Susan Inglett Gallery

Archetypal representations of sex, drugs, fame, and wealth are used to titillate and extort the masses. The assembled artists use the methodologies of Pop Art to interrogate the power systems bolstered by mass communication and to reclaim identity.

Martha Jackson Jarvis bears witness to her great-great-great-great grandfather's experience as a free Black militia man during the American Revolutionary War. In her large-scale abstract paintings, she tracks his physical and psychological journey through various landscapes, both foreign and familiar, embedding the work with deep-seated memories of time and place. Jarvis’ practice spans decades and media, ranging from large-scale sculpture and public art installations to works on paper.

Susan Inglett Gallery presents the first exhibition of William Schwedler’s (b. 1942, d. 1982) work in New York since 1983. Among the early victims of the HIV/AIDS epidemic, Schwedler still managed to carve a space for himself in the New York scene. After attending the Art Institute among fellow artists who became known as the Chicago Imagists, Schwedler completed his studies at Pratt. While not a part of the group formally, Schwedler was deeply influenced by his Chicago peers, distinguishing himself by devising highly architected spaces devoid of the figure but not devoid of the uncanny.

Celestial bodies, flourishing vegetation, and towering formations of stone, rendered exquisitely in ink and graphite, welcome the viewer into Ernesto Caivano’s simultaneously foreign and familiar world. Caivano uses drawing and this modern-day mythogenesis as a way for the viewer to contemplate time, erosion, structures, impermanence, and the cosmos both within and without.

An important figure in third-wave feminist art, Semmes’s multidisciplinary practice spans fabric sculptures, ceramics, blown glass, fashion, film, photography and, more recently, collage-based painting. Semmes levels the playing field, using her favorite models along with long-coveted fabrics, shapes, objects, and patterns as fodder for an unhinged formalism. Her restless process of cutting and pasting leads the way.

Wilmer Wilson IV explores the ever-changing relationship between the city and its inhabitants through an intermedia lexicon consisting of performance, photography, and sculpture. A love letter to the process, Wilson IV extrapolates while simultaneously simplifying his approach, expanding the lexicon of staple-as-mark. In this new body of work, the staple appears as a fully expressive line. Continuing to investigate the relationships between figure and environment, city and dweller, viewer and viewed, Wilson IV speculates impossible infrastructures and anonymous personas as surrogates for his inspection of sociality.

Ryan Wallace continues his process-based abstractions, forming hard-edged planes of seams, layers, and shapes to conjure an ethereal space between the material and immaterial.

An exhibition and performance of a series of recent sculptures by Brendan Fernandes based on traditional African headrests. This work will be shown in conjunction with the earlier photographic series, As One.

Susan Inglett Gallery is pleased to present Allison Miller sixth exhibition with the Gallery, World. This exhibition will run from 19 October through 25 November 2023. In this new expansion of work, Miller uses color, forms, and symbols to place the viewer in a heightened state of awareness, asking us to reconsider assumptions and to challenge received meaning. A reception for the artist will be held Thursday 19 October 2023 from 6 – 8 PM.

This exhibition, a product of his 2022 Residency at The American Academy in Rome, expands upon Villalongo's work toward a cogent representation of Black identity. Featuring a strategic use of imagery and material, Villalongo creates a collage of signs and symbols representing diaspora, deep time, freedom, beauty, and transformation.

Susan Inglett Gallery and Specific Object are pleased to present “Monkey Business,” an exhibition curated by David Platzker examining the missing link between chimpanzees, Action Painting, and artwork generated by artificial intelligence platforms.

Susan Inglett Gallery is pleased to present Process, Maren Hassinger’s third solo exhibition with the Gallery, from 20 April through 10 June 2023. The Gallery will host an opening reception with the artist on Thursday, 20 April from 6 – 8 PM. The artist will be present for a rolling installation 20 - 22 April 2023 and 18 - 20 May 2023 from 12 – 3 PM. Audience participation is invited and encouraged.

Susan Inglett Gallery is pleased to present “Paint and Tin” a survey of works by Robert Kobayashi (1925 - 2015), in his second exhibition with the gallery from 16 March to 15 April 2023.

Susan Inglett Gallery is pleased to present As We Breathe, a series of new paintings and works on paper by BENJAMIN DEGEN, in his fifth solo exhibition with the gallery from 2 February to 11 March 2023. The artist will be present 4 March 2023 from 5-7 PM.

In "The Burden of Wait," Jodi Hays and Michi Meko come together to present a selection of works rooted in their shared focus, the Southern landscape. The juxtaposition of Hays' colorful assemblages and Meko’s expansive paintings offer a nuanced narrative of the American South as a place of endless transformation. Placed side by side, these artists showcase the scope and material breadth of the Southern imagination.

The view from Hope Gangloff’s studio window prompts a cycle of paintings that trace a familiar landscape through the change of seasons. With a keen eye, the artist elevates moments once overlooked in the maelstrom of a hurried life.

Marcia Kure continues to explore our shared responsibilities in perpetuating networks of migration and exchange. Through drawing, sculpture, and collage. Kure offers a deeper consideration of past, present, and emerging systems of power.

a welter of fabric, faux fur, embroidery, flotsum and jetsum, Korean artist Woomin Kim pays homage to the overflowing markets of South Korea and Queens in a series of quilted wall hangings.

The exhibition American Animals represents both an expansion of O’Neil’s established oeuvre and an ambitious dive into new material strategies.

Words fail Greg Smith. So, Absent Word Double is an experiment-cum-exhibition in which the artist jettisons all but 2048 of them. The remaining 2048 words are both a truncated language and a future year taken from the BiP39 protocol (a preferred way of securing digital assets). As such, Absent Word Double is inspired by and implicated in the crypto-utopian project, embodying its optimism, its delusionality, and its commitment to D.I.Y. world-building. To quote the artist, Sometimes constraint is exactly what is required to slip the bonds. I respect the urge in the crypto/tech folks who, fed up with the garbage, attempt to start anew. Under the mountains of hype, people are serious about trying to do governance, social groups, and cities in a new way. There's potential, but I'm also deeply skeptical of the possibility of making a clean break. The gears spin furiously and promise so much; this project is both about how it breaks down, and how it can be used differently.

POT PEEK introducesthe latest manifestations ofBeverly Semmes’s ongoing Feminist Responsibility Project (FRP), a series of absurd, sexy, enigmatic canvases that conceal and complicate images gleaned from vintage gentlemen’s magazines. In 2003, Semmes was given a collection of Hustler and Penthouse back-issues. Spending time with the images and the women contained therein, the artist experienced a conflicting combination of desires — a motherly urge to protect these subjects from the sexualized gaze, and the impulse to spend a potentially unhealthy amount of time engaging the material.

Susan Inglett Gallery is pleased to present D.I.Y with Jessica Diamond, Sol LeWitt and Lawrence Weiner, an exhibition celebrating the release of the remaining sets of I.C. Edition’s conceptual 1993 project, DO-IT-YOURSELF. From 9 December 2021 through 29 January 2022, a display of the boxed edition will be accompanied by an installation of unique wall works from each of the original participating artists. The LeWitt Estate has proposed the installation of Sol LeWitt’s Wall Drawing #869, a copied line drawing with a not-straight black line at the midpoint of the height with successive red, yellow and blue lines repeated until the last full line at the bottom of the wall. In the spirit of D.I.Y. and conceptual art, this is a project that invites all comers to assist in its completion. For anyone who has ever said they can’t draw a straight line, now is your moment to shine! Our "DO-IT-YOURSELF" kit contains all necessary materials, diagrams and instructions for creating your own artwork by JESSICA DIAMOND, SOL LEWITT, and LAWRENCE WEINER. For the run of the exhibition, the Gallery will offer signed limited edition kits starting at $2,500.00 and a limited number of unlimited edition kits starting at $600. (Complimentary custom gift-wrapping included with purchase through the holiday.) With good humor, "DO-IT-YOURSELF" 1993 captures the essence of conceptual art. Each artist has contributed an idea for an artwork, or "the most important aspect of the work," according to Sol LeWitt. The execution is then left for you to "do-it-yourself". By selecting conceptual artists from three successive generations, the project emphasizes the diversity and staying power of the conceptual movement.

Wilmer Wilson IV's recent body of work commemorates the instantaneous convergence of molten bronze and the street, questioning whose presence can or should be given priority in our shared spaces.

Hansen’s work is intricate and labor-intensive from the transformation of fleece to a signature piece through knitting, felting and weaving. The design is determined by an algorithm set to make a “Chaning Hansen.”

Susan Inglett Gallery is pleased to present Re: Bicycling, a group exhibition organized by David Platzker of Specific Object with Alex Ostroy of the cycling apparel brand Ostroy, from 17 June to 23 July 2021. The exhibition will feature works by artists demonstrating the enlightening effect of bicycling from the modern era and beyond. This exhibition frames the 126 years from 1895 to 2021 with works by Nina Chanel Abney, Joseph Beuys, Ricardo Brey, Chris Burden, Rodney Graham, Louise Lawler, Christian Marclay, Jonathan Monk, Ebecho Muslimova, Claes Oldenburg and Coosje van Bruggen, Gabriel Orozco, Robert Rauschenberg, Edward Ruscha, Sarah Sze, Dorothea Tanning, and Géo Weiss (Emile Georges Weiss). The pieces consist of a wide range of materials, from vintage advertising to sculptural works that respond to bicycles in art and as tools of locomotion and exploration.

Susan Inglett Gallery is pleased to present We Are All Vessels, MAREN HASSINGER's second solo exhibition in the Gallery, from 29 April through 12 June 2021. The Gallery will host a limited-capacity reception with the artist on Saturday, 1 May from 1-5 PM that adheres to COVID-19 safety guidelines. Three large vessels framed in wire and clad in sheer fabric sway ethereally from the ceiling of the Gallery, two woven wire rope equivalents rest below feet firmly planted on the ground. Hassinger looks to the vessel for its rich history and symbolism, for its resonance with the human body. Scale brings these objects in direct communication with the viewer, while their anthropomorphic design sparks a sense of recognition. Hassinger observes that “vessel” is a term often ascribed to women. She asks that we free ourselves from the traditional limitations of that label, using her work to expand its meaning: “I believe that the word ‘people’ does not make the distinction of race, or gender, or class, or origin of any sort.” Hassinger shares the space with young artists, former students. By creating a platform where young and old, established and emerging, work together side by side equally, the project itself reinforces these signals of humanity. In the qualities shared by these vessels, and between us, we see our commonality writ large. We are indeed all Vessels.

In May of 2020, Allison Miller began drawing bold capital letters freehand on paper in black acrylic, cutting them out and photographing them in the landscape: R among banana leaves, S amidst poppies, P suspended on the branch of a copper tree. She then brought the letters back to her studio and glued them down on paper, accompanied by free mark making and strongly-colored grounds. D, A, P, Q, R, S, M, and E all appear.

In this recent series, Villalongo uses the medium to explore how to best represent the Black subject against the backdrop of race in America. Here, he defines anatomies through collaged images of geologic forms, meteorites, butterflies, drinking gourds, and African sculpture interspersed with leafy cut-outs. These combined images create a portrait from ecological and cultural histories, emphasizing diaspora, deep time, freedom, beauty, and transformation. Drawing parallels to natural metamorphosis, Villalongo suggests an evolution of Black identity—a caterpillar enters a chrysalis, emerging later as a butterfly or rocks, compressed over millennia, transforming into stunning crystals.

For his fourth solo exhibition with the Gallery, Wallace continues to push his mixed media paintings to conjure an ethereal space between the material and immaterial. Repurposing fragments from earlier and developing pieces, the artist seams and layers these materials into and atop each other, forming hard-edged planes. The abstract shapes cut from canvas actively work with and against the other by folding, evolving, and repeating across the support. He excavates and manipulates the surface of his works to bring forth a multitude of textures and perspectives. Tiers of oil, acrylic, mylar, aluminum, and copper tape unite to evoke a captivating portal into Wallace’s process and vision.

Although Moe’s Meat Market closed in 2017, two years following Kobayashi’s death, the vibrant energy and memory of the gallery live on through his work. As Elizabeth Street now bustles with high-end, trendy shops, Kobayashi’s art embodies a bygone era of Little Italy, a poignant reminder in the present day of New York’s ever-evolving cultural landscape.

Susan Inglett Gallery will be exhibiting Robert Kobayashi at the upcoming ADAA Art Show. Included are both the artist’s signature mixed media metal constructions as well as a selection of the pointillist oil paintings that preceded. The staccato rhythm of these early canvases inspired the bricolage metalwork that came to define his career.

Degen’s works employ extensive mark-making and fluid touches to describe a human presence. As the paint darts across the canvas or the ink is actively applied on paper, we move through the landscape while the landscape moves through us. Degen’s act of looking becomes a way for us to see ourselves, within a moment, connected to this world.

Semmes initiated FRP in the early 2000’s. A sculptor by training, she has long used massive scale, electric color and vessel forms— such as dresses, pots, and chandeliers— to mess with authority. Petunia filled a cathedral nave in the Netherlands with a lake of pink chiffon that pooled as if it were the skirt of the performer who sat in attendance. FRP newly expands the set of operations of this larger body of work.

By / Buy Me explores the artist as self-publisher of artworks in editions — multiples, prints, posters, wallpaper, artists’ books and other goods that interrogate, parody or question the commodification of art. Since Duchamp produced his first Boîte-en-valise, containerizing his oeuvre and assuming the mantle of traveling salesman, artists have consistently advanced new means of self-publishing and subverting, if not distorting, the traditional role of artist as maker tied to the middleman of publisher and dealer.

A black and indigo Montana landscape, punctuated by neon pink and red stars and city lights; the weaving pink and green tentacles of fauna on the shores of Monterey, California; and, the lavender-hued Mount Monadnock, New Hampshire, at sunset. Operating as compositional vehicles for explorations of color theory, form and scale, these scenes proffer fragmented personal narratives, detailing the locations of some of Gangloff’s most poignant career and private moments.

Who’s Afraid of Verticality? is comprised of eight hand-forged iron and copper sculptures. Demonstrative of Alain Kirili’s lifelong fascination with verticality, the selection traces an investigation of the subject in abstract sculpture and exhibits a subtle drive for aesthetic diversity. For five decades, the artist has cultivated a practice that embeds a formalist rigor with a humanist warmth. The exhibition is marked by an appreciation for abstract signs in three-dimensional space, one which spurs a dialogue with high relief that Kirili views as being a celebration of life, or la joie de vivre.

I see an opening: technology has changed the game, once again democratizing what had required outsized resources. Blockchain technology brings bureaucracy creation to the people, opening up the possibility of making ministries that are particular, domestically scaled, or even boutique. And the accompanying markets (inescapable nowadays) are trivial to set up, all while maintaining a bureaucratic character. Rest assured, the familiar elements are present—forms, payment mechanisms, abstraction, data storage, and unforgiving procedures—but now everyone has the opportunity to tinker.

Robyn O’Neil’s fourth exhibition with the Gallery marks a departure in process, a deconstruction of the visual and material, and an aesthetic genesis for the artist. Named for “an unkindness,” the term used to reference a flock of ravens, the exhibition impresses upon the viewer a sense of foreboding and threat that is reinforced by the centerpiece triptych, An Unkindness. The ominous, swirling unkindness in the middle panel of the triptych and the pack of wolves, jaws wide in preparation for attack, in the adjacent, confer a theme that has become central to O’Neil’s oeuvre: life on Earth is arduous and fraught with challenge.

John McLaughlin has long been characterized as the preeminent classical West Coast, minimalist hard-edge painter. His heralded paintings, produced from the mid-1940s forward, would prefigure the cool, anodyne aesthetic assumed by younger Southern California light and space, finish fetish, artists, including Larry Bell, Judy Chicago, Mary Course, Craig Kauffman, Robert Irwin, John McCracken, and James Turrell.

Slim… you don’t got the juice presents multidisciplinary departures from familiar modes of figurative representation, as they have evolved in the realm of photographic discourse. Wilmer Wilson IV has developed strategies of redaction and annotation in his work that begin to destabilize the norms of making and viewing portraiture through visual, material, and technical manipulation. An exploration into the complex renderings of individual subject-hood versus object-hood in portraiture, the artist has conceived of a stapled-surface-as-viewing-device that mediates image with material.

While pairing Richard Artschwager's Southwestern landscapes with Semmes’ large fabric sculpture may initially strike viewers as incongruous, further investigation reveals layers of affinity. Artschwager is well known for paintings and sculpture that turn the commonplace decidedly uncommon. Semmes' work in fabric and ceramics likewise operates in the realm of the uncanny, though generally considered within the context of feminism and craft. Surprisingly, as this show highlights, landscape deeply informs the work of both. The two artists share a personal and idiosyncratic approach to the subject, using strong, clear color to define and describe space.

Unlanding. Such a curiously immaterial word for a materially dense work. In his new multimedia paintings, Ryan Wallace takes license to untether from former processes and follow a path set out primarily by intuition and experience. Historically each body of work has given rise to the next, with materials and compositions dictated by the previous generation. Elliptical templates used to generate structural components originated from shapes of light cast by reflective media within earlier installations.

Susan Inglett Gallery is pleased to present the work of Eric Fertman in his sixth solo exhibition with the Gallery from 13 September to 20 October 2018. Concurrently, in an unabashed attempt to sway the Midterm Elections, we will install Erika Rothenberg's seminal House of Cards in Gallery II. A reception, rally (?), for the artists will be held Thursday evening 13 September from 6 to 8 PM.

Susan Inglett Gallery is pleased to present Night, Shortly a group exhibition organized by Halsey McKay Gallery featuring Colby Bird, Anne-Lise Coste, Chris Duncan, Rachel Foullon, Joseph Hart and Brie Ruais opening 6 to 8 PM Saturday 9 June. These artists employ sculpture, drawing, painting, photography and hybrids of all, to make complex artworks that allude to the psychological and physical effects of time, the body, and the entropic nature of organic, terrestrial matter. While the works are tinged with melancholy, the artists reflect informed and hopeful views of the surrounding world. The show acts as an uncynical reflection of the times that celebrate the dogged making of physical things.

For four decades, Maren Hassinger has worked in sculpture, installation, film/video, performance, and public art. Carefully selecting medium and materials for their own innate language and abilities, she has explored the space of movement, change, family, love, nature, environment, consumerism, identity and race. As One will focus on her recent projects surrounding issues of equality.

Protein Candy: Allison Miller has a proclivity to set up painterly problems and turn them into wonderment. Wonderment beaming all the more brightly due to the wrenches she throws into her picture machine. She understands that problems in part define the kind of work a painter chooses to do, and are not to be avoided but embraced. Allison Miller is a painter who can make a riddle out of an answer. Problems for her are the sparkly ruby slippers… keys to another dimension.