April 30th through June 11th, 2022, with an opening reception on April 30th from 2-5pm. Revival highlights two mature bodies of work by the artist. Colby’s most ambitious and prominent work to date, They Consume Each Other - an installation comprised of 42 meticulously crafted sculptures atop custom glass plinths - sits majestically in the main gallery. In the second gallery, new work from 2022 titled Shrouds connects Colby’s interest in material relation to the body in disquieting ways. The title, Revival, references Colby’s interest in mundane objects, aesthetics, and excessive consumption in contemporary culture’s relationship to normative, violent systems. They Consume Each Other explores the body and its relation to material through references to ceremony and ritual, evoking a monumental altar. Her subversive and campy usage of mundane material seduces the viewer into complex dialogues on the role of aesthetics in binary, cultural constructions of gender, class, and taste in this playful, yet unsettling installation. With a focus on material, Colby’s approach is research-oriented, utilizing Western and American textiles, crafts, and everyday objects. The application is tender and careful, lush and highly embellished, opening a lens to reframe oppressive structures embedded in these materials from a trans and non-binary perspective. Shrouds connects primary conceptual threads in Colby’s practice to the body through familiar objects - quilts. These works begin with reclaimed ‘Crazy’ quilts from 1900- 1950. The movements style uses a hodge-podge of fabrics lacking repetition and highly embellished embroidery, leading to an aesthetic of visually and culturally conflicting fabrics spliced together piecemeal. Colby’s quilts provide a remarkable overabundance of reclaimed materials sewn and embroidered on top. From party supplies to complex hand embroidery, connections drawn in Shrouds focus on reimagining relationships to popular culture and consumption through common associations with quilts of comfort, embrace, and home. Some ominous in scale, others small, the title Shrouds reflects the works anthropomorphic and haunting presence. Colby has been exhibited internationally including at Wave Hill, the Leslie-Lohman Museum of Art, Sugar Hill Children’s Museum of Art and Storytelling and Museum Rijswijk, among others. She has completed residencies at the Museum of Arts and Design (New York), the Wassaic Project, MASS MoCA and a Leslie-Lohman Museum Fellowship. In 2022, Colby exhibited a campus-wide public commission for Art in Focus at Rockefeller Center in partnership with Art Production Fund. Colby (born 1990, USA) lives and works in New York City. She received a BFA from the School of the Museum of Fine Arts at Tufts University in 2012.

Sabrina Gschwandtner

Scarce Material



March 12, 2022 - April 16, 2022
Shoshana Wayne Gallery is pleased to present Scarce Material by Sabrina Gschwandtner. This is the Los Angeles based artist’s third solo exhibition with the gallery. The exhibition will be on view from March 12 through April 16, 2022, with an opening reception on March 12 from 2-5pm. For this exhibition, the artist looks back to the earliest iterations of the cinematic form, during the Silent Film era. Using black and white 35 mm film, video, silver gelatin photography, and fabric, Gschwandtner offers an alternative to the male-dominated history of film, and a literal mending and repairing of film history. “Scarce Material” refers both to a quilting term for anything that can be stitched together into a quilt, and to the archived early cinema made by pioneering women filmmakers that is in short supply. The artist worked with local and international film archives over three years to source digital copies of some of the earliest films made by women cinema pioneers, whose work from the late 1800s - early 1900s is woefully under-recognized. She prints these movies onto black and white 35 mm film stock, and then cuts and sews the film into configurations based on quilt motifs. She intermingles footage to create a dialogue between the images inside the frames and the overall patterns of the quilt designs. The artist’s sewing of film is a three-dimensional form of cinematic editing and a reconfiguration of the notion of "filmic suture" (the use of editing to draw audiences into a story). It is also a way to center marginalized material histories of cinema, in which women with sewing skills translated their handcraft to film editing, and certain early film technology was based on the mechanical advancements of the sewing machine. Many movies made by pioneering female filmmakers were never archived, and have been lost to history. To honor these works, the artist hand-embroiders filmmaker’s names and hand-writes the titles of their films and the dates the films were made onto blank film. The time she invested in handwork gives permanence and gravity to lost narratives by directors like Fatma Begum, India’s first woman director, who pioneered the fantasy genre in 1926, and Mimí Derba, a pioneering actress, writer and director from Mexico. Gschwandtner’s silver gelatin photos and video evoke cinema’s earliest origins in stop motion photography through a translation of moving images into patterns of women’s self-portraiture. Gschwandtner has exhibited internationally at museums including the Victoria & Albert Museum; Los Angeles County Museum of Art (LACMA), Smithsonian American Art Museum, and Crystal Bridges Museum of American Art, among many others. Her 3 channel video “Screen Credit,” commissioned by LACMA, is currently on view at the museum’s Stark Bar. Her work is held in the permanent collections of LACMA, the Smithsonian American Art Museum; Museum of Fine Arts, Boston; the RISD Museum, and the Carl and Marilynn Thoma Art Foundation, among other public and private collections worldwide. Her ‘zine KnitKnit is included in the permanent collections of The Museum of Modern Art, the New York Public Library, the J. Paul Getty Museum, and the Fine Arts Library at Harvard University. She received a BA from Brown University and an MFA from Bard College. The artist wishes to thank: EYE Filmmuseum, the Netherlands; Gaumont-Pathé Archives; British Film Archives; Kino Lorber; Academy of Motion Pictures Arts and Sciences Film Archive; Women Film Pioneers Project; Gregory Yee Mark; Suzan Mischer; Aimee Mann, and Maia Julis.

