Marianne Boesky Gallery by Dani Delossantos

PAST AND PRESENT EXHIBITIONS

Marianne Boesky Gallery

Current Exhibitions

October 25 – December 22, 2018

SVENJA DEININGER: CRESCENDO

Marianne Boesky Gallery is pleased

will create a holistic experience. Cre-

to present Crescendo, Viennese artist

scendo will be on view at the gallery’s

Svenja Deininger’s third solo exhibition

509 W. 24th Street location from Octo-

with the gallery. The exhibition will

ber 25 through December 22, 2018.

feature a new body of paintings that

captures Deininger’s fluid manipulation

Deininger approaches each exhibition

of color and form, resulting in complex

as a distinct moment in time, following

compositions that arise organically as

a single conceptual thread or inkling

she works the canvas. Driven by both

until it completes in a discrete body of

formal inquiry and a deep understand-

work. In this way, Deininger is much

ing of physical environment, Deininger

like a composer, weaving together

Marianne Boesky Gallery gesture, color, and line to create an

forms asserting themselves more clearly

intricacy of texture and rhythm, with

and directly, only tempered in some

each painting bringing a singular note

instances by the use of soft fleshy hues.

and weight to the overall experience.

As elements are repeated, reconfigured,

Suspended between abstraction and

expanded, and dissolved across the

figuration, her canvases evoke a range

slate of paintings, Deininger’s iterative

of seemingly intangible sensations—a

process reveals itself, allowing the

fleeting dream, a spark of memory, the

viewer to engage with the singular yet

indiscernible outlines of a place, or an

interrelated effects of her processes.

emotion lost but newly felt. These evocations are most recently influenced by

Equally important to Deininger’s formal

her time spent painting in Milan, where

experimentations on the canvas is the

she began this latest body of work, and

design of the exhibition, which in its

Vienna, where she completed it. While

installation builds to a point of Crescen-

devoid of any overt reference or symbol,

do for the viewer. A critical moment

the atmospheric and structural contours

to bring harmony and complexity to

of her home and briefly adopted city

the experience, Deininger is acutely

have inspired both palette and

attuned to progressions of scale and

silhouette within these new paintings.

repetitions of color and form among the works. Here, each painting must stand

These fragments of experience are

as a critical, individual note, while also

made manifest through Deininger’s

supporting and developing the chord.

layering of form and color on the

This strategic evolution extends then

canvas—sometimes over many months

to the relationships and connections

and in different locations. Geometric

established between work, setting, and

forms, suggesting body and object,

viewer, ensuring a holistic and intention-

meld and overlap with more free-form

al experience. The installation process

abstract fields of color, establishing a

marks the completion of Deininger’s

sense of depth and movement on and

symphony, allowing the engagement

beyond the surface plane. This visual

with her work to build and resolve—in

experience is further intensified by

ways the conclusion of the originating

Deininger’s stripping and recoating

thread that sparks each body of work.

of paint and varnish, softening and heightening the emerging shapes and

Svenja Deininger (B. Vienna, 1974)

colors. Most recently, a physicality has

has had solo exhibitions in New York

taken root in Deininger’s work—with the

City and throughout Europe, including

at Federica Schiavo Gallery, Milan; Joslyn Art Museum, Omaha, NE; secession, Vienna; Norton Museum of Art, West Palm Beach, FL; Galerie Martin Janda, Vienna; Kunsthalle Krems/Factory, Krems, Austria; and Osterreichisches Kulturforum, Warsaw. Deininger has also participated in group exhibitions at Bob van Orsouw Gallery, Zurich; Josh Lilley Gallery, London; Patricia Law Contemporary, Gstaad; the Wiels Center for Contemporary Art, Brussels; and the University of Michigan Museum of Art, Ann Arbor, to name a few. The artist currently lives and works in Vienna and Milan.

Untitled, 2018 (left) Oil on canvas 39 1/2 x 39 1/2 inches Untitled, 2018 (right) Oil on canvas 11 1/8 x 8 1/4 inches

Marianne Boesky Gallery

October 25 – December 22, 2018

JOHN HOUCK: HOLDING ENVIRONMENT Marianne Boesky Gallery is pleased to

compositions hold both the profusion

present Holding Environment, an exhibi-

of detail inherent to photography and

tion of new work by Los Angeles-based

the fluidity and playfulness of painterly

artist John Houck that highlights the

gesture. In this way, his works neither

artist’s deepening engagement with

portray reality nor constitute fiction,

the expressive effects and conceptual

but rather live in a liminal space where

possibilities of painterly gesture within

the object and form are defined by

his photography practice. Inspired by

experience and personal understand-

Houck’s temporary relocation to Port-

ing—much in the way that our memo-

land, OR, in 2018, and his time spent

ries can distort truth. Houck achieves

living near family there for the first time

this sensation through a process of

since his formative years, the exhibition

re-photographing, in which he captures

presents the artist’s explorations of

an object along with its image—some-

memory, identity, and relational psy-

times many times over—introducing a

chology. The exhibition will be on view

multitude of perspectives and confusing

from October 25 through December

the contours of the original. The effect

22, 2018 at the gallery’s 507 W. 24th

is further accentuated by Houck’s

Street location. Holding Environment is

introduction of painting within the cycle,

the artist’s first presentation with the

adding an interpretative and emotive

gallery in New York, following a solo

layer to the feedback loop of his photo-

exhibition at Boesky West in Aspen, CO,

graphic process.

