uzomah ugwu 1/20/26 uzomah ugwu 1/20/26

Pace Welcomes Timo Kappeller as Senior Director in New York

New York – Pace is pleased to announce its appointment of Timo Kappeller as a Senior Director in New York. Kappeller—who has previously held roles at The Campus in upstate New York, Hauser & Wirth, and Andrew Kreps— will focus on sales and artist relationships in his new role at Pace, which he will begin on January 20.

With over 25 years of commercial, curatorial, and institutional experience in the contemporary art world, Kappeller will bring a deeply collaborative approach to his work at Pace. As Artistic Director of The Campus, which is run by six New York-based galleries, he curated large-scale exhibitions and led the institution’s public programming, artwork commissions, and strategic development. During his tenure, he worked with Alicja Kwade, Arlene Shechet, Kiki Smith, and Richard Tuttle, all of whom are part of Pace’s program, as well as Katharina Grosse, Rachel Harrison, Jenny Holzer, and other leading artists.

Kappeller, who is a native German speaker, began his career at Documenta in Kassel, Germany and KW Institute for Contemporary Art in Berlin. He has since held leadership roles at international galleries—Hauser & Wirth and Andrew Kreps in New York and König Galerie in Berlin—where he directed sales and exhibitions and oversaw presentations at the Venice Biennale, Documenta, MoMA PS1, the Whitney Museum of American Art, Sculpture Center, and the Museum of Contemporary Art Los Angeles among other institutions around the world. His vast experience in Europe aligns with Pace’s commitment to grow its activity in German-speaking territories, having established an office in Berlin in 2023 and a gallery space in the city in 2025.

Timo Kappeller says:

“I’m thrilled to begin a new chapter at Pace at this moment of change and evolution in the art world. I’ve long admired the gallery’s history of landmark exhibitions, and I’ve had the pleasure of working with several artists in its program over the course of my career. I look forward to supporting Pace’s artists and creating energy around their exhibitions and projects as part of the sales team.”

Samanthe Rubell, President of Pace Gallery, says: “As Timo joins us in New York, our ability to support artists—in all aspects of their careers and practices—will grow even stronger. His experience at galleries and The Campus speaks to Timo’s great sensitivity and understanding of artists, as well as his enduring relationships with important collectors. My colleagues and I are excited to welcome him to Pace.”

Pace is a leading international art gallery representing some of the most influential artists and estates of the 20th and 21st centuries, founded by Arne Glimcher in 1960. Holding decades-long relationships with Alexander Calder, Jean Dubuffet, Agnes Martin, Louise Nevelson, and Mark Rothko, Pace has a unique history that can be traced to its early support of artists central to the Abstract Expressionist and Light and Space movements. Now in its seventh decade, the gallery continues to nurture its longstanding relationships with its legacy artists and estates while also making an investment in the careers of contemporary artists, including Torkwase Dyson, Loie Hollowell, Robert Nava, Adam Pendleton, and Marina Perez Simão.

Under the current leadership of CEO Marc Glimcher and President Samanthe Rubell, Pace has established itself as a collaborative force in the art world, partnering with other galleries and nonprofit organizations around the world in recent years. The gallery advances its mission to support its artists and share their visionary work with audiences and collectors around the world through a robust global program anchored by its exhibitions of both 20th century and contemporary art and scholarly projects from its imprint Pace Publishing, which produces books introducing new voices to the art historical canon. This artist-first ethos also extends to public installations, philanthropic events, performances, and other interdisciplinary programming presented by Pace.

Today, Pace has nine locations worldwide, including two galleries in New York—its eight-story headquarters at 540 West 25th Street and an adjacent 8,000-square-foot exhibition space at 510 West 25th Street. The gallery’s history in the New York art world dates to 1963, when it opened its first space in the city on East 57th Street. A champion of Light and Space artists, Pace has also been active in California for some 60 years, opening its West Coast flagship in Los Angeles in 2022. It maintains European footholds in London, Geneva, and Berlin, where it established an office in 2023 and a gallery space in 2025. Pace was one of the first international galleries to have a major presence in Asia, where it has been active since 2008, the year it first opened in Beijing’s vibrant 798 Art District. It now operates a gallery in Seoul and opened its first gallery in Japan in Tokyo’s Azabudai Hills development in 2024.

For more news regarding Pace Gallery, please visit their website here. Pace Gallery can be found on Instagram and Artsy, too

uzomah ugwu 1/15/26 uzomah ugwu 1/15/26

P·P·O·W to Represent Phoebe Helander

Courtesy of Phoebe Helander and P·P·O·W, New York© Phoebe Helander Photo

P·P·O·W is pleased to announce the representation of Phoebe Helander. In deftly made oil on wood paintings, Helander finds her subject within familiar elements of daily life. The painter uses subtle yet highly impactful technical strategies to convey moments of intense contemplation, completing works in single sessions lasting anywhere from four to ten hours. Often returning to the same object matter, Helander produces book-sized paintings that emerge from an expressive and durational form of perceptual painting.

Phoebe Helander Cold rose in a warm room, 2024 oil on wood12 1/8 x 15 x 1 3/4 ins.30.8 x 38.1 x 4.4 cm Courtesy of Phoebe Helander and P·P·O·W, New York© Phoebe Helander Photo: JSP Art Photography

Helander’s first solo exhibition with P·P·O·W, Paintings from the Orange Room , was on view October 31 – December 20, 2025. In his review of the exhibition for the Brooklyn Rail, Matt Moment writes that throughout her work, “Helander communicates the passage of time in much the same way as a long-exposure photograph would, with still points precisely described and movement rendered in degrees of painterly fluidity.” Helander’s sensitivity to form and light transforms even the most mundane objects into sites of renewed understanding, prompting viewers to reconsider their relationships to the world around them. The deliberately imperfect edges of these paintings harbor realities intimately tied to our own yet suspended in moments of metamorphoses. In an age characterized by rapid change, Helander challenges viewers to revel in the present moment.

Phoebe Helander Candle Burning XIV (for Aaron & Jacob), 2025oil on wood 13 1/2 x 11 1/4 x 1 ins.34.3 x 28.6 x 2.5 cm Courtesy of Phoebe Helander and P·P·O·W, New York © Phoebe Helander Photo: Ian Edquist

“Almost all of my work gets buried in the end. For example, in the middle of painting, I notice something and devote myself to describing it, and if I’m lucky this results in a passage or mark I feel connected with, something I don’t want to lose. Then the wax melts more, or the wick grows another knob, and the painting no longer reflects the candle in front of me . S o I end up continually painting over my work, re-making the same central area of the composition, for as long as the candle burns. Loss is a natural part of change, and that’s something I accept as a part of this work . My goal is to stay with the flame.

”

— Helander notes:

The gallery will present new paintings by Helander at Post-Fair in Santa Monica, CA, February 26 – 28, 2026. Phoebe Helander (b. 1988) received her MFA from Yale University in 2019, and now lives and works in Brooklyn, NY. Her work has been featured in group exhibitions at Karma, Thomaston, ME; Pamela Salisbury Gallery, Hudson, NY; Palo Gallery, New York, NY; and New Release, New York, NY; among others. In 2024, she presented her third solo exhibition with Pamela Salisbury Gallery, Hudson, NY, which was reviewed in Hyperallergic by art critic John Yau.

For more information about this news, other announcements, and exhibitions, please visit the P·P·O·W gallery’s website. Also, the gallery can be found on Instagram and Artsy.

uzomah ugwu 1/14/26 uzomah ugwu 1/14/26

Galerie Templon is pleased to announce its representation of Martial Raysse, one of the most important artists on the contemporary art scene.

A self-taught painter with a passion for literature, Martial Raysse, born in 1936, began his career by assembling brightly colored plastic objects in boxes and Plexiglas columns. In response to a consumer society with its new mythologies, he developed what he called a “hygiene of vision,” borrowing from the most trivial aspects of everyday life and adapting the language of grand painting to a “new, sanitized world.” Swimming pools, beaches, signs, quotidian objects, and female faces and bodies populated his work relentlessly. In 1962, his exhibition Raysse Beach demonstrated that he was the only member of the Nouveau Réalisme movement who could legitimately claim the label of “Pop,” alongside his American counterparts -Andy Warhol, Roy Lichtenstein, and Tom Wesselmann.

MARTIAL RAYSSE La Paix, 2023 Acrylique sur toile | Acrylic on canvas 300 × 500 cm — 118 × 196 3/4 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist's studio

Raysse’s move to the United States in 1963 reaffirmed his taste for the détournement of objects, the integration of neon lights and advertising imagery, as well as a playful yet irreverent revisiting of great paintings from the past. Experimenting with video and cinema, working tirelessly in sculpture and drawing, Raysse fused high culture with a childlike approach to art. His uncompromising independence, which he never relinquished, eventually distanced him from Pop Art in the wake of the events of May ’68: “Now, international good taste is within reach of every petty rentier of painting, just as was the case with Art Informel. Best to avoid it.”

In the 1970s, the artist turned toward grand painting - a shift that was not a retreat but an act of absolute courage, far removed from the official art of the time. His aversion to dogma and his taste for going against the grain marked his return to France - first to the Paris region, then to Dordogne, where he still lives and works today. His vast and profuse compositions now reveal the farce, if not the chaos, of humanity in motion. Created beyond trends and dictates, his joyful apocalypses attest to the way in which Martial Raysse - who never ceases to observe, experiment, and reinvent his practice - remains one of the greatest modern artists.

MARTIAL RAYSSE La Peur, 2023 Acrylique sur toile | Acrylic on canvas 300 × 400 cm — 118 × 157 1/2 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist's studio

Few French artists have attained such international recognition or occupied such a commanding place in art history. His works are housed in the world’s most prestigious museums. Exhibited as early as 1960 at MoMA in New York and in 1965 at the Stedelijk Museum in Amsterdam, he represented France at the 1966 Venice Biennale and was the subject of retrospectives at the Munich Museum of Modern Art in 1971, the Galerie nationale du Jeu de Paume in 1992, and the Centre Pompidou in 2014, the year he received the Praemium Imperiale in Japan. In 2015, Palazzo Grassi hosted his first major monographic exhibition in Italy. His works were more recently presented in a solo exhibition at the Musée Paul Valéry in Sète, in 2023.

MARTIAL RAYSSE Now, 2017 Acrylique sur toile | Acrylic on canvas 209 × 175.5 cm — 82 1/4 × 69 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist's studio

In January, his exhibition, which opened on the tenth and on the 14th of March, will close on. Galerie Templon will present his first exhibition of recent works. For more information about Martial’s artwork and recent exhibition, please visit Templon’s site. The gallery can also be found on Instagram, artnet, Facebook, YouTube, and Artsy

uzomah ugwu 12/9/25 uzomah ugwu 12/9/25

Christie's appoints Bastienne Leuthe as International Director, Post-War and Contemporary Art

Bastienne Leuthe, newly appointed International Director, Post-War & Contemporary Art, Christie's, based in Germany.

Christie's is pleased to announce the appointment of Bastienne Leuthe as International Director, Post-War & Contemporary Art, based in Germany and reporting to Katharine Arnold, Vice Chairman 20/21.

Bastienne will work closely with Dirk Boll, Managing Director, Germany, Nina Kretzschmar, International Specialist, and regional representatives. She will lead and develop business getting for a portfolio of clients, bringing top objects and collections to market across global auctions and private sales.

Bastienne began her career at Sotheby's in Paris in 2005. She subsequently worked with the Contemporary Art Evening Sale team in London and was responsible for major single-owner auctions such as the Dürckheim, Lauffs, and Lenz collections. Most recently, she was Head of Contemporary Art for Sotheby's in Germany.

“We are delighted to welcome Bastienne Leuthe into this important new role for the region. Her appointment comes at a particularly meaningful moment for the art market, and her depth of expertise and long-standing success in bringing significant collections to market make her an excellent fit for our international team. As we continue to evolve and strengthen our 20/21 Department, we are confident that Bastienne’s leadership will bring fresh energy to the market and renewed momentum for our clients.”

— Katharine Arnold, Vice Chairman 20/21 and Dirk Boll, Managing Director, Germany at Christie's

About Christie’s

Founded in 1766, Christie’s is a world-leading art and luxury business with a physical presence in 46 countries throughout the Americas, Europe, Middle East, and Asia Pacific, and flagship  international sales hubs  in New York, London, Hong Kong, Paris and Geneva. Renowned and trusted for our expert live and online-only auctions, as well as bespoke Private Sales, Christie’s unparalleled network of specialists offers our clients a full portfolio of  global services, including art appraisal, art financing, international real estate and education. Christie’s  auctions span more than  80 art and luxury categories, at price points ranging from $500 to over $100 million. Christie’s has sold 7 of the 10 most important single-owner collections in history, achieved the world record price for an artwork at auction, launched the first  fully on-chain auction platform dedicated to exceptional NFT art and manages an investment fund to support innovative startups in the art market. Christie’s is also committed to advancing  responsible culture  throughout its business and communities worldwide. To learn more, browse, bid, discover, and join us for the best of art and luxury at christies.com or by downloading Christie’s apps. The auction house can also be found on Facebook, Instagram, YouTube, and X.

uzomah ugwu 11/13/25 uzomah ugwu 11/13/25

Artist Shellyne Rodríguez Unveils “Phoenix Ladder: Monument to the People of the Bronx” at Grand Concourse & Morris Avenue

Bronx, NY —A new permanent public sculpture, Phoenix Ladder: Monument to the People of the Bronx, commissioned by the city of New York’s Department of Cultural Affairs Percent for Art program will be unveiled to the community by artist Shellyne

Rodríguez this Saturday, November 8th from 12:00 – 3:00 PM on the corner of Grand Concourse & Morris Avenue. The work stands as a powerful tribute to the generations of Bronx residents who have endured, rebuilt, and thrived in the face of adversity. Constructed from brick, steel, and terracotta, Phoenix Ladder takes the form of a towering structure with a ladder ascending skyward—a potent metaphor for collective struggle, resilience, and renewal. Rising from the ground like a beacon, the monument evokes both the physical and spiritual rebuilding of the Bronx following the landlord fires of the 1970s and the continued fight against displacement and gentrification. “This sculpture is dedicated to all of us — the people of the Bronx, ” Rodríguez shares. “Those whose grandmothers fled Jim Crow, those who came from Puerto Rico, the Dominican Republic, Ghana, Yemen, Mexico, and beyond — all of us who now call this place home. I hope this sculpture serves as a space to gather, to plan, to study, to pray, and to fight back.

”

Photo by Andrés Rodríguez von Rabenau

Deeply rooted in the histories of migration, resistance, and solidarity, Rodríguez’s monument serves as both a testament and a call to action. The artist began conceptualizing Phoenix Ladder seven years ago, envisioning it as a communal landmark that reflects the Bronx’s interwoven pasts and futures — from its Black and Caribbean diasporic legacies to the diverse immigrant communities that define the borough today. Through its layered symbolism, the sculpture embodies Rodríguez’s commitment to public art as activism, merging aesthetics with a radical ethic of care. It reclaims the language of the monument — often reserved for colonial or patriarchal figures — and instead centers the people who make and sustain the Bronx. The unveiling will include a day of programming on Saturday, November 8, from 12:00–3:00 PM, with remarks by the artist, and local community members as well as participatory performances and activities that reflect the collective energy of the project. Phoenix Ladder will remain a permanent fixture in the Bronx, inviting future generations to see themselves within its bricks and steel — not as subjects of a monument, but as the community it represents.

About the Artist

Shellyne Rodriguez (b. 1977) is a Bronx-based artist, educator, historian, writer, and community organizer who works in a variety of media, including drawing, painting, collage, and sculpture. Rodriguez stewards the histories and stories of people that have shaped her lived experience, describing her practice as “the depiction and archiving of spaces and subjects engaged in strategies of survival against erasure and subjugation. ” Through her multidisciplinary practice, Rodriguez documents the ways in which the diverse social fabric of the South Bronx is rewoven as the people and cultures coexist. Rodriguez utilizes language as well as cultural and sociopolitical references to create unified portraits of individuals from various communities formed in what she describes as the “periphery of empire. ” Engaging with the legacy of the Ashcan School, who bore witness to the rise of the modern metropolis and depicted how the poor and working class in New York enclaves were transformed by this, Rodriguez views figures such as Alice Neel, Jane Dickson, and Martin Wong as an extension of this tradition and situates her practice alongside them. Rodriguez earned her MFA from Hunter College in studio art and her BFA in visual and critical studies from the School of Visual Arts. Her work has been shown at The Nathan Cummings Foundation, New York, NY; Cue Art Foundation, New York, NY; Casa Warmu, Quito, Ecuador; Queens Museum, New York, NY; and El Museo del Barrio, New York, NY, among others. Rodriguez has held residencies at Hunter College, New York, NY and the Shandaken Project, Catskills, NY. She is an Adjunct Professor at the Cooper Union and has been a teaching artist at the Bronx Museum and Museum of Modern Art. Works by Rodriguez have recently been featured in group exhibitions at the Museum of the City of New York, New York, NY; Virginia MoCA, Virginia Beach, VA; National Academy of Design, New York, NY; and Museo de Arte Contemporáneo de Puerto Rico, San Juan, Puerto Rico, among others. Third World Mixtapes: The Infrastructure of Feeling, Rodriguez’s first solo exhibition with the gallery, was on view in spring 2023. In Summer 2024, Rodriguez’s work was included in P·P·O·W’s group exhibition Airhead.

About The Department of Cultural Affairs Percent for Art

Since 1982, New York City's Percent for Art law has required that one percent of the budget for eligible City-funded construction projects be spent on public artwork. Managed by the City’s Department of Cultural Affairs, the Percent for Art program has commissioned hundreds of site-specific projects in variety of media—painting, new technologies, lighting, mosaic, glass, textiles, sculpture, and works that are integrated into infrastructure and architecture—by artists whose sensibilities reflect the diversity of New York City. Percent for Art seeks to commission works from the broadest range of artists from all backgrounds. The Percent for Art Program offers City agencies the opportunity to acquire, commission, or restore works of art specifically for City-owned buildings throughout the five boroughs. By bringing artists into the design process, the City's civic and community buildings are enriched.

This new permanent public sculpture honors resilience, solidarity, and the spirit of the Bronx community. For more information about this project, please visit the Department of Cultural Affairs Percent for Art’s website here.

uzomah ugwu 10/31/25 uzomah ugwu 10/31/25

Finnish Cultural Institute in New York and The Consulate General of Finland in New York Announce Partnership with the New Art Dealers Alliance (NADA)

Elina Vanio Hackeyed Dotted Lines, from the series Weak Tongue, 2023 Beeswax, found objects and materials, pine frames 3 x 23,6 x 28 cm Photo by Sauli Sirviö

Finnish Cultural Institute in New York and The Consulate General of Finland in New York are proud to announce a new partnership with the New Art Dealers Alliance (NADA). As part of the initiative, three New York–based galleries—Gaa Gallery, Margot Samel and Ulterior Gallery—traveled to cities across Finland to meet and engage with local artists, leading to forthcoming exhibitions of these artists in New York.

This collaboration, which is made possible with the support of a grant by Jane and Aatos Erkko Foundation, Finlandia Foundation National, and The Ministry of Education and Culture in Finland, underscores a shared commitment to fostering international dialogue between the contemporary art scenes of Finland and New York. By creating opportunities for New York galleries to connect directly with Finnish artists and institutions, the partnership aims to strengthen cross-cultural relationships, broaden visibility for Finnish artists abroad, and bring new voices into New York’s vibrant art community.

**Eetu Sihvonen** *Constant of the Sacred Saline Dew Drops*, 2024 Charred pinewood, 3D printed soy-based resin, linseed oil, dye, hardware 33 1/2 x 17 3/4 x 11 3/4 in | 85 x 45 x 30 cm

“Finland has always been at the forefront of contemporary design, but its visual arts community is equally dynamic and deserving of international attention,” said Heather Hubbs, Executive Director of NADA. “Through this partnership, we’re giving galleries the rare chance to travel to Finland, meet artists in their own environments, and do so with crucial financial support — a testament to NADA’s ongoing commitment to creating opportunities for galleries to grow and connect across borders.”

As part of this partnership, Gaa Gallery, which maintains spaces in Cologne and New York, will organize an all-Finnish group exhibition titled, Beyond Matter, featuring Kerttu Saali, Eetu Sihvonen, Teemu Salonen, Johanna Härkönen, Taru Happonen, Eeva Lietonen, Frans Nybacka, among others. The exhibition will run from November 14, 2025 – January 3, 2026, and is centered around the themes of nature and mysticism, exploring the intersection of material transformation, natural phenomena, and the unseen spiritual dimensions embedded in physical form.

Gallerist Margot Samel will present a group exhibition featuring the work of Finnish artist Man Yau alongside six other international artists November 21 – January 3, 2026. The show, titled Kuu Maa, explores the affective dimensions of distance—not simply as a measurement of space, but as an emotional and psychological condition between people, places, and

things.

Installation views of a group exhibition Voyageat Ulterior Gallery, 2024. Works by E'wao Kagoshima, Kazumi Tanaka, and Mamie Tinkler. Photo courtesy of Ulterior Gallery, New York.

From January 16 – February 21, 2026, Ulterior Gallery will present a group exhibition featuring artists Päivi Takala, Elina Vainio, and Noora Schroderus, further expanding the visibility of Finnish contemporary artists in New York.

“This partnership reflects Finland’s commitment to fostering international cultural exchange and to supporting our artists on a global stage,” said Anssi Vallius, Special Adviser for Cultural Affairs and Creative Industries at the Consulate General of Finland in New York. “New York has long been a vital hub for contemporary art, and we are proud to see Finnish voices represented here through the collaboration with NADA and its member galleries.”

Päivi Takala Hello II, 2024 Oil on canvas 69 x 59 cm Photo courtesy of the artist and Galerie Anhava, Helsinki, Finland

In 2026 and beyond, the partnership will continue with additional NADA gallerists visiting Finland. More details will be announced in the near future.

The partnership comes during an especially exciting year for Finnish art in New York. Earlier in 2025, Dunkunsthallepresented Remix the Archive, a bold exhibition of generative art featuring artists including Agoston Nagy, Andreas Rau, Blas.v, Ilmo and Aarni Kapanen, Jeres, Nahuel Gerth, Newyellow, Roni Kaufman, Shaderism, and Tuomo Rainio. The exhibition, which remained on view from May 9 through June 21, brought together the Finnish National Gallery’sdigitized collection with creative coding techniques, creating an interactive dialogue between the past and the future.The exhibition was supported by the Jane and Aatos Erkko Foundation and Ministry of Education Finland,

Man Yau HARDENER 01, 2025 Cast bronze, patina, wax, porcelain, glaze, ceramic decals (on-glaze), towel Courtesy of the artist and Margot Samel, New York. Photographed by Sakari Tervo

In December, The Metropolitan Museum of Art will open Seeing Silence: The Paintings of Helene Schjerfbeck, the first major U.S. museum retrospective dedicated to the trailblazing Finnish painter. Featuring nearly 60 works—including important loans from the Finnish National Gallery / Ateneum Art Museum, other Finnish museums, and private collections across Finland and Sweden—the exhibition reaffirms Schjerfbeck’s rightful place in the story of modern art and highlights her enduring influence on modernist painting.

About the Finnish Cultural Institute in New York (FCINY)

The Finnish Cultural Institute in New York works across the fields of contemporary art, design and architecture, creating dialogue between Finnish and American professionals and audiences. The FCINY, founded in 1990, is a 501(c)(3) not-for-profit organization located in Dumbo, Brooklyn. We’ve grown from a residency program to commissioning large-scale projects and events that foster critical dialogue and work to build support for professionals in architecture, design, and contemporary art. We’re committed to advancing artist-led and customized projects across multiple disciplines and to creating free and accessible programming for diverse audiences. Instagram: @thefciny

About the Consulate General of Finland in New York

The Consulate General of Finland in New York promotes Finland’s commercial interests, works on improving the operational conditions for the Finnish cultural agents and strengthens Finland’s national brand through the means of public diplomacy. The Consulate General is also responsible for consular and entry services in New York as well as in other states, and special administrative areas that fall within the scope of the Consulate’s activity. The activity scope of the Consulate General of Finland in New York covers more than 30 states situated on the East Coast and in the Midwest, as well as two special administrative regions (Puerto Rico and U.S. Virgin Islands).

About New Arts Dealers Alliance

The New Art Dealers Alliance (NADA) is the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art. Founded in 2002, NADA’s membership comprises an international roster of leading contemporary art galleries and professionals. The organization hosts year-round programming, including art fairs and collaborative exhibitions in New York, Miami, Paris, and Warsaw, as well as at its exhibition space in the Lower East Side, LUNCH (Located Under NADA’s Central Headquarters).

For more information about the Consulate General of Finland in New York, please visit the site here. More information about the New Arts Dealers Alliance can be found here. Additional Information about the Finnish Cultural Institute in New York (FCINY) can be found here.

uzomah ugwu 10/30/25 uzomah ugwu 10/30/25

The Empty Circle Moves from Gowanus to Tribeca

The gallery’s new home will open on November 14th at 6 St. Johns Lane with a solo exhibition by Brooklyn-based Benjamin Staker.

The Empty Circle is pleased to announce the opening of its new permanent space in Tribeca on November 14th, located at 6 St. Johns Lane, 7th Floor. The Empty Circle’s new Tribeca space will inaugurate with a solo exhibition of new works by Brooklyn-based artist Benjamin Staker. For over 7 years, the gallery has been a staple of the ever-growing arts community in Gowanus, Brooklyn, and has garnered a reputation for giving emerging artists their first solo exhibitions, including Catherine Webb, Daniel Kukla, Olya Dubatova, and Olivia Gossett Cooper.

The Empty Circle will continue to function as a dynamic multi-purpose space, offering artists and independent curators an opportunity to realize site-specific installations, stage solo exhibitions, and host performances and activations. This innovative model breaks free from the traditional white cube brick and mortar space, and allows creatives to explore their full potential. In addition, the gallery will host a regular series of public programs to keep audiences engaged in the current practices and concerns of its artists.

Matt Nasser, director, shares: “Relocating to Tribeca gives us the chance to connect more deeply with the global art community and further elevate the artists we champion. This move marks a new chapter in the gallery’s evolution, with a dedicated space that allows for greater interaction with both emerging and established collectors, curators, and the broader public.”

The Empty Circle’s new Tribeca space will inaugurate with “The Moon is a Mirror,” a solo exhibition of new paintings by Brooklyn-based artist Benjamin Staker. A 2025 Chubb New York Academy of Art Fellow, Staker translates the rhythms of walking, seeing, and feeling into painterly gestures that oscillate between raw vulnerability and luminous transcendence. His canvases echo the intensity of his manifesto—where the act of painting becomes a confrontation with silence, desire, pain, and the search for connection. In this debut presentation with The Empty Circle, Staker unveils a body of work that transforms deeply personal states of longing and healing into vibrant visual form, offering viewers an immersive encounter with art as both confession and salvation.

The gallery will be located in the landmarked 6 St. Johns Lane, known as the American Thread Building, originally constructed in 1896 as a wool exchange and converted into a live-work cooperative in 1980. The space is within walking distance of the Academy of Fine Arts, and a vibrant cluster of contemporary art galleries, including Marian Goodman Gallery, Almine Rech, Jane Lombard, and GRIMM, among others.

Over the past 7 years, The Empty Circle has become a known space for artists across generations and media to stage their debut exhibitions. Some highlights from over the years include shows with The Big Art Group, Bryson Rand, Ernesto Renda, Janie Korn, Mur, Leonard Sussman and dance collective Welcome to Campfire, as well as the late artist Ingo Swann’s solo presentation at Miami Beach Art Week in 2018.

About The Empty Circle

The Empty Circle is a place for creation. Our programs encourage experimentation in both process and presentation, moving beyond traditional exhibition formats to spark meaningful exchanges between artists and audiences. We present work across diverse mediums, fostering connections between disciplines, cultures, and generations. Based in New York City, we provide vital platforms and public exhibition opportunities for artists from around the world.

Portrait of Matt Nasser, 2025. Photo by Weng Yee Mooi

About Matt Nasser

Director of La MaMa Galleria from 2009 to 2018, Matt Nasser has worked with hundreds of artists and curators from all over the world. He has created exhibitions in partnership with institutions such as The New Museum, The New York Public Library, NYU, Yale, The Cooper Union and Visual Aids. Although Matt has worked with artists at all stages of their careers, his focus is curating exhibitions that showcase underrepresented emerging artists. Matt is also an accomplished performer and stage director. He has worked in the downtown theatre and performance art community since graduating from Boston University's College of Fine Arts. Matt is a member of the Great Jones Repertory at La MaMa as well as the Big Art Group. He has collaborated with artists such as John Kelly, Justin Vivian Bond, Alan Cumming and The Bruce High Quality Foundation, always striving to bridge the gap between visual art and performance.

For more information about The Empty Circle please visit their site here.

uzomah ugwu 10/28/25 uzomah ugwu 10/28/25

Announcing Representation of Reginald Madison

Reginald Madison-Chicago-Art & Soul-Third Place Prize-1968-PhotoCredit: Ann Zelle

Uffner & Liu is pleased to announce the representation Hudson-based artist Reginald Madison (b. 1941, Chicago, IL) following the artist's debut solo exhibition in New York at the gallery last year.

Born in 1941 in Chicago, Madison came to prominence in the emergent art scene of the Black Arts Movement (1965 – 1975). His story is one of self-determination and relentless passion, and at 84 years old is still clear-eyed and zealous about what’s to come. He is fully self-taught, having discovered a discarded box of paints as a teenager and started putting them to use. He later worked at the US Steel Southworks, taking on extra shifts to save up money to take his young family to Europe for a year, where he visited the museums of Paris, Munich, and Madrid.

In 1968 he had his first public showing of his artwork, at "Art & Soul" in Chicago, where he won third place in a competition juried by artist Richard Hunt and curator Jan van der Marck, founding director of the Museum of Contemporary Art Chicago. This formative exhibition experience gave him the confidence to further pursue his artmaking, and he traveled east to New York City and then western Massachusetts, before finally being drawn to Hudson, where he currently lives and works.

**Reginald Madison** *River Blue*, 2006-2024 oil on canvas 90 3/4 x 77 1/2 x 2 1/2 in (230.5 x 196.8 x 6.3 cm)

Madison's paintings are vibrant and improvisational, just like the free form jazz that he grew up listening to and that his method is so deeply rooted in. He has perfected a palette that embraces bold color (lime greens, salmon pinks, bright blues), toned down to an earthy—and always matte, he abhors sheen—hue. Texture is achieved through an assortment of mark-making materials, from rags to the palms of his hands to his collection of brushes. He mixes his colors directly on the walls of his studio. In a 2011 interview, he quips: “If you say ‘what’s your ancestry?’, I say – Charlie Parker. That’s my ancestor.”

**Reginald Madison** *Black Magic*, 2024 oil and tar on panel 24 x 24 in (61 x 61 cm)

Reginald Madison (b. 1941, Chicago, IL) is a self taught painter and sculptor who emerged from the Black Arts Movement in Chicago (1965 -1975). He studied independently in Paris, Venice, and Copenhagen in the 60’s. After moving to Western Massachusetts in the 70’s, Madison was represented by Phyllis Kind Gallery. After decades of working in relative obscurity, Madison held a solo exhibition at SEPTEMBER Gallery in Hudson, NY in 2021, shortly followed by his first New York solo exhibition at Rachel Uffner Gallery in 2024. His work has been included in group exhibitions at Rachel Uffner Gallery, New York, NY (2025, 2022); False Flag Gallery, Long Island City, NY (2021); SEPTEMBER Gallery, Hudson, NY (2021); The Smart Museum of Art, Chicago, IL (2018); and Shelnutt Gallery, Troy, NY (2018) and the historic pop up exhibition, Art and Soul, juried by Richard Hunt (1970). Madison’s work is in the Baltimore Museum of Art, Baltimore, MD; Beth Rudin DeWoody Collection, Miami, FL; and the University of Santa Barbara Art, Design & Architecture Museum, Santa Barbara, CA. His work has been reviewed in The New York Times, and has been included in “Art for People’s Sake: Artists and Community in Black Chicago, 1965-1975”, Duke University Press, and “The Time Is Now! Art World’s of Chicago’s South Side, 1960-1980”, The University of Chicago Press. Madison lives and works in Hudson, NY.

For more information about this announcement and others at Uffner & Liu, please visit their site here. Information about this artist and other artists, along with past, current, and future exhibitions, can be found on the website. The gallery can be found on Facebook, Instagram, YouTube, and X.

uzomah ugwu 10/7/25 uzomah ugwu 10/7/25

Alexander Gray Associates announces representation of Kamrooz Aram

Courtesy of Alexander Gray Associates and Kamrooz Aram

Alexander Gray Associates announces representation of Kamrooz Aram (b. 1978). In February 2026, the Gallery will present a solo exhibition of Aram’s work. Aram has built his practice on dismantling the divide between ornament and fine art, renegotiating the art historical hierarchies that privilege Western forms of abstraction above others. His paintings and sculptures do not simply cross categories; they probe the structures that enforce them. Born in Shiraz, Iran, Aram emigrated to the United States in the 1980s, where he found himself forced to come to terms with a multitude of identities imposed upon him. These experiences left a lasting mark. Categories, he discovered, do not merely describe identity—they invent it. This recognition drives his work, which asserts that non-Western ornamental traditions carry the same intellectual weight and conceptual rigor Western art history has long reserved for itself.

“Kamrooz’s practice opens a critical dialog for reconsidering how we define cross-cultural histories,” shares John Kunemund, Partner at Alexander Gray Associates. “At a time when the space for nuance has become increasingly important, his work demonstrates how patterns, forms, and histories reflect hierarchies and shape identities. By confronting these structures with rigor, poetry, and beauty, Kamrooz not only expands the field of abstraction but also reminds us that the very terms we use to categorize art and culture reflect charged sites of power. We are honored to support his vision.”

Aram’s paintings are acts of translation. Intricate geometries slip into fields of color, while brushstrokes accumulate in thin layers, revealing glimpses of what lies beneath. Aram speaks of pursuing contemporary art’s “taboo subjects” like emotion and spiritual presence, and in his work, they appear not as sentiment, but as structure. Calligraphic forms reverberate against the cool authority of Minimalist grids; floral arabesque patterns breathe new life into Color Field painting. These juxtapositions are not acts of fusion, so much as acts of recognition, acknowledging what has always been visible.

Aram’s influences are as diverse as his artistic strategies. Henri Matisse’s embrace of pattern, Ellsworth Kelly’s geometric clarity, and Cy Twombly’s gestural abandon all resonate in his practice. Most revealing is Le Corbusier—modernism’s supposed ascetic—whose architecture, despite its rhetoric of purity, cannot entirely suppress its embrace of ornament. For Aram, this contradiction lays bare how words like “decorative” are never neutral; they are instruments of hierarchy.

**Untitled (Arabesque Composition) 2023**

Aram’s sculptures extend this critique into three dimensions, arranging ceramic objects on painted plinths that echo museum displays. These installations engage with institutions from within, showing how context confers the status of “art” and revealing the fragile systems behind such designations. As Aram explains, “I hope to renegotiate the terms in which art history has been written—the Eurocentric hierarchy that places certain types of painting in the category of fine art while others are relegated to the minor arts.”

At the center of Aram’s practice lies a paradox he captures with poetic clarity in his writing: “It occurs to me that I am Arabesque. It occurs to me that there is no such thing as the Arabesque.” His work inhabits the charged space between being and non-being, tradition and invention, visibility and erasure. Rather than resolving these contradictions, Aram leaves them; it is in their friction—in the failure of old certainties—that new ways of seeing begin to emerge.

About Artist

Aram’s work has been the subject of numerous solo exhibitions, including Kamrooz Aram: Privacy, An Exhibition, The Arts Club of Chicago, IL (2022); Lives of Forms: Kamrooz Aram and Iman Issa at Z33 House for Contemporary Art, Design & Architecture, Hasselt, Belgium (2021); FOCUS: Kamrooz Aram, Modern Art Museum of Fort Worth, TX (2018);Kamrooz Aram: Ancient Blue Ornament, Atlanta Contemporary, GA (2018); and Kamrooz Aram: Ornament for Indifferent Architecture, Museum Dhondt Dhaenens, Sint-Martens-Latem, Belgium (2017). His work has been featured in significant group exhibitions, including Paraventi: Folding Screens from the 17th to 21st Centuries at Fondazione Prada, Milan, Italy (2023-2024) and Desorientalismos at Centro Andaluz de Arte Contemporáneo, Seville, Spain (2020). Aram's work is in the collections of The Metropolitan Museum of Art, New York, NY; M+ Museum, Hong Kong, China; Art Gallery of New South Wales, Sydney, Australia; Modern Art Museum of Fort Worth, TX; Cincinnati Art Museum, OH; Portland Museum of Art, ME; and Sharjah Art Foundation, United Arab Emirates, among others. He is the recipient of multiple prestigious awards, including the Guggenheim Fellowship (2025); the Carla Fendi Rome Prize from the American Academy in Rome (2024); and the Abraaj Group Art Prize (2014). He is also represented by Green Art Gallery, Dubai, United Arab Emirates. Aram lives and works in Brooklyn, NY.

uzomah ugwu 10/6/25 uzomah ugwu 10/6/25

Emily Harter Joins HESSE FLATOW

HESSE FLATOW, New York, announces the representation of San Francisco-based artist Emily Harter. In October, Harter will have her second solo exhibition with HESSE FLATOW, and will be featured in a solo booth at Minor Attractions art fair in London, UK.

Emily Harter (b. 1997) Winter, 2025 Gouache and pencil on prepared paper 23 1/2 x 32 inches 59 x 81 cm 32 1/2 x 41 inches (framed) 82 x 104 cm (framed)

“At HESSE FLATOW, we’ve made it our mission to stand behind artists early in their journeys and to nurture their long-term growth, ” says founder Karen Hesse Flatow. “Emily embodies the spirit of that commitment, and we are thrilled to accompany her as she enters this next chapter of her career. Her work not only draws upon centuries of painting history but also expands the possibilities of what the medium can be.

Emily Harter (b.1997) Allegorical Figure of Winter, 2025 Oil on canvas 17 x 13 inches 43.18 x 33.02 cm

Working across painting, drawing, ceramics, and printmaking, Harter develops scenes where chaos and humor collide. Her work is inspired by Netherlandish genre painting, the satirical prints of Hogarth and Daumier, and the Golden Age of American cartoons. She creates narrative scenes packed with a shifting cast of caricaturized figures. These characters, each caught in their own actions and desires, embody tropes pulled from art history, literature, comic strips, and current crises.

Emily Harter (b. 1997) Fall, 2025 Gouache and pencil on prepared paper 23 1/2 x 32 inches 59 x 81 cm 32 1/2 x 41 inches (framed) 82 x 104 cm (framed)

This October, Harter's exhibition at HESSE FLATOW, titled Split the Rolling Year, will center on the four seasons as sites of collective affect and experience. The drawings on view will depict crowded scenes of catastrophe, floods, storms, fires, and melting ice, that speak to the anxieties of the changing seasons and the natural disasters that follow. In contrast, the paintings present solitary figures whose bodily states follow the framework of the Four Humors, aligning the cycles of weather with human moods, temperaments, and fluids. Together, the works explore how the rhythm of the seasons resonates with human experience, from collective upheaval to individual disposition.

About the Artist

Emily Harter received her BA from Oberlin College and her MFA in Art Practice from Stanford University. Her work has been exhibited throughout the United States, including solo exhibitions at HESSE FLATOW (New York), OCHI Projects OVR (Los Angeles) and Cleaner Gallery (Chicago). She was the recipient of the AAF/Seebacher Prize for the Fine Arts, The Headlands Graduate Fellowship, and the 2020 MAPC Travel Grant and has been a resident artist at The Lighthouse Works (Fishers Island, NY), Arts, Letters, and Numbers (Averill Park, NY), and After 1920 (San Diego). She is a co-founder of Pigeon Hole Press in Chicago, IL, which produces and publishes fine art intaglio prints.

For more information about this announcement and HESSE FLATOW, please visit their site here. The gallery can also be found on Instagram here. For more information about Emily Harter, their website can be found here, and they can also be found on Instagram.

uzomah ugwu 9/30/25 uzomah ugwu 9/30/25

P·P·O·W to Represent Owen Fu

Owen Fu My Father's Back, 2024 oil on canvas60 x 84 ins.152.4 x 213.4 cm Courtesy of Owen Fu and P·P·O·W, New York Photo: Ian Edquist

P·P·O·W is pleased to announce the co-representation of Chinese artist Owen Fu with Antenna Space, Shanghai. In his paintings, often depicting surreal domestic scenes cast in a nocturnal glow, ghostly figures and inanimate objects merge as the distinctions between reality, dreams, and memory disintegrate. Drawing from centuries-old traditions of ink wash painting, Fu’s works expose the mysterious emotional landscape residing beneath the surface of ordinary life.

2024_you are not the fish 子非鱼_FU-015.jpg

2024_The Bird, the Shadow, and the Thorns_FU-021_detail.jpg

2024_Untitled (never let me go)_FU-018.jpg

From Left to Right: Owen Fu you are not the fish 子非鱼 , 2024 oil on linen 60 x 48 ins. 152.4 x 121.9 cm Courtesy of Owen Fu and P·P·O·W, New York Photo: Ian Edquist, Owen Fu The Bird, the Shadow, and the Thorns , 2024 oil on linen 67 x 58 ins. 170.2 x 147.3 cm Courtesy of Owen Fu and P·P·O·W, New York Photo: JSP Art Photography, Owen Fu Untitled (never let me go) , 2024 oil on canvas 40 x 50 ins. 101.6 x 127 cm Courtesy of Owen Fu and P·P·O·W, New York Photo: Ian Edquist, Owen Fu Untitled (so proud) , 2024 oil on linen 60 x 46 ins. 152.4 x 116.8 cm Courtesy of Owen Fu and P·P·O·W, New York Photo: Ian Edquist

Fu constructs his scenes through thin veils of oil paint on raw linen and canvas, creating works that read like memories suspended between consciousness and subconsciousness, narration and abstraction. Through soft, yet deliberate mark making, Fu navigates feelings of loss, desire, and memory while evoking a sense of intense longing and personal exploration. Interweaving literary, philosophical, and other cultural references with his own experiences of migration from China to the United States, Fu combines Eastern and Western painting traditions with art historical tropes to reveal unseen passageways in which amorphous figures drift between places seeking connection, solace, and sanctuary. Offering viewers a glimpse into the margins of society, Fu conducts introspective investigations shaped by a queer sensibility, exploring intimacy, desire, and otherness alongside the perpetual unfolding of time.

Owen Fu Untitled (Holy Matcha) , 2024 oil on linen 60 x 48 ins. 152.4 x 121.9 cm Courtesy of Owen Fu and P·P·O·W, New York Photo: Paul Salveson

Fu presented his first solo exhibition with P·P·O·W, Own Alone , earlier this year. His work is currently included in Surface Streets , a group exhibition curated by Russell Ferguson at Marian Goodman Gallery, Los Angeles, CA, through October 18, and in Owen Fu: Wang Lai , his second solo exhibition with Antenna Space, on view through October 26.

Courtesy of Owen Fu, P·P·O·W, New York, and Antenna Space, Shanghai

Owen Fu (b. 1988) was born in Guilin, China. Fu completed his MFA in 2018 at the ArtCenter College of Design, Pasadena, CA, preceded by a BA in Philosophy from the Stony Brook University, New York, NY, and a BA in Fine Art from the School of the Art Institute of Chicago, IL. He has presented solo exhibitions at Balice Hertling, Paris, France; Antenna Space, Shanghai, China; O-Town House, Los Angeles, CA; Gallery Platform LA, Los Angeles, CA; Mine Project, Hong Kong, China; Art Center Main Gallery, Los Angeles, CA; and New York Art Expo, New York, NY; among others. He has been featured in group exhibitions at Marian Goodman Gallery, Los Angeles, CA; Antenna Space, Shanghai, China; Hammer Museum, Los Angeles, CA; Gagosian Hong Kong, China; and Balice Hertling, Paris, France; among others. His work was included in the 2022 Beijing Biennial, Magic Square: Art and Literature in Mirror Image at Friendship Art Community, Beijing, China. His works belong to the collections of numerous international institutions including the Los Angeles County Museum of Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; Domus Collection, New York, NY; K11 Art Foundation, Hong Kong, China; START Museum, Shanghai, China; George Economou Collection, Athens, Greece; Aïshti Foundation, Beirut, Lebanon; G Museum, Nanjing, China; and the Juan and Patricia Vergez Collection, Buenos Aires, Argentina; among others.

For more information about this news, other announcements, and exhibitions, please visit the P·P·O·W gallery’s website. Also, the gallery can be found on Instagram and Artsy. Srijon’s interview with the magazine can be found here.

uzomah ugwu 9/30/25 uzomah ugwu 9/30/25

BONHAMS ANNOUNCES FIRST-EVER INITIATIVE IN SAUDI ARABIA WITH JUDHOOR / ROOTS: THE ORIGINS OF SAUDI MODERNISM

Riyadh’s JAX District, where the exhibition is taking place.jpg

_Abdulrahman Al Soliman (Saudi Arabia, born 1954) Mountain Amongst the Palms Estimates_40,000 - 60,000.jpg

Left: Riyadh’s JAX District, where the exhibition is taking place Right: Abdulrahman Al Soliman (Saudi Arabia, born 1954) Mountain Amongst the Palms. Estimate: £40,000 - 60,000.

Bonhams is delighted to announce its first-ever initiative in the Kingdom of Saudi Arabia: Judhoor / Roots: The Origins of Saudi Modernism, an exhibition and associated programme of events opening at the newly renovated LIFT Gallery in Riyadh’s JAX District from 8–10 October 2025. The gallery is owned by HRH Princess Nouf bint Abdulaziz Al Saud and is situated in the heart of the capital’s new vibrant creative hub.

**Safeya Binzagr (Saudi Arabia, 1940-2024) Traditional Attire Estimates_30,000 - 50,000**

Judhoor / Roots traces the emergence and transformation of Saudi Arabia’s modern art scene, from the pioneering contributions of artists such as Abdulrahman Al Soliman, Safeya Binzagr, and Mohamed Al Saleem, through to the ambitious voices of the 1980s and beyond. Nima Sagharchi, Group Head of Middle Eastern Art, comments: “This is the first auction-house curated exhibition of local modern art in the Kingdom, highlighting the deep roots of Saudi modernism and uncovering a largely overlooked history, one that foregrounds the narratives that predate today’s flourishing cultural moment.”

**Abdullah Al Shaikh (Saudi Arabia, born 1936) The Awakening Estimates_40,000 - 60,000**

The exhibition brings together seminal works of Saudi modernism alongside important documentary and archival material. Among the highlights is a horizon painting by Mohammed Al Saleem from the 1980s, inspired by his abstraction of the Riyadh skyline viewed from the desert. Also on view is one of Abdulrahman Al Soliman’s most intimate works, a 1981 painting of Al-Ahsa oasis, created with desert soil he collected on childhood visits. Archival material from Dar Al-Fnoon, Saudi Arabia’s first modern art space, founded by Al Saleem, adds crucial context to the story.

Significantly, Judhoor also features several leading female voices in the Saudi Art scene. The exhibition marks the first time an auction house has presented the work of Safeya Binzagr, a graduate of Central Saint Martins in the 1960s and the first female artist to hold a solo exhibition in Saudi Arabia. Her celebrated 31-work cycle documenting traditional attire is a landmark in the visual preservation of Saudi cultural identity. Other highlights include Bakr Sheikhoun’s Portrait of a Woman, a powerful early expression from an artist who would later become the Kingdom’s first conceptual practitioner.

Mohammed Al Saleem (Saudi Arabia, 1939-1997) Untitled (From the Horizon Series) Estimates_500,000 - 500,000.jpg

_Bakr Sheikhoun (Saudi Arabia, born 1946) Head of a Woman Estimates_60,000 - 80,000.jpg

Left: Mohammed Al Saleem (Saudi Arabia, 1939-1997) Untitled (From the Horizon Series). Right: Bakr Sheikhoun (Saudi Arabia, born 1946) Head of a Woman.

Works featured in Judhoor / Roots will subsequently appear in Bonhams’ 25 November auction in London.

Building on the exhibition, a panel discussion will be held at Maison Assouline, located near the historical district of Diriyah, a UNESCO World Heritage Site. The event will be co-hosted by collectors Taha Al Kuwaiz and Muneera Al Touq. The panel will include Najla Al Saleem, artist and daughter of Mohamed Al Saleem; Abdulrahman Al Soliman, one of Saudi Arabia’s most renowned modern artists; Lulwah AlHomoud, an award winning Saudi artist and curator; academic Nada Al Rakaf; and will be moderated by Arab art specialist Fadia Antar.

Participating artists: Abdulhalim Radwi, Abdulrahman Al Soliman, Abdullah Al Shaikh, Bakr Sheikhoun, Ibrahim Al Fassam, Khalid Al Owais, Mohammed Al Saleem, Najla Al Saleem, Ola Hejazi, Safeya Binzagr, Saud Al Qahtani, Taha Al Sabban, and Wedad Alahmadi.

Exhibition dates: 8–10 October 2025
Location: LIFT Gallery, JAX District, Riyadh

The announcement comes after the appointment of Suzy Sikorski as Business Development Director in The Middle East. Read more HERE.

About The Bonhams Network

Bonhams is a global network of auction houses, with the largest number of international salerooms, offering the widest range of collecting categories and selling at all price points. Bonhams is recognised for its bespoke service, and a dedication to local market relationships, enhanced by a global platform. With 14 salerooms, Bonhams presents over 1,000 sales annually, across more than 60 specialist categories, including fine art, collectables, luxury, wine & spirits, and collector cars.

Founded in 1793, Bonhams has representatives in more than 30 countries and operates flagship salerooms in London, New York, Paris, Los Angeles, and Hong Kong. In 2022, Bonhams added four international auction houses to its network: Bukowskis, Stockholm; Bruun Rasmussen, Copenhagen; Cornette de Saint Cyr, Paris and Brussels; and Skinner, Massachusetts. The success of Bonhams’ global strategy is a result of recognising the shift in growing intercontinental buying and increased digital engagement.

In 2023, Bonhams achieved 14% growth with $1.14 billion in turnover. Recent important auctions and landmark single-owner collections, include the white glove sales of Sir Michael Caine: The Personal Collection, Alain Delon: Sixty Years of Passion; Sir Roger Moore: The Personal Collection; Personal Property of Justice Ruth Bader Ginsburg and The Robert & Jean-Pierre Rousset Collection of Asian Art: A Century of Collecting. Other notable single-owner sales included The Estate of Barbara Walters: American Icon; The Alan and Simone Hartman Collection; The Crown Auction: Props and Costumes and The Claude de Marteau Collection.

Top lots for 2023 include 1967 Ferrari 412P Berlinetta, Sold at Quail Lodge, US for US$30,255,000. Tipu Sultan’s Bedchamber Sword (sold in London for £14m – a world record for both an Islamic and an Indian object); Paul Signac (1863-1935), Sisteron, 1902. Sold for US$8,580,000 (estimate US$4-6 million), and Claude Monet (1840-1926), La Seine près de Giverny, 1888. Sold for US$6,352,500 (estimate US$4-6m), both from the Alan and Simone Hartman Collection; A Gilt Copper Alloy figure of Virupaksha, Central Tibet, Densatil Monastery, Early 15th century. Sold for HK$37.9m (£4,060,326) in Hong Kong. Yoshitomo Nara (born 1959) Three Stars. Sold for HK$36,754,000 (£3,930,914), also in Hong Kong.

For more information about these auctions and others featured By Bonhams, please visit their site. Bonhams can also be found on Instagram, Facebook, X, YouTube, and Pinterest.

uzomah ugwu 9/26/25 uzomah ugwu 9/26/25

BONHAMS APPOINTS THERESA MCCULLOUGH AS SENIOR SPECIALIST OF INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART

Theresa McCullough, Senior Specialist, Indian, Himalayan & Southeast Asian Art

London – Bonhams has appointed Theresa McCullough as Senior Specialist in Indian, Himalayan, and Southeast Asian Art in London. She will also be responsible for valuations across Europe.

Theresa brings thirty years of experience in the field, combining deep subject knowledge with commercial expertise, and a proven record of leadership across the auction, museum, and academic sectors.

Before joining Bonhams, Theresa began her career at Spink, London where she established herself as a respected dealer in Indian and Southeast Asian art.

She held senior roles at Sotheby’s New York, achieving record-breaking sales in Indian sculpture; and as Principal Curator at the Asian Civilisations Museum in Singapore, where she led major exhibitions, museum publications, and international collaborations—including with the Musée national des arts asiatiques – Guimet in Paris and Yale University Art Gallery in New Haven. She has long been a trusted advisor to private collectors, museums, and institutions worldwide, with a focus on connoisseurship and strategic collecting.

She holds a Master’s degree in the History of Art and Archaeology from the School of Oriental and African Studies (SOAS), University of London.

“I am thrilled to be joining the Bonhams team and to contribute to its long-standing reputation for excellence and integrity in the field of Indian, Himalayan, and Southeast Asian art. It is a privilege to be part of such a globally respected, specialist-led house at an exciting time of growth.”

— Theresa McCullough

For more information about these auctions and others featured By Bonhams, please visit their site. Bonhams can also be found on Instagram, Facebook, X, YouTube, and Pinterest.

uzomah ugwu 9/23/25 uzomah ugwu 9/23/25

Alexander Gray Associates and Bockley Gallery announce co-representation of Dyani White Hawk

Alexander Gray Associates announces co-representation of Minneapolis-based artist Dyani White Hawk (b. 1976) in partnership with Bockley Gallery, Minneapolis. This October, White Hawk's career continues to gain significant institutional recognition with the survey exhibition Love Language opening at the Walker Art Center, Minneapolis. Her first solo exhibition with Alexander Gray Associates is scheduled for fall 2026.

**Dyani White Hawk** *Visiting*, 2024 Acrylic, glass beads, thread, and synthetic sinew on aluminum panel, quartz base Column: 120 x 15.5 x 15.5 in (304.8 x 39.4 x 39.4 cm) Base: 5 x 24 x 24 in (12.7 x 70 x 70 cm) Collection of Denver Art Museum Courtesy Alexander Gray Associates, New York; Bockley Gallery, Minneapolis © 2025 Dyani White Hawk Photo: Rik Sferra

“We are delighted to be in collaboration with our colleague Todd [Bockley], who has represented Dyani for over a decade,” shared Alexander Gray. “With authentic and rigorous commitment, Bockley Gallery has been a critical advocate for Indigenous artists’ development and legacies since its founding in the 1980s in Minneapolis. From this context, Todd and his team have strategically advanced Dyani’s artistic ambitions and carefully shepherded her work with institutions, commissions, and exhibitions, including her forthcoming survey at the Walker Art Center. We are honored to be invited by Bockley Gallery to join this rich legacy, as we expand Dyani’s platform, including her first solo gallery exhibition in New York, in fall 2026."

White Hawk turns a critical eye toward the construction of American art history. She lays bare the exclusionary hierarchies that have long governed cultural legitimacy, authority, value, and visibility. Her paintings, sculptures, and installations ask viewers to consider how such structures shape not only aesthetic judgment and cultural memory, but also the terms of community itself. In this light, White Hawk reframes Indigenous art and Western abstraction as inseparable practices—linked by a shared history that dominant narratives have labored to separate and obscure.

**Dyani White Hawk** *Carry IV*, 2024 Buckskin, synthetic sinew and thread, glass beads, brass sequins, copper vessel, copper ladle, acrylic paint 122 x 12 x 10 in (309.9 x 30.5 x 25.4 cm) Collection of the Baltimore Museum of Art Courtesy Alexander Gray Associates, New York; Bockley Gallery, Minneapolis © 2025 Dyani White Hawk Photo: Rik Sferra

White Hawk brings together Lakota and Western artistic techniques and practices of abstraction with deliberate fluency. Drawing on her Sičáŋǧu Lakota and Euro-American heritage, she describes her methods as deepening her “… understanding of the intricacies of self and culture, correlations between personal and national history, and Indigenous and mainstream art histories.” Her paintings translate and extend the meditative labor and artistic strength of Lakota practices into fields of saturated color and lines of measured brushwork, each mark imbued with the concentrated attention long sustained by Native women in their work. The effect is immediate and visceral; surfaces that register in the body before the intellect—works whose presence unsettles the categories of Eurocentric art history. By highlighting and forging connections between Indigenous practices and movements such as Color Field painting and Minimalism, White Hawk produces canvases that pulse with geometric clarity and chromatic intensity. As she notes, they honor “the importance of the contributions of Lakota women and Indigenous artists to our national artistic history … as well as the ways in which Indigenous artists helped shape the evolution of the practices of Western artists who were inspired by their work.”

This approach situates White Hawk within a lineage of Native artists who navigated and complicated the terrain of modernism. George Morrison, for instance, brought Ojibwe landscape sensibilities to Abstract Expressionism, while Jaune Quick-to-See Smith's flag paintings share symbolic ground with Jasper Johns’s work to probe questions of American history and identity. White Hawk extends this tradition while clarifying its stakes. The innovations of Native women—whether in color or composition—did not follow Western abstraction, but rather preceded, shaped, and existed alongside it.

Installation view: *I Am Your Relative* (2020) in *Sharing the Same Breath*, John Michael Kohler Arts Center, Sheboygan, WI, 2023. Courtesy of John Michael Kohler Arts Center

White Hawk’s practice also moves decisively beyond the canvas through installations such as her ongoing LISTEN series. This multi-channel video work presents Native women speaking their Indigenous languages on tribal homelands without subtitles. The series asserts belonging, sharing, and presence on self-determined terms while also illustrating the profound and lasting effects of colonization. Collaboration is central to White Hawk’s project. Family members, friends, and community partners work together in the studio to create beaded sculptures and mixed media paintings using glass beads, sinew, and buckskin. These pieces insist on the conceptual sophistication of Indigenous making while celebrating the collective modes of creation that Native women have practiced for generations. White Hawk's public commissions, created through collaborations with glass and ceramic studios, extend this ethos into civic space, ensuring Indigenous communities see themselves—and their artistic histories—centered where they have long been marginalized.

At its core, White Hawk's practice is sustained by ancestral respect and guided by value systems that center relationality and care for all life. By addressing inequities affecting Native communities, she creates opportunities for cross-cultural connection and prompts a critical examination of how artistic and national histories have been constructed. Her work invites viewers to evaluate current societal value systems and their capacity to support equitable futures.

**Dyani White Hawk** *Wopila | Lineage II,* 2023 Acrylic, glass beads, synthetic sinew, and thread on aluminum panel 96 x 120 in (243.8 x 304.8 cm) Collection of Gochman Family Collection Courtesy Alexander Gray Associates, New York; Bockley Gallery, Minneapolis © 2025 Dyani White Hawk Photo: Rik Sferra

This approach manifests in paintings and sculptures that serve as both aesthetic explorations and strategic interventions, illuminating the reciprocal influences that bind Indigenous and broader American art histories. Attentive to how artistic representation mirrors larger social structures, White Hawk’s work addresses omissions that have perpetuated exclusion and erasure. What emerges is art that joins formal rigor with political consciousness, advocating for a more honest and holistic American cultural narrative—one in which Indigenous art is recognized as a foundational and lasting force.“As we, Bockley Gallery, assisted Dyani in finding the right co-representing gallery in NYC, we sought a gallery whose people and legacy understand the many benefits of working together in a strategic alliance to advance artists' careers,” Todd Bockley, founder of Bockley Gallery, shares. “In Alexander's distinct program and thoughtful team, we found a partner that listens attentively and shares our endless excitement about Dyani White Hawk, her values, and rigorous practice. Alexander Gray Associates is poised to extend Dyani's vision and we look forward to many celebrations in the future.”

White Hawk’s work has been the subject of numerous solo exhibitions including Dyani White Hawk: Love Language, Walker Art Center, Minneapolis, MN (2025), traveled to Remai Modern, Saskatoon, SK, Canada (2026); Dyani White Hawk: Bodies of Water, Baltimore Museum of Art, MD (2024); Dyani White Hawk: Speaking to Relatives, Kemper Museum of Contemporary Art, Kansas City, MO (2021), traveled to Museum of Contemporary Art Denver, CO (2024), among others. Her work has been included in many group exhibitions, including Radical Stitch, MacKenzie Art Gallery, Regina, SK, Canada (2022), traveled to Art Gallery of Hamilton, ON, Thunder Bay Art Gallery, ON, Canada (both 2023), National Gallery of Canada, Ottawa, ON, and Beaverbrook Art Gallery, Fredericton, NB, Canada (both 2024); Whitney Biennial 2022: Quiet as It’s Kept, Whitney Museum of American Art, New York, NY (2022); and Creation.Story, Aktá Lakota Museum and Cultural Center, Chamberlain, SD (2021), among others. White Hawk’s work is featured in the collections of the Aktá Lakota Museum and Cultural Center, Chamberlain, SD; Autry Museum of the American West, Los Angeles, CA; Baltimore Museum of Art, MD; Brooklyn Museum, NY; Crystal Bridges Museum of American Art, Bentonville, AR; Eiteljorg Museum of American Indians and Western Art, Indianapolis, IN; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; IAIA Museum of Contemporary Native Arts, Santa Fe, NM; Minneapolis Institute of Art, MN; The John and Mable Ringling Museum of Art, Sarasota, FL; Museum of Contemporary Art, Los Angeles, CA; Museum of Fine Arts Boston, MA; National Museum of the American Indian, Smithsonian Institution, Washington, D.C.; San Francisco Museum of Modern Art, CA; Solomon R. Guggenheim Museum, New York, NY; Walker Art Center, Minneapolis, MN; and the Whitney Museum of American Art, New York, NY, among others. She is the recipient of numerous awards and fellowships, including the Guggenheim Fellowship (2024); MacArthur Fellowship (2023); and the Anonymous Was a Woman Award (2021). In 2024, she received an honorary doctorate from the Institute of American Indian Arts, Santa Fe, NM. White Hawk is also represented by Bockley Gallery, Minneapolis, MN.

For more information about Alexander Gray Associates and this announcement, artists, and exhibitions, please visit their site here. The gallery can also be found on Instagram here.

uzomah ugwu 9/22/25 uzomah ugwu 9/22/25

Galerie Templon is pleased to announce the representation of Martial Raysse, one of the most important artists on the contemporary art scene.

**Martial Raysse, 2023 © Tous droits réservés**

MARTIAL RAYSSE La Reine du Monde, 2018 Huile sur toile | Oil on canvas 200 × 165 × 3 cm — 78 3/4 × 65 × 1 1/4 in Courtoisie de l'artiste et Templon, Paris – Bruxelles - New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist's studio

IMR-1803_Le_grand_Jury_2021_Acrylique_sur_toile_300x500cm.jpg

IMR-1801_La_Peur_2023_Acrylique_sur_toile_300x400cm_.jpg

From Left to Right: MARTIAL RAYSSE Le grand Jury, 2022 Acrylique sur toile | Acrylic on canvas 300 × 500 cm — 118 × 196 3/4 in Courtoisie de l'artiste et Templon, Paris – Bruxelles – New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist's studio, MARTIAL RAYSSE, La Peur, 2023 Acrylique sur toile | Acrylic on canvas 300 × 400 cm — 118 × 157 1/2 in Courtoisie de l'artiste et Templon, Paris – Bruxelles – New York | Courtesy of the artist and Templon, Paris – Brussels - New York Photo © Artist's studio

In January 2026, Galerie Templon will present his first exhibition of recent works. For more information about the exhibit and these other announcements, please visit Templon’s site.

uzomah ugwu 9/11/25 uzomah ugwu 9/11/25

David Hockney At Serpentine North

*A Year in Normandie (detail), 2020-2021, composite iPad painting © David Hockney*

Serpentine is honoured to announce an exhibition of recent works by David Hockney. Presented at Serpentine Northrom 12th March to 23rd August 2026, the exhibition will showcase seminal works, shown in the UK for the first time. Ad- mission will be free to the exhibition which is the artist’s first at Serpentine.

“I’m excited to present an exhibition at Serpentine in 2026.”

— David Hockney

“We are thrilled that David Hockney has accepted our invitation to present new works at Serpentine North in 2026. As a highlight of our Spring/Summer season, the exhibition promises to be a landmark cultural moment. Serpentine is free and open to all, and we look forward to welcoming audiences from near and far.”

— Bettina Korek, CEO, and Hans Ulrich Obrist, Artistic Director, Serpentine

*David Hockney, London, 2023 © David Hockney Photo Credit: Jean-Pierre Gonçalves de Lima*

While the world came in the Spring of 2020, Hockney produced over a hundred images on his iPad within just a few weeks. Working digitally lets him capture the essence of each scene quickly and precisely. Much like the Impressionists, Hockney skilfully records changes in light and weather, but uses a vivid, radiant palette. His compositions combine flat areas of bold colour with playful pop-like touches. As the days pass, lockdown lifts, and spring transitions into summer, then autumn and winter. Hockney didn’t stop at painting spring, he captured the whole cycle of the year. The exhibition will include Hockney’s recent works: the celebrated Moon Room which reflects his lifelong interest in the cycle of light and time passing. It will also feature digital paintings from his Sunrise body of work.

A Year in Normandy, a ninety-metre-long frieze, inspired by the Bayeux Tapestry, showing the change of seasons at the artist’s former studio in Normandy, will also feature in the show. David Hockney is interested in how art and technology can come together in new ways. Recommending that people slow down and notice the beauty of the world around them, he believes that simple, everyday beauty, like a sunrise, is worth celebrating.

David Hockney

David Hockney (b. 1937 in Bradford, Yorkshire) has been at the forefront of the international art world for more than six decades. He emerged as one of the exceptional talents in the new generation of British artists in the early 1960s. Throughout his extraordinarily prolific career, he remains endlessly inventive and committed to celebrating the world around him.

Hockney is fascinated by the language of representation in a variety of forms. He explores the conventions of Chinese and Japanese painting as well as the traditions of European art. He experimented with abstraction; however, he steadfastly remains a figurative artist. Constantly questioning the world around him, he draws and paints from life, from memory, and from imagination.

Across his career he has created many bodies of works and numerous individual paintings which are now viewed as iconic. His experimental paintings in the early sixties announced the arrival of a new artistic voice. These were followed by a celebrated series of Hollywood swimming pools where the young Hockney arrived in 1964, documenting the city’s seductive charm and ambience from the position of an outsider. Often poetically titled, works such as A Bigger Splash and Beverly Hills Housewife have become celebrated paintings and part of the modern vernacular.

A deep fascination with perspective and a desire to investigate how we see and represent the world initiated a long and complicated relationship with the camera and lens. Hockney’s photographic collages in the 1980’s, with their cubist language and reliance on the fundamental concepts of drawing, challenged the limitations of the lens. Never afraid to push against the accepted doctrines of art history, his focus on past masters’ reliance on the lens as a painting device resulted in an in-depth study of the subject in both a book and BBC documentary, Secret Knowledge, published in 2001.

Hockney’s use of new technology is an extension of his interest in different modes of capturing an

image. From his polaroid composites to fax machine drawings and, in recent years, his iPad paintings, he seeks to exploit the potential of each technology in the creation of art. His life-long fascination with the possibilities of new media was recently given vibrant expression in Hockney’s ground-breaking multimedia show at Lightroom, first in London and now touring worldwide, which takes audiences on a personal journey through sixty years of Hockney’s life and charts the path of his artistic achievement throughout his career.

Hockney’s opera designs are a significant but lesser-known part of his oeuvre. Concentrating intensely on each commission, often for more than a year at a time, many of these designs, such as

The Rake’s Progress from 1975 and Puccini’s Turandot from 1990, continue to be performed decades after their debut.

From painting, drawing, printmaking, set design, and photography to media ranging from fax machines to iPads, Hockney demonstrates his deep understanding of art history coupled with his interest in modern technology to create new ways of seeing and presenting. David Hockney's rich and enduring body of work reveals his passion for contemporary life and curiosity about the world, epitomised by his signature phrase, “Love Life.”

A major exhibition of more than 400 of the artist’s works from 1955 to 2025 was recently presented at the Fondation Louis Vuitton in Paris featuring international, institutional, and private collections’ works, as well as paintings from the artist’s own studio. The exhibition – curated at David Hockney’s request by Sir Norman Rosenthal, the former Exhibitions Secretary of London’s Royal Academy of Arts, in close collaboration with Suzanne Pagé, Artistic Director of Fondation Louis Vuitton, and her team brought together works in a variety of media including oil and acrylic painting, ink, pencil and charcoal drawing, digital art (iPhone, iPad, and computer drawings), immer- sive video installation and photographic drawing. Spanning seven decades of groundbreaking creativity, David Hockney 25 highlighted not only Hockney’s iconic early works but also places a special focus on the past 25 years, the early part of the 21st century, which has inspired the event's title.

About Serpentine

Building new connections between artists and audiences, Serpentine presents pioneering contemporary art exhibitions and cultural events with a legacy that stretches back over half a century, from a wide range of emerging practitioners to the most internationally recognised artists, writers, scientists, thinkers, and cultural thought leaders of our time.

Situated in London’s Kensington Gardens, across two sites, Serpentine North and Serpentine South, Serpentine features a year-round, free programme of exhibitions, architectural showcases, education, live events and technological activations, in the park and beyond the gallery walls. The Serpentine Pavilion is a yearly pioneering commission, which began in 2000 with Dame Zaha Hadid. It features the first UK structures by some of the biggest names in international architecture.

Public art has emerged as a central strand of Serpentine’s programme. Major presentations in- clude a collection of Eduardo Paolozzi’s sculptures (1987), Anish Kapoor’s Turning the World Upside Down (2010), Lee Ufan’s Relatum – Stage (2018-19), Christo and Jeanne-Claude’s London Mastaba in the Serpentine Lake (2018), I LOVE YOU EARTH by Yoko Ono (2021), Dominique Gonzalez-Foer- ster’s In remembrance of the coming alien (Alienor) (2022), Atta Kwami's DzidzƆ kple amenuveve (Joy and Grace) (2021-22), Gerhard Richter’s STRIP-TOWER (2023), Yayoi Kusama’s Pumpkin (2024) and Esther Mahlangu’s mural Umuntu ngumuntu ngabantu (2024). Proud to maintain free access for all visitors, Serpentine also reaches an exceptionally broad au- dience and maintains a profound connection with its local community

For more information about this exhibition and others, please visit Serpentine’s website. Please also visit and follow Serpentine on Instagram, Facebook, and YouTube, along with TikTok.

uzomah ugwu 9/10/25 uzomah ugwu 9/10/25

Gallery Association Los Angeles Launches GP.LA App to Open Doors to LA’s Art Scene

Courtsey of Gallery Association Los Angeles

East West Bank is lead sponsor of GP.LA and Gallery Association’s annual initiatives, reinforcing its commitment to the arts

Los Angeles, September 10, 2025 — Gallery Association Los Angeles (GALA) today announced the launch of the Gallery Platform mobile app GP.LA, giving audiences around the world a new way to experience Los Angeles’ contemporary art scene.

GalleryPlatform is already a prominent digital showcase for contemporary art, and the GP.LA app marks a significant step forward in the platform’s evolution. Through the app, users can explore exhibitions, discover artists, access interviews, bookmark favorite works, and stay updated on upcoming shows—all from their phones. To install, tap the install banner and follow the on-screen instructions to add Gallery Platform to your home screen.

Push notifications are off by default—users are prompted to opt in once they open the app.

The app’s debut comes at a time when Los Angeles is recognized as one of the world’s most dynamic art centers. The county is home to more than 800 galleries and museums, giving LA more museums per capita than any other U.S. city. GP.LA offers audiences a way to navigate and personalize their experience across the city’s vibrant cultural landscape.

"We are thrilled to welcome East West Bank as the Lead Sponsor of our new mobile app and annual initiatives,” said Allyson Spellacy, President of Gallery Association Los Angeles. "East West's generous support will enable us to connect more people with the rich artistic talent that Los Angeles has to offer, and we are excited about the opportunities this partnership will create.”

East West will collaborate with GALA on year-round programming, including exhibitions, artist talks and other community-focused events. Following the 2025 wildfires, the bank also partnered with GALA to launch Project Phoenix, a working group that brought together art professionals, business leaders and nonprofits to provide relief through fundraising, webinars and tailored resources.

East West’s commitment to the arts and creative communities is reflected in its Art Program and Collection, which harness the power of art to foster cultural exchange and understanding.

“The art community has always been close to my heart, and I’ve seen how much it shapes the spirit of Los Angeles,” said Agnes Lew, head of private banking at East West Bank. “As we mark the 20th anniversary of our Art Program, we’re delighted to partner with GALA to reach new audiences, support recovery after the wildfires and ensure that creative voices continue to thrive.”

About Gallery Association Los Angeles

Gallery Association Los Angeles is a leading cultural organization dedicated to promoting and supporting the visual arts in Los Angeles. Through partnerships, sponsorships, and community engagement, the Association plays a pivotal role in enriching the city’s vibrant cultural landscape.

About East West Bank

East West Bank provides financial services that help customers reach further and connect to new opportunities. East West Bancorp, Inc. is a public company (NASDAQ: EWBC) with over $78 billion in assets as of June 30, 2025. The company’s wholly owned subsidiary, East West Bank, is the largest publicly traded bank headquartered in Southern California, with more than 100 locations across the United States and Asia. The Bank’s markets in the United States include California, Georgia, Illinois, Massachusetts, Nevada, New York, Texas, and Washington.

For more information about GP.LA, please visit here. For more information on East West, visit here. For more information about the Gallery Association Los Angeles, please visit here.

uzomah ugwu 9/8/25 uzomah ugwu 9/8/25

Stephen Friedman Gallery announces representation of Alexandre Diop

Portrait of Alexandre Diop. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Eva Kelety.

Stephen Friedman Gallery is delighted to announce representation of Vienna-based, Franco-Senegalese artist Alexandre Diop (b. 1995, Paris, France). Diop’s practice—rooted in assemblage, painting, and sculpture—confronts questions of history, memory, and identity through the raw materiality of found objects. His works repurpose everyday detritus such as nails, rusted metal, and discarded textiles, transforming them into densely layered compositions that bridge personal narrative and collective memory.

Alexandre Diop, Der grosse Duden, 2025. Mixed media on two wood panels. Two panels, each: 230 x 175cm (90 1/2 x 68 7/8in). Overall: 230 x 350cm (90 1/2 x 137 3/4in). Copyright Alexandre Diop. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Jorit Aust.

“Alexandre is one of the most urgent and compelling voices of his generation,” shares Stephen Friedman. “His practice embodies both resilience and reinvention—taking fragments of the past and reconfiguring them into new forms of meaning. His ability to hold beauty and brutality in the same gesture is extraordinary, and I am thrilled to see how his practice will continue to evolve in the years to come.”

On 19 September, Stephen Friedman Gallery will open Run For Your Life !, Diop’s debut exhibition in London, and his first with the gallery. The exhibition presents a major new body of mixed-media paintings that grapple with themes of history, metaphorical archaeology, and socio-political change. In this series, Diop examines the relationship between movement and time—embodied through dance, migration, and resistance. The exhibition’s title is both a rallying cry and an invitation: to stand for change, to embrace tolerance, and to remain alert to crises shaping our world

Portrait of Alexandre Diop, 2022. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Jorit Aust

About Alexandre Diop

Alexandre Diop is a Franco-Senegalese artist whose powerful, mixed-media works interrogate themes of ancestry, beauty, violence and social transformation. Drawing upon his experience as a dancer, musician, and visual artist, Diop brings a multidisciplinary lens to his practice, crafting works that are deeply visceral and formally innovative. Alexandre Diop was born in Paris, France in 1995. He lives and works in Vienna, Austria.

His rigorous approach to art making—what he terms object-images—employs found and recycled materials such as scrap metal, wood, paper, leather, plastic and textile remnants. These are sourced from scrapyards, urban streets and derelict buildings, then transformed through an intensive process of layering, burning, tearing, stapling and collaging onto wood panels. The resulting works exist at the intersection of painting, sculpture and relief. Elaborating on his choice of materials Diop says, “I always see the beauty in discarded things…these collected materials are my colour palette so to speak.”

Diop’s works also reveal a rigorous drawing practice which combine calligraphic lines, symbols and images that are painted, drawn and sprayed. Figures—often human or animal—emerge in theatrical, textured compositions, where remnants of packaging, colour or branding allude to histories of consumption, displacement and resistance. His material language, while firmly rooted in personal and political narrative, also engages with broader art-historical lineages. His work draws from movements such as Dada, Art Brut, Expressionism and the Viennese Secession, while maintaining a strong dialogue with both West African aesthetic traditions and the visual codes of contemporary urban culture.

Diop has garnered significant international attention through a string of major institutional exhibitions. In 2023, Diop’s work was imaginatively contextualised with 18th-century anatomical wax models of bodies and body parts in Anatomie at Josphinum Medical Museum, Vienna, Austria. His residency at the Rubell Museum in Miami culminated in a touring exhibition, ‘Jooba Jubba, l’Art du Défi, the Art of Challenge’, shown in Miami (2022) and Washington DC (2023). In 2022, Diop exhibited alongside Kehinde Wiley in ‘La Prochaine Fois, Le Feu’, presented by Reiffers Art Initiatives in Paris.

Notable group exhibitions include ‘Les Apparitions’, Reiffers Art Initiatives, Paris, France (2025); ‘De Sculptura’, Albertina Klosterneuburg, Austria (2025); ‘The Beauty of Diversity’, Albertina Modern, Vienna, Austria (2024); ‘Being Mortal’, Dom Museum, Vienna, Austria (2023); ‘The New African Portraiture’, Shariat Collections, Kunsthalle Krems, Krems an der Donau, Austria (2022); and ‘Le Mouton Noir’, Gesso Art Space, Vienna, Austria (2021).

Diop’s works can be found in the collections of Albertina Museum, Vienna, Austria; AMA Venezia, Venice, Italy; AMOCA, Cardiff, Wales, UK; Espacio Tacuarí, Buenos Aires, Argentina; Josephinum Medical Museum, Vienna, Austria; Kunsthalle Krems, Krems an der Donau, Austria; National Museum of African American History and Culture, Washington DC, USA; MB Collection, Germany; Reiffers Art Initiatives, Paris, France; Rubell Museum, Miami, Florida and Washington DC, USA; Ståhl Collection, Norrköping, Sweden; Stora Wäsby Public Collection, Stockholm, Sweden and The Bunker Artspace, West Palm Beach, Florida, USA.

Stephen Friedman Gallery

Stephen Friedman Gallery is a contemporary art gallery that was founded in 1995 with a focus on representing exceptional artists from around the world. Since its inauguration, the gallery has been based in Mayfair, London. In October 2023, the gallery expanded and relocated from its sites on Old Burlington Street to 5-6 Cork Street. In November 2023, the gallery opened at 54 Franklin Street in Tribeca, New York. The gallery represents almost forty artists with areas of interest that include conceptual and South American art, and abstraction, minimalism and figuration in painting, sculpture, video and installation. Its international programme has overseen the rise of multiple high-profile artists, including Leilah Babirye, Andreas Eriksson, Tom Friedman, Kendell Geers, Hulda Guzmán, Jim Hodges, Rivane Neuenschwander, David Shrigley, Yinka Shonibare CBE RA, Kehinde Wiley and Luiz Zerbiniamongst others. The gallery recently announced representation of Sky Glabush, Pam Glick and Yooyun Yang.

Also working directly with estates, including those of Manuel Espinosa and Jiro Takamatsu, the gallery enhances its focus on contemporary art with historical presentations of twentieth-century masters.

Stephen Friedman Gallery is committed to making equality and inclusion central to its mission and daily goals. We believe encompassing varied perspectives helps generate new dialogues and ideas to navigate our changing world.

Since its inauguration, the gallery has been based in Mayfair, London. In October 2023, the gallery expanded and relocated from its sites on Old Burlington Street to 5-6 Cork Street. In November 2023, the gallery opened at 54 Franklin Street in Tribeca, New York.

For more information about Stephen Friedman Gallery, please visit their website here. The gallery can also be found on Facebook, Instagram, and Artsy.

uzomah ugwu 9/3/25 uzomah ugwu 9/3/25

FORMULA 1 PIRELLI GRAN PREMIO D’ITALIA 2025 trophy designed by artist Nico Vascellari: Chimera

FORMULA 1 PIRELLI GRAN PREMIO D’ITALIA 2025 trophy designed by Nico Vascellari: *Chimera*, 2025. Commissioned by Pirelli in collaboration with Pirelli HangarBicocca. Courtesy Studio Nico Vascellari. Photo: A. Osio.

Formula 1 is bringing contemporary art to the track: artist Nico Vascellari designed the trophies for first, second, and third place for the FORMULA 1 PIRELLI GRAN PREMIO D’ITALIA 2025 in Monza.

Entitled "Chimera," the trophy is a hybrid creature combining the three fastest animals in the air (the peregrine falcon), water (the sailfish), and on land (the cheetah). Together, they represent the most extreme forms of movement and speed, to which human beings aspire.

Now in its 5th edition, the project is a collaboration between Pirelli —which is celebrating its presence in the 500th F1 Grand Prix race this year— and the Pirelli HangarBicocca contemporary art museum, creating a concrete link between the language of art and the world of sports.

The prize for the winners of the FORMULA 1 PIRELLI GRAN PREMIO D’ITALIA 2025 in Monza on Sunday, September 7, is a Chimera: a mythological creature formed from different animals, symbolizing utopia and the pursuit of the impossible. Yet, it will be tangible on the podium in Monza, where it will be raised to celebrate victory.

"Chimera" is the name of the trophy, designed by Italian artist Nico Vascellari for the 5th edition of the project conceived by Pirelli and Pirelli HangarBicocca, curated by Giovanna Amadasi. Since 2021, an Italian artist has been commissioned every year to design the trophy, bringing contemporary artistic expression from traditional art circuits to Formula 1. Alice Ronchi was the first artist to receive the commission, followed by Patrick Tuttofuoco in 2022, Ruth Beraha in 2023, and Andrea Sala in 2024. This year also marks Pirelli's participation in its 500th Grand Prix race.

Vascellari's enigmatic sculpture represents a stylized idea of movement inspired by the fastest animals in the air, water, and on land. Their aerodynamic features —the peregrine falcon's wings and talons, the cheetah's tail, and the sailfish's fins— are fused into an imaginary species that evokes evolution, metamorphosis, and change. The trophies are the product of sophisticated technological processes and are made of aluminum, a lightweight material commonly used in automotive engineering. The production process begins with a two-dimensional design, which is then transposed using organic modeling and 3D resin printing. The piece is then finished using the lost wax casting technique, one of the oldest sculpting methods, thereby combining craftsmanship with highly innovative skills.

As Nico Vascellari explains, "The reference to the animal world in this trophy stems from human beings' natural fascination with it. It is an instinctive projection that strives to expand one's limits of speed, flight, and endurance. Animals are an inexhaustible source of inspiration. When designing the trophy, I envisioned the moment it is raised above the driver's head, a symbolic gesture to elevate the animal world and nature above us in an attempt to restore balance. It is also a celebration of nature's power as a source of inspiration."

Nico Vascellari was born in Vittorio Veneto in 1976 and currently lives and works in Rome and Vittorio Veneto. An eclectic figure, he has made a name for himself in the contemporary art world by working at the intersection of different artistic forms, including sculpture, video, installation, and performance art. He started out as a musician in the 1990s underground scene before moving on to visual art, using his own body as the subject of performative interventions. Some of these were extreme, such as his 2020 performance in which he flew in a helicopter while in a state of total unconsciousness.

Vascellari's extensive research encompasses anthropological and ancestral themes as well as ethical issues stemming from the relationship between living beings, the natural world, and technological evolution. His interest in the relationship between the organic and the mechanical, and between rationality and instinct, is central to his practice. His work mainly takes the form of sculptures of various scales, ranging from imposing to fragile and detailed.

He has participated in events such as the Venice Biennale (2007), Manifesta 7 (2008), the Rome Quadriennale (2008), the Biennale di Architettura (2010), the Lyon Biennale (2019), the October Salon in Belgrade (2021), and the Mercosul Biennial (2022).

His most recent solo exhibitions have been held at Palazzo Reale, Milan (2025), Haus der Kunst, Munich (2024), Forte Belvedere, Florence (2023), MAXXI, Rome (2018), Palais de Tokyo, Paris (2017), Whitworth Art Gallery, Manchester (2016), and French Academy–Villa Medici, Rome (2016).

His work is included in major private and museum collections, including the MAXXI in Rome, the Museion in Bolzano, and the Museo del '900 in Milan.

Pirelli HangarBicocca

Pirelli HangarBicocca is a non-profit foundation dedicated to producing and promoting contemporary art. It was conceived and is supported by Pirelli. Established in 2004, Pirelli HangarBicocca has become a benchmark institution for the international art community, local public and region. It is a museum that is free of charge, accessible and open, and a place for experimentation, research and dissemination, where art is a point of reflection on the most topical themes of contemporary culture and society.

It caters to a broad and diverse public with a programme of major solo exhibitions by both Italian and international artists, a multi-disciplinary program of accompanying events and in-depth discussions, theoretical and informational publications, and educational courses. A team of museum facilitators is on hand at all times to help the public connect with the art. Vicente Todolí has been the foundation’s artistic director since 2012.

Situated in a former industrial building, once a locomotive manufacturing facility, Pirelli HangarBicocca occupies 15,000 square metres, making it one of the largest single-level exhibition spaces in Europe. This vast area comprises the Shed and Navate spaces, which are used for temporary exhibitions, and the permanent display of Anselm Kiefer’s The Seven Heavenly Palaces 2004-2015. This monumental installation with seven reinforced concrete towers has become one of the most iconic works in Milan. While since 2010 La Sequenza (1971-1981), a work by sculptor Fausto Melotti, has been located in the outdoor garden at the entrance of Pirelli HangarBicocca.

The building also houses a number of services for the public: a spacious entrance with reception area, facilities for educational activities, space for conferences and meetings, bookshop and bistro with a charming outdoor area.

For more information about this exhibition and others at Pirelli HangarBicocca please visit their site here. Pirelli can also be found on Facebook, Instagram, YouTube, Spotify, and Pinterest.

uzomah ugwu 9/2/25 uzomah ugwu 9/2/25

Max Hooper Schneider: Scavenger New Solo Exhibition at 125 NEWBURY

Max Hooper Schneider, Anode Garden, 2025. Courtesy the artist, Maureen Paley and Francois Ghebaly. Photo by Paul Salveson.

New York, NY – September 2, 2025 – Behind the anonymous storefront of a dispossessed upholstery shop near the Inglewood Oil Fields, a scientist-scavenger works frenetically amid glowing uranium glass mushrooms, electric aquarium specimens, mangled dollhouses and transmuted bonsai. 125 Newbury is proud to present his findings in Max Hooper Schneider: Scavenger, the artist’s first solo exhibition in New York. Based in Los Angeles, Hooper Schneider cultivates a polyvalent practice, fusing a poetics of sculptural assemblage and material technology with a critical examination of ecological, philosophical and social systems. Trained in both art and science, Hooper Schneider fashions intricate sculptural habitats, weaving together scientific principles and facets of everyday culture to explore dynamics of transformation, hybridity, decay, and succession. The exhibition opens at 125 Newbury in Tribeca on Friday, September 12th and runs through October 25th, 2025.

Treating the studio as a laboratory, Hooper Schneider orchestrates synthetic ecosystems and novel, unborn ecologies at both monumental and intimate scale. He constructs dense microcosms teeming with coral, teeth, crystals, plasma gas, craft store detritus, and fictive life forms—all contained within vitrines or made habitable in outdoor environments. At 125 Newbury, a giant Oreo cookie oozes oil into an archipelago of cadaverous, copper-plated stuffed animals. Nearby, an agglomerated mass of barnacles and dollhouse furniture is embedded with miniature LED screens playing videos of burning sculptures. A nocturnal forest of bricolaged waste is populated by glowing, lantern-like opioid capsules, while burned and mutilated aquaria are reborn as fossilized reefs of coruscating copper dendrites. These works evoke natural history displays altered by speculative fiction and post-human aesthetics, challenging traditional boundaries between the natural and the artificial.

The artist describes his exhibition at 125 Newbury as a “set of conditions without a plot, or an anthropology museum set in the distant future.” Recombining new and pre-existing works, the exhibition is a means for investigating loss, the passage of time, and the artist’s signatory procedures of material evolution and preservation. For Hooper Schneider, art functions as a space for breaking down binaries between nature and culture, between the living and the dead. Operating in multiple registers simultaneously, from absurdity to melancholia, from environmental breakdown to ethereal regrowth, Hooper Schneider leads us on a “guided misinterpretation” of our present moment, interrogating how imaginary artefacts produce a fantasy of a bygone Anthropocene.

At its core, Hooper Schneider’s practice challenges the dualistic thinking that underlies the conventional categories in which we classify artworks. His works operate in liminal and interstitial zones, the in- betweens where life and death, nature and culture, order and entropy intersect. There stands Max Hooper Schneider. Empathically undidactic, the artist describes his work as “a living, phantasmatic landscape” composed “of niche material technologies and the aleatory structures of wastelands and destroyed environments.” At 125 Newbury, Hooper Schneider immerses viewers in these unsettling, otherworldly biotopes and vistas of endless seeing, speculating on questions of resilience, mutation, and the futures of ecological and cultural systems in an age of planetary collapse.

Max Hooper Schneider is also included in the 12th SITE SANTA FE International, “Once Within a Time,” curated by Cecilia Alemani and on view through January 12, 2026.

Max Hooper Schneider (b. 1982, Los Angeles, CA) received his Master’s degree in Landscape Architecture from Harvard Graduate School of Design and his Bachelor’s degrees in Urban Design and Biology from New York University, with additional studies in Marine Biology and Entomology at the University of Hawaiʻi at Mānoa and Santa Monica College. He has shown in solo exhibitions at prominentmuseums and institutions internationally, including UCCA Center for Contemporary Art, MO.CO Montpellier Museée Contemporain, and the Hammer Museum. His museum group exhibitions include Centre Pompidou-Metz, Schinkel Pavillon, Leeum Museum of Art, Kistefos Museum, and Musée d’art moderne de Paris. Hooper Schneider has been included in a number of international biennial exhibitions, including the 15th Gwangju Biennale, 16th Istanbul Biennial, 13th Baltic Triennial, and the Mongolia Land Art Biennial.

Hooper Schneider’s works are held in major public and private collections, including the Hammer Museum, Museum of Contemporary Art Los Angeles, Musée d’art moderne Paris, Rubell Museum, Fondation Lafayette, and Fonds d’art contemporain de la Ville de Genève, among others. He was awarded the BMW Art Journey Prize in 2017 and the Schmidt Ocean Institute Prize in 2023. He lives and works in Los Angeles.

ABOUT 125 NEWBURY

125 Newbury is a project space in New York City helmed by Arne Glimcher, Founder and Chairman of Pace Gallery. Named for the original location of Pace, which Glimcher opened at 125 Newbury Street in Boston in 1960, the venture is located at 395 Broadway in Manhattan’s Tribeca neighborhood, at the corner of Walker Street. Occupying a 3,900-square-foot ground-floor space in a landmark building with 17-foot ceilings, the interior of 125 Newbury has been fully renovated by Enrico Bonetti and Dominic Kozerski of Bonetti/Kozerski Architecture.

Guided by Glimcher’s six decades of pioneering exhibition-making and steadfast commitment to close collaboration with artists, 125 Newbury presents up to five exhibitions per year, with a focus on both thematic group shows as well as solo exhibitions by emerging, established, and historical artists. The 125 Newbury team is led by directors Arne Glimcher, Kathleen McDonnell, Talia Rosen, and Oliver Shultz, who work together to develop cutting-edge and thought-provoking exhibitions that reflect a global, cross- generational perspective.

For more information about this exhibition or others at 125 Newbury, please visit their site here. The gallery can also be found on Instagram.