Orly Maiberg

Where do we go from here



January 29, 2022 - March 5, 2022
Shoshana Wayne Gallery is pleased to announce the inaugural exhibition at our new location on West Adams, Where Do We Go From Here an exhibition of new works by Tel Aviv-based artist Orly Maiberg. The exhibition opens January 29th, 2022 and runs through March 5th, 2022. Where Do We Go From Here is the artist’s debut exhibition with the gallery and her first solo show in the United States. At first glance, Orly Maiberg’s works seem like abstract paint spaces, resembling satellite images. Raw matter touched by delicate gestures of paint. A closer look suggests a topographic map, patches that form landscapes, mountaintops, deserts and seas. Maiberg’s work begins in dipping the naked canvas in a tub of ink, allowing the appearance of initial contours of fluid, topographical marks. Then the artist collages pieces of canvas, covering parts of the painting and creating frayed geological layers of states and textures. From that point onwards, her treatment of the canvas resembles a musical arc: actions lead to actions or a pause – an empty space within the painting. Any suspension demands another action and thus, repetitively, the painting is being created, variation upon variation. The movement in the studio evolves intuitively, with moments of alertness that allow the mind to capture the story that emerges from the painting and illuminate it. Slowly, the arbitrary makes room for the rational, and the unconscious - for the conscious. Premeditation and randomness are being merged into a complex artistic progression, combining the pre-structured outline with that which appears out of the blue. This repetitive process is evident in all Maiberg’s works. Wandering among them enables the viewer to weave fragments into an incomplete body, hallmarked by tear, disruption, scars and fragmentation, implying the complexity of our life’s reality. An event, a narrative-led occurrence begins to emerge from the painted scene. The eye wanders upon the canvas and what seems to be an overview of the abstract, the elusive and infinite, focuses at once when a fragile figure appears and forces a scale, sharpens the perspective, permitting the gaze to hang on to it for a short while and linger. Emerging like that, the figures define the painted space, which is bound by somewhat vague rules. The human presence disciplines the painted reality. The works in the current exhibition were all created during the latest period of lockdowns, isolations and restrictions. As a way of challenging our restraining reality, the processes in the studio sought a release, spreading while the correlation between their fragmented forms and their inner chaos grew, gradually. In Sitting on a Branch the canvas’ boundaries are broken; the painting splits and branches out, as if it could go on growing. Maiberg draws her themes from within the world’s onwards movement and lets them mirror for us, make us confront their – our – loneliness. They require us to pour our own notions onto the canvas, in order to stitch it together, raise questions and reassess, where do we go from here? Orly Maiberg received her B.F.A. at the New York School of Visual Arts. She has exhibited her work extensively in Israel and internationally, and can be found in museum collections including the Tel Aviv Museum of Art and the Israel Museum in Jerusalem. Maiberg lives and works in Tel Aviv.

Max Colby, Terri Friedman, Jeffrey Gibson, Sabrina Gschwandtner, Dinh Q. Lê, Anina Major, Madame Moreau, Elaine Reichek, James Richards, Frances Trombly, Yveline Tropéa, and Gil Yefman

Uncommon Ground



September 21, 2021 - November 30, 2021
Shoshana Wayne Gallery is pleased to present “Uncommon Ground,” an online-exclusive exhibition of works on paper available online from September 21 to November 30, 2021. The exhibition brings together the work of 17 artists, most if not all of whom are better known for their work in other art forms, such as painting or sculpture, but also actively made or make drawings or works on paper. Each of the artists approach the medium of drawing in different ways, experimenting in media, techniques and materials to explore concerns, themes and ideas which range from identity, race and the body to social, economic, gender, and political issues. For each of these artists drawing is a language in which to speak, to speak out, speak up. The works in the exhibition are drawn mostly from gallery artists, but also several others who have made outstanding contributions to the field of drawing over the years. The artists include: Mike Kelley, Kiki Smith, Jim Shaw, Yoko Ono, Russell Crotty, linn meyers, Shiva Ahmadi, Nicole Eisenman, Joshua Marsh, Raymond Pettibon, Ed Keinholz, Tom Burckhardt, Nancy Baker Cahill, Harry Roseman, Max Colby and Sabrina Gschwandtner, and Yuken Teruya. The works on view speak for themselves, as each was made in a different time and place with different motivations in mind. Some are figurative, some partly abstract employing marks, forms, colors and patterns, or even whimsical, but all share a love of the hand-made, of visual beauty and sensuality even if each of the 17 artists conceptualize these concepts in wildly different ways. Within this group, however, there is a collective interest in the unconscious mind and inner desires, a recognition that the power of an artwork is to be felt, deep onside, as well as seen.

Max Colby, Terri Friedman, Jeffrey Gibson, Sabrina Gschwandtner, Dinh Q. Lê, Anina Major, Madame Moreau, Elaine Reichek, James Richards, Frances Trombly, Yveline Tropéa, and Gil Yefman

Above & Below



June 15, 2021 - August 28, 2021
Shoshana Wayne Gallery is pleased to announce “Above & Below,” an exhibition of work by 12 artists working with fabric, cloth, beads and woven materials. The exhibition opens to visitors June 15th and runs through August 28th, 2021. The exhibition title refers to the process of weaving—threading above and below lines of thread to create a fabric. Though the use of weaving and woven materials is what unites each of these artists, they employ a diverse range of artistic processes and practices from weaving, quilting, sewing, needlepoint and felting to assemblage and threading. Image: Installtion view