in summer 2017. This experience is particularly height-

Houck’s practice is distinguished by a

ened in Houck’s newest prints, as

deconstruction of accepted formal and

his engagement and use of painterly

conceptual boundaries. His intricate

gesture becomes more incisive—inten-

Marianne Boesky Gallery sifying both the optical and conceptual

enthood and the desire the maintain a

depth of his work. In some instances,

sense of individuality. The instability of

Houck adds entirely new compositional

the image—created through the dynam-

elements in paint alone, and in others,

ic visual relationships between photo

he paints over fragments of photo-

and paint—marks the collision of these

graphs with marks that imply the layers

conflicting experiences and the multiple

of painting beneath the surface of the

remembrances of a single moment.

photograph. By further fusing the formal vocabularies and qualities of these two

The underlying conceptual thread

media into a single inextricable whole,

is also a manifestation of Houck’s

Houck captures not only a moment or

ongoing engagement with relational

memory, but the mutability of each in

psychoanalysis—which focuses on the

the face of experience, perspective, and

psychological importance of internal-

the passage of time. While Houck has

ized relationships with other people.

always been interested in photography

Many of Houck’s prior works have

as a means of conjuring the past, his ex-

depicted mementos from his past, dug

pansion into painting goes beyond both

up from his childhood and given—or

the monocular vision of the camera lens

re-given—to him by his parents. Most

and the singular moment inherent in

recently, Houck has become attuned to

traditional photography.

the psychological theory of the Holding Environment, which refers to the estab-

This effect feels particularly poignant

lishment of a supportive space. Likened

in Houck’s Unstable Figure (2018),

to the nurturing behavior of parents

which will be featured in the upcoming

toward their children, the idea has re-

exhibition. Here, Houck paints two iden-

sulted in the creation of work that feels

tical bicycle handlebars, but renders

both deeply intimate and universally

the hands holding each from different

relatable. This exploration has been

perspectives, creating a dislocation of

fueled by the birth of Houck’s first child,

space in the overall composition. The

and his temporary move to Portland to

work references Houck’s memories of

be nearer family, bringing to the fore

time spent with his father and speaks

in his work a renewed investigation of

to the childhood struggle of meeting

memory and identity and concurrently

familial expectations while also devel-

spurring a new stage in his formal ex-

oping an independent identity—and

perimentation as he explores and plays

conversely, the duality that can exist

with these personal reflections.

between the responsibilities of par-

The Wild Braid, 2018 (left) Archival pigment print Framed: 53 3/4 x 42 3/4 inches Edition of 3, with 2AP

Marianne Boesky Gallery

Rejoin, 2018 Archival pigment print Framed: 34 1/2 x 26 1/2 inches Edition of 3, with 2AP

Past Exhibitions

September 6 – October 20, 2018

DASHIELL MANLEY: SOMETIMES WE CIRCLE THE SUN Marianne Boesky Gallery is pleased

Manley’s practice has been charac-

to present sometimes we circle the

terized by focused, repetitive, and

sun, Los Angeles-based artist Dashiell

often times labor-intensive techniques

Manley’s second solo exhibition with

and processes. From the New York

the gallery. Featuring a selection of new

Times series, in which he transcribed

large-scale oil paintings, the exhibition

and abstracted the front pages of the

sees Manley transition from his direct

newspaper, to his Various sources

engagement with breaking news cycles,

(quiet satires), for which he reproduced,

into more personal meditations, explor-

altered, and collaged political and

ing his own experiences within today’s

topical cartoons, Manley’s early work

global happenings. With this shift,

emphasized systems of production as

Manley also delves more deeply into

means of understanding and exploring

the formal relationships and boundaries

difficult subjects. With his Elegy series,

between material, mark, and picture

which he began developing in 2016,

plane, using the canvas as a space to

Manley began to shift away from analyt-

physically shape his emotional and

ical manifestations to more emotional

psychic responses. sometimes we circle

and psychological expressions on the

the sun will be on view from September

canvas, allowing himself to open up his

6 through October 20, 2018 at the gal-

gestures and movements. With this new

lery’s 509 W. 24th Street location.

approach, he established a singular technique—sculpting the oil paint with

Marianne Boesky Gallery a palette knife—that resulted in color-

anchors the exhibition and measures

ful, highly-textured, abstract canvases,

110 by 240 inches, occupying the ma-

that in instances encapsulated sharp

jority of the gallery’s back wall.

cuts of paint and in others soft undulating effects.

As the vision for his work has evolved, so too has Manley’s cadre of tech-

With his newest body of work, Manley

niques. Where the original Elegy paint-

extends the process he began with the

ings were created through an additive

Elegy series, expanding his gestural

process, with Manley building up the

vocabulary to be further evocative of

texture and color over time—sometimes

his personal reflections. Inspired by a

starting a painting and completing it

range of artistic genres and movements,

several weeks or even months later—

including landscape painting and the

the new works also incorporate a re-

Ukiyo-e woodblock paintings and prints

verse process in which Manley coats his

of the Edo Era in Japan, Manley merges

canvas in a thick layer of oil paint and

these references with his own ongoing

then methodically carves it to reveal his

and systematic working of the oil paint

marks. This new process is then com-

and canvas. With this new emphasis,

bined with a further additive sculpturing

Manley’s canvases have also increased

of the oil paint.

in scale, providing a wider surface plane for formal experimentation.

The intense working and layering of the paint produces an almost alchemic

Evolving organically as Manley has

response that alters the texture and

altered and developed his processes,

quality of the material, creating a visual

the works have emerged as kinds of

complexity that at once inspires a sense

abstract landscapes, connected by

of awe and meditative quietude. These

the subtle, at times almost impercep-

newest works will be presented with a

tible, appearance of a horizon line that

selection of works that represent the

bisects the canvases at their midpoint.

evolution of Manley’s approach, map-

Here, Manley’s painterly marks also

ping the trajectory of the conceptual

shift direction, imbuing the works with

and formal underpinnings of his work.

a sense of fluidity and motion, as they are viewed from different angles and distances. This sensation is particularly vivid in the multi-panel work, titled 3. to rot or rise, the dead leaves sing, which

the sweep., 2018 (detail) Oil on linen 3 panels, each: 82 X 53 inches Overall: 82 x 159 inches

Marianne Boesky Gallery elegy for whatever (new considerations), 2018 Oil on linen 72 x 96 inches

some halfshaped men, 2018 Oil on linen 2 panels, each: 96 x 72 inches Overall: 96 x 144 inches

September 6 – October 20, 2018

ANTHONY PEARSON Marianne Boesky is pleased to present

cement from the frame and pulls the

artist Anthony Pearson’s fourth solo

canvas from its face, which leaves intri-

exhibition with the gallery, which will

cate patterned impressions and traces

feature a selection of new wall works

of fiber filament on the surface plane. In

from his Embedment series and high-

this way the skin and body of the work

light his ongoing exploration and mas-

are created concurrently, as the fields of

tery of the compositional and textural

color weave together into abstract land-

possibilities of poured gypsum cement.

scapes, where suggestions of sunsets

Created through a methodical and phys- and desert views dissipate as quickly as

ical engagement with the material, the

they emerge. Made in reverse, with the

resultant works occupy a liminal space

front of the work facing downward in the

between painting and sculpture. The

frame, the process embodies Pearson’s

exhibition will be on view from Septem-

deep knowledge of the material, inte-

ber 6 through October 20, 2018 at the

grating his original vision for each

gallery’s 507 W. 24th Street location.

work with the naturally arising effects.

The Embedment series marks a new

This series—which also represents

shift in Pearson’s experimentation with

the first substantial introduction of

hydrocal—a gypsum cement that he

color into Pearson’s practice since he

infuses with pigments—which he first

completed his Color Reflection series in

began using in 2011. For this series, he

2010—expands on the visual vocab-

stretches a segment of fabric within a

ularies that Pearson established in his

mold and then pours the liquid cement,

earlier series: Plaster Positive, in which

which he has variously colored, atop the

the pooling and layering of the hydrocal

fabric, layering, shifting, and allowing it

produced dynamic tonal variations, and

to coalesce organically within the con-

Etched Plasters, in which the smooth

fines of the supports. Once the material

surface plane of the hydrocal is scored

sets, Pearson removes the hardened

to create networks of lines, grids, and

Marianne Boesky Gallery radiant forms that draw light and depth into the work. With each material manipulation, the surface becomes a space to reimagine, alter, and meld the boundaries between and formal occupations of different artistic genres. Questions of perception, light, and physicality merge, resulting in objects that elude easy categorization. The new Embedments, much like the earlier works, actively disengage with our information-fueled culture. Instead, Pearson emphasizes a deep intellectual and physical engagement with a few materials, exploring the behaviors, reactions, and open possibilities of his limited scope of media. In this way, his practice is meditative, labor-intensive, and gives primacy to the artistâ&#x20AC;&#x2122;s individual hand. His clear and intentional approach is evident in the experience of the work, which draws in the light and responds to the ambient environment in which it is presented, creating a distinct sensation of place. At once subtle and complex, the quietude of Pearsonâ&#x20AC;&#x2122;s work feels utterly disruptive in our frenzied worldâ&#x20AC;&#x201D;where a moment of respite and contemplation feels at once foreign and welcome. Here, the pleasure of the work is in looking closely and opening oneself up to the power of the experience of the moment.

Untitled (Embedment), 2018 Canvas-embedded, pigmented hydrocal in enamel-finished aluminum frame 34 3/4 x 19 1/2 x 2 inches

Untitled (Embedment), 2018 Interlock-cotton-embedded, pigmented hydrocal in enamel-finshed aluminum frame 47 1/2 x 27 1/2 x 2 inches

Marianne Boesky Gallery

Installation view

Untitled (Embedment), 2018 (detail) Interlock-cotton-embedded, pigmented hydrocal in enamel-finished aluminum frame 47 3/4 x 31 1/2 x 2 inches

“It was fine when I contemplated the sky! But I felt uneasy when I thought of clouds… It was fine when I contemplated the great ocean! But I felt uneasy when I thought of waves…” – Tibetan Buddhist Milarepa

Jay Heikes Mother Sky, 2018 Oil on linen 60 x 74 inches

September 1 – October 6, 2018

MOTHER SKY GROUP SHOW Marianne Boesky Gallery is pleased to

soothing. He states “Maybe I was always

present the group exhibition Mother

more comfortable with the unease and

Sky including works by Björn Braun, Jay

distraction contained in fluffy clouds

Heikes, Jessica Jackson Hutchins, and

but was just ashamed to illustrate it

Thiago Rocha Pitta. Through a variety of

because of its perceived decorative

media that range from watercolor and

nature. Yet for so many generations of

fresco to sculpture, the featured artists

artists reaching for the sublime was an

explore subtle changes in the natural

avant-garde call to arms that appeared

world, the tension of fleeting moments,

irresistible.”

and the sublime. Mother Sky will be on view September 1 – October 6, 2018 at

Heikes’s works on the first floor will be

Boesky West, the Gallery’s 100 S Spring

juxtaposed with Thiago Rocha Pitta’s

St, Aspen location.

sublimation, condensation, and precipitation, a new triptych representing the

The title of the exhibition, Mother Sky,

delicate processes of solids becoming

is drawn from a new series of painted

gas and gasses becoming liquid. Rocha

screens by Jay Heikes in which he

Pitta’s diverse practice is connected

depicts cloudy skies in vibrant and

to a deep fascination with the subtle

unnatural colors of copper and violet.

transformations of the world around

Mother Sky refers to the title of the

him—the slow erosion and alteration of

1969 song by the German experimen-

desert terrain, the descent of fog, and

tal rock group Can which influenced

the fluctuations of underwater forma-

Heikes’s latest works along with writings

tions. His work captures the subtleties

by the Tibetan Buddhist Milarepa. When

of the natural world, the slow changes of

describing this new series, Heikes refer-

materials, the physical progressions of

ences Milarepa’s unease when thinking

miniscule segments of land, and sudden

about clouds on a perfect blue sky,

shifts in the weather.

saying that he instead regards clouds as

A selection of Björn Braun’s nests,

of the everyday. In her mixed-media

made in collaboration with a pair of

assemblages, Hutchins uses quo-

zebra finches, will be displayed on the

tidian objects and creates collages

second floor of the gallery. To create

from ordinary detritus, selecting and

these works, Braun provides the materi-

arranging the materials to articulate and

als—a piece of plastic bag, a feather, a

accentuate their inherent emotional and

ribbon—one by one and the birds select

narrative content.

which they will use. Much of his work uses nature as he collaborates with animals turning the remnants of their activities into sculptures. The process is paramount to the resulting artwork, which is often determined by chance. Displayed adjacent to Braun’s nests will be Heikes’s recent Zs series which signifies the push-pull between introspection and the realities of the outside world. The works reference the fleeting moment between sleeping and waking, and underscore the significance of the dreamscape to self-reflection and regeneration. Simultaneously, their physical form obscures the view beyond them and conjures the same sense of caution and exclusion that an “x” might. This dichotomy serves as the core of Heikes’s current explorations, looking at the way barriers are both imposed and overcome. Displayed outside the gallery is Jessica Jackson Hutchins’s Him and Me, a glazed ceramic object balanced on a handmade hammock. Hutchins’s practice often examines the artistic potential

Marianne Boesky Gallery

Installation view Bjรถrn Braun Untitled (nest), 2014 Sisal fibers, artificial feathers, plastic tape, wood 5 1/8 x 5 3/4 x 3 1/2 inches

Thiago Rocha Pitta portraits of a cyanobacteria, 2018 Watercolor on paper 51 1/2 x 63 1/4 inches

June 21 – August 3, 2018

THE MECHANICS OF FLUIDS GROUP SHOW CURATED BY MELISSA GORDON A panel discussion, moderated by art

Laura Owens, Charlotte Posenenske,

critic William J. Simmons and featuring

Josephine Pryde, Eileen Quinlan, Amy

Melissa Gordon, Lisa Oppenheim, and

Sillman, and Mika Tajima, as well as an

Eileen Quinlan, will take place on June

architectural intervention and work

21, at 5:00 PM, followed by the opening

by Gordon.

reception 6:00 – 8:00 PM. Gordon’s work examines long-held

Marianne Boesky Gallery is pleased

artistic histories, actions, and symbols

to present The Mechanics of Fluids,

through a range of feminist perspec-

a group exhibition curated by Brus-

tives and philosophies, often confront-

sels-based artist Melissa Gordon. The

ing and challenging the canonical view

exhibition explores the evolution of

of Modern art. For The Mechanics of

abstraction through the lens of feminist

Fluids, Gordon takes further inspiration

theory and invites critical dialogue on

from the writings of feminist philoso-

longstanding narratives around the

pher Luce Irigaray and her book This

genre’s development. Charting a wide

Sex Which Is Not One (1977) to create

trajectory of approaches and tech-

an exhibition that offers an alternative

niques, The Mechanics of Fluids will

view of abstraction. Breaking from the

include works by Lynda Benglis, Elisa

traditional narrative of the movement

Breton, Helen Frankenthaler, Jac-

as a largely masculine enterprise, Gor-

queline Humphries, Lisa Oppenheim,

don instead draws on Irigaray’s belief in

Marianne Boesky Gallery

the femininity of fluids to demonstrate

all over the place. And what if a canvas

that abstraction has been significantly

is just in the way?”

influenced and altered by the achievements of women.

The artists in the exhibition were selected for their distinct creative and

Together, the work of all of the featured

technical approaches as well as their

artists connects to broader philosoph-

conceptual rigor, providing a micro-

ical queries Gordon is raising about ges-

cosm of creative energy and accom-

ture, and its relationship to the position

plishment through time. The exhibition

and body of the artist. Of this, she says,

explores formal experimentations and

“Where does a gesture arise from, and

mastery of liquid materials, including

where and how does it culminate? Is it

through the work of such artists as

the mark upon the canvas, the position

Lynda Benglis, Helen Frakenthaler,

amongst other objects in an exhibition,

and Laura Owens. At the same time,

its mark on history, or in the bodily en-

it expands the definition of fluidity to

gagement of artist and viewer?” In her

conceptually-driven and mixed-media

writings on the subject, Gordon further

installations by established and emerg-

states, “The gesture is liquid. It IS a

ing generations of artists, including Lisa

liquid, adjective and noun. Lately, I’ve

Oppenheim, Eileen Quinlan, and Mika

been thinking that a painting happens

Tajima, and also to notions of “states of

being,” captured at specific moments, as is experienced in the works of Jacqueline Humphries, Charlotte Posenenske, Josephine Pryde, and Amy Sillman. Continuing her interest in the processes of production and display, Gordon has designed an environment that includes temporary, unfinished walls that mimic the architecture of the gallery’s neighboring space and on which some of the featured work will be hung. Using rubbings of the gallery’s hallways, Gordon has also created a wallpaper that will be positioned on one of the gallery’s structural walls. These components foster further examination of the exhibition themes, as they connect and engage the diverse roster of works with each other and the overall space.

Installation view

Marianne Boesky Gallery

June 21 – August 3, 2018

SUE DE BEER: THE WHITE WOLF Marianne Boesky Gallery is pleased

fuses the elements characteristic of the

to premiere artist Sue de Beer’s sixth

werewolf genre with a lyrical examina-

major film, The White Wolf. The film

tion of the body and its relationship

uses the classic werewolf narrative as a

to the ephemeral sense of self. This

lens through which to explore broader

dynamic counter-play is best exempli-

themes of transformation, memory,

fied in the lead character—a reclusive

and the psychology and physicality that

doctor who heads the clinic—played by

form our sense of self. The low-budget

New York-based experimental musician

horror-thriller was developed as part

and composer Yuka Honda. Her quiet

of de Beer’s John Simon Guggenheim

but confident presence defines the

Fellowship, which she received in 2016,

voice and tone of the film.

with additional support from Mana Contemporary. On view June 21 – August 3,

The Doctor relates the history of the

2018 at the gallery’s 507 W. 24th Street

island through a series of stories—writ-

location, the exhibition will also feature

ten by artist Nathaniel Axel for the film.

a group of de Beer’s early career,

Among these is an account of the local

horror-inspired photographs, which

lighthouse keeper and his wife whose

informed portions of the new film.

lives are altered by inexplicable external forces acting upon them. It is suggest-

The film, which is set on a fictional

ed, throughout the film, that these

island off the coast of New England in

forces take the form of a werewolf, but

the late 1980s, follows the intersect-

whether this is fact or fiction remains

ing experiences of several characters

unclear. As the film’s elliptical narrative

connected through a medical clinic, to

progresses, the characters grapple with

a secret history shared by inhabitants

finding equilibrium and meaning in the

of the town. Presented as a non-linear,

midst of an experience that is out of

two-channel installation, The White Wolf

their control. This is particularly felt in

Marianne Boesky Gallery

*All installation views were photographed by Object Studies.

Marianne Boesky Gallery the final story of the film, as told by the

the type of graphic imagery associat-

clinic’s nurse—played by Cara McMa-

ed with horror, will be included in the

nus—who says, “Our memories are

exhibition to underscore the trajectory

not ours alone. Instead we have been

of de Beer’s practice and relationship

grafted onto a story far greater than

to this genre. As part of the develop-

our own.”

ment of the film, de Beer spent several months working at Mana Contemporary

The film embodies de Beer’s trademark

in Jersey City, NJ creating the projec-

style of editing, which uses techniques

tions and constructing the environs that

such as persistence of vision, duplica-

would become the medical clinic, home

tion, and reflection. These approaches,

interiors, and island views seen in the

along with her signature non-linear

film. In keeping with prior presentations

narrative structures, allow de Beer to in-

of her work, the colors and textures of

fuse her stories with image-making and

the film will be brought into the gallery

the physical presence of the film itself.

space to more fully transport viewers

Her use of colored light, glass lenses,

into the world of the characters.

and quiet attention to the luminosity of the figures that perform for her camera

“Each of my films can take several years

bring the viewer more deeply into her

to complete, including this one, which I

fictional realms. In The White Wolf, de

began in 2016. Part of that is my getting

Beer also incorporates dance sequenc-

lost in this world that is emerging in

es, performed by McManus and Blakely

front of the camera. But that time also

White-McGuire of the Martha Graham

allows me to develop relationships with

Dance Company and by Honda’s band-

the people who are performing. They

mate, the tap dancer, Kazu Kumagai, to

come to embody the characters and,

further relate the themes of the film.

in many ways, shift the original ideas and scripts,” said de Beer. “This is

For The White Wolf, de Beer also returns

particularly true in my work with Yuka

to handmade sets and spaces for the

Honda, whose music and career I have

first time since the completion of her

been following for years. She brought

film, The Ghost (2011). This re-engage-

a lightness that is new to my work. And

ment with the hand-built also inspired a

with this film, I felt I had a wide, open

wider review of her early work, includ-

territory, because there aren’t a lot of

ing a selection of photographs shot

great werewolf films. I think the final

between 1998 and 2001. A selection

interpretation is an unexpected one.”

of these images, which are inspired by

June 20 – August 25, 2018

THE HAAS BROTHERS: STONELY PLANET Marianne Boesky Gallery is pleased to

visual lexicon that incorporates a spec-

present Stonely Planet an exhibition

trum of materials from stone and porce-

of new and iconic works by The Haas

lain to brass and bronze to self-invented

Brothers at Boesky West, Aspen. The

resins and polyurethanes. The Broth-

Brothers have transformed the interior

ers’s dynamic practice is characterized

and exterior of the space into a whimsi-

by technical precision—supported by

cal and fantastical sculptural landscape.

their active collaborations with an array

Titled Stonely Planet, the exhibition will

of artisans—and a whimsical sense

be on view from June 20 through August

of humor that speaks to a universal

25, 2018. The Haas Brothers will also

audience.

participate in an Artist Talk at the Aspen Art Museum on July 3, 2018, at 5:00

With Stonely Planet, The Haas Brothers

PM, which will be moderated by the

return to their creative roots, exploring

museum’s Nancy and Bob Magoon CEO

afresh the aesthetic potential of stone.

and Director, Heidi Zuckerman.

The Brothers first came to stone carving in their youth, learning from their father,

Since founding The Haas Brothers in

artist Berthold Haas. Working with Pele

2010, brothers Nikolai and Simon have

de Tigre, a Portuguese marble, The

spurned arbitrary artistic boundaries

Brothers will present a series of monu-

and hierarchies, creating a playful and

mental objects in the gallery’s first floor

provocative world that merges art, fash-

space. At first glance, the works appear

ion, film, music, and design. Their open-

to be functional home furnishings—a

ness to experimentation and general

bathtub, coffee table, and fireplace

curiosity has resulted in a wide-ranging

mantle—but further inspection reveals

Marianne Boesky Gallery

anthropomorphic limbs and subtle material shifts that defy the objectsâ&#x20AC;&#x2122; expected uses. The marble pieces are augmented by two bronze chairs, sculpted in the shape of cartoonish hands, reaching up from the floor. This melding of functional design and craftsmanship with a sense of boundless imagination form the core of The Haas Brothersâ&#x20AC;&#x2122;s practice, altering a seemingly luxurious home interior into the den of a mythic creature. The second floor of Boesky West will present a selection of works that have become synonymous with The Haas Brothers, including a series of their Accretions, porcelain vases made through meticulous hand processes that include the application of small tentacle-like structures to create the sensation of a soft, moving surface; Beasts, objects produced with the use of fur that at once resemble ottomans and wooly animals with brass feet and other bodily features; and Socatra brass lamps, which appear like flora growing organically throughout the space. Outside, two bronze candleholders in the form of beastly hands hold oversized candles, providing a glimpse into the experience that awaits visitors inside. 35

Wavy Jones, 2018 Sheepskin with cast bronze and ebony 62 x 13 x 13 inches

Amanda Seat, 2018 Sheepskin with cast bronze 34 x 37 x 25 inches

Keep Your Friends Close and Your Anemones Closer, 2018 Ceramic 7 1/4 x 3 1/4 x 3 1/4 inches

Marianne Boesky Gallery

April 26 – June 9, 2018

JULIA DAULT: MORE THAN WORDS

Marianne Boesky Gallery is pleased to

the value of engaging with the intricate,

present More Than Words, Julia Dault’s

often beautiful, and little-considered

second solo exhibition with the gallery.

systems that lie just beyond any given

The exhibition will feature a new series

surface. This idea is also encapsulated

of sculptures as well as new paintings

in the exhibition title, which references

that, together, capture Dault’s iterative

Extreme’s 1991 hit song of the same

play with color, form, texture, and mate-

name and continues Dault’s use of pop

rials, as well as her ongoing exploration

culture references in her work.

of the creative potential of industrial products. The new works underscore

Marianne Boesky Gallery Dault is driven by the boundless cre-

The exhibition will also feature more

ative and formal possibilities within the

than a dozen new paintings that expand

confines of self-imposed rules, which

on Dault’s interest in layering, pattern-

are often determined by the materials

ing, and the interdependence of color

and tools with which she is working.

and form. As Dault applies and removes

This sense of discovery in the seemingly

coatings of paint with brushes, spong-

constrained led to Dault’s newest sculp-

es, combs, and other unconventional

tures: abstract compositions inspired

tools, new details and optical illusions

by the intricate fretworks of brightly

arise. For example, Total Recall (2017)

colored PEX tubing that comprise the

features a patterned velour atop Dault’s

plumbing systems in our homes and

composition of blue and yellow forms;

workspaces. This new engagement

as the viewer moves around it, like a

broadens Dault’s explorations of the

lenticular print, the fabric changes color

tools and materials of other trades

and appears to rise from the surface.

exemplified by earlier sculptures made

Dault creates similarly unexpected ex-

with off-the-shelf Formica and Plexiglas.

periences through her use of woven and perforated vinyls and meshes.

Dault experimented with the polyethylene PEX tubing in her studio, examin-

Dault’s experimentations with surface,

ing what geometric forms emerged as

tactility, geometry, color, and expressive

she bent and shaped the material. She

juxtapositions infuse her paintings with

then fabricated the sculptures in vividly

vibrant energy that compel the viewer

colored, hand-rolled aluminum, creating to look closely and discover unexpected patterns that resemble imagined engi-

moments of visual complexity. As the

neering plans and maps of urban spac-

systems that underpin modern life be-

es. Hung on the wall, the new works

come more complex, and, by extension,

reveal the aesthetic potential of these

more opaque, Dault’s artworks provide

little-considered industrial materials.

an invitation to engage actively with our

At the same time, the minimalist forms

everyday surroundings. Quoting philos-

hearken back to the 1970s-era works of

opher William James, Dault infers: “My

Anthony Caro and Frank Stella, continu-

experience is what I agree to attend to.

ing her engagement with the art of the

Only those items which I notice shape

postwar to the postmodern period.

my mind.”

Mothership, 2018 Acrylic and oil on wood panel 60 x 50 inches

Marianne Boesky Gallery

Blue Angel, 2018 Powder coated, hand-rolled aluminum 36 x 78 inches

Electric Slide, 2018 Acrylic and oil on canvas in painted wood frame 73 x 52 inches

Light My Fire, 2018 Acrylic and oil on canvas in painted wood frame 73 x 52 inches

April 26 – June 9, 2018

HANS OP DE BEECK: THE GIRL Marianne Boesky Gallery is pleased

gas station, a factory billowing smoke

to present Belgian artist Hans Op de

into the air, and a highway running

Beeck’s third solo exhibition with the

through tall trees. In moments, the girl

gallery. The exhibition marks the first

looks on to these man-made intrusions

public presentation of Op de Beeck’s

into nature; in others, her presence is

perception-bending animated film, “The

felt through a fire left crackling or her

Girl,” which he completed in late 2017

parked cargo bike. The viewer is drawn

in collaboration with the Flanders Audio- deep into this quiet narrative—the eye Visual Fund. For the presentation, which

compelled by the lush, realistic scenes

will be open from April 26 through June

and subtle flickers of fluorescent lights

9, 2018, the gallery will transform its

and movements in the wind.

507 W. 24th street location into a black box space.

The sense of melancholia is intensified by the frequent fog and rain, and the

The film opens with a view of a stately,

mournful tones of the soundtrack, with

colonial-style home in an unspeci-

a woman’s voice gently calling out,

fied place and era. A 14-year-old girl

“There, there…” It is unclear whether

appears within, seemingly sleeping as a

the lyric is an invitation to us to look

light breeze gently rustles her hair. Then

more closely or a voice of comfort to the

time progresses in an instant; the once

girl in this desolate place. As the film

fine home is dilapidated, and the girl is

progresses, so does the damage done

thrust into a solitary existence, living in

by humanity, as the girl finds herself at

a shabby caravan in the forest. Scenes

a landfill, the air hazy with smog. She

of deep woods and meadows are jux-

has not aged, but the world around her

taposed with elements of industry—a

has changed in devastating ways. As the

Marianne Boesky Gallery

film draws to an end, she is once again seen in repose, seemingly surrendered to her circumstances, floating away on a lake. The soundtrack intones, “water invites reflection.” The film’s highly atmospheric views, rich landscapes, and poignant music—composed by Tom Pintens in collaboration with the artist—penetrate the psyche and stimulate the senses, encapsulating Op de Beeck’s uncanny ability to create visual fictions that deliver moments of wonder, silence, and introspection. His wide-ranging oeuvre, which includes large-scale installation, sculpture, film, painting, drawing, photography, and texts, reflects on the tragi-comic ways in which humans stage and organize their lives. Utilizing simple, everyday images, Op de Beeck raises universal questions about meaning and mortality, finding a delicate balance between the serious and the absurd, between the banal and extraordinary. In “The Girl,” art historical traditions of the panorama, landscape painting, and German-Romantic notions of melancholy and the sublime converge with the technological advances of cinema to create a powerful work that both unsettles and inspires. As with his acclaimed installations, including “The Collector’s House,” Op de Beeck’s ambiguous characters and unidentified locales serve to highlight the universality of emotion and experience. With “The Girl,” the viewer is left in thoughtful reflection on the impact of industry and innovation on our daily lives and the world in which we exist. 43

Marianne Boesky Gallery

*All installation views were photographed by Object Studies.

March 1 – April 14, 2018

BARNABY FURNAS: FRONTIER BALLADS Marianne Boesky Gallery is pleased

The new paintings are created through

to present Frontier Ballads, Barnaby

Furnas’s characteristic play with

Furnas’s seventh solo exhibition with

figuration and abstraction. Lines, color

the gallery. The exhibition will feature

blocks, geometric shapes, and pools of

new paintings that both encapsulate

paint at once fragment and build up the

and question deeply-held mythologies

overarching scenes, creating kaleido-

of American identity, from representa-

scope-like effects that amplify the sense

tions of the rugged terrain of the West

of motion and heighten the sensory im-

and the legendary explorers who settled

pact of the work. A methodical investi-

it, to symbols of patriotism and those

gation of tools and materials has served

marking the country’s image of whole-

as a connective thread throughout

someness. This body of work also marks

Furnas’s practice, yielding to a range of

a new phase in Furnas’s ongoing experi-

aesthetic breakthroughs in his work. His

mentations with process and technique,

diverse cache of painterly techniques,

as the paintings are being created in

which includes pouring, splashing, pat-

part through new robot technologies

terning, and even burning converge to

developed to his specifications.

create a truly tactile experience of the picture plane.

In addition to the opening reception,

the gallery will host a special moder-

This ongoing study led to a partnership

ated discussion, on March 10, 2018,

with the start-up, ARTMATR, which is

between Furnas and artist Carroll Dun-

exploring and developing new tech-

ham, who is organizing a separate exhi-

nologies for artists with the support of

bition of Furnas’s portraits for the Steep

MIT Media Lab. Working with Furnas,

Rock Arts Foundation, in Roxbury, CT,

ARTMATR developed multiple hardware

opening March 4, 2018.

and software devices, augmenting the

Marianne Boesky Gallery

The Gunslinger, 2018 Dispersed pigments, acrylic, colored pencil, pencil on linen 51 x 38 1/2 inches

many techniques Furnas has developed

For much of his career, Furnas has

over the years. These include effects

dealt with the epic—battle scenes,

achieved with hypodermic needles,

biblical tales, natural disasters, and

pours, masks, and spraying devices. The moments of human triumph and failure. latest additions supplied by ARTMATR

His paintings roil with vibrant action

are a series of digital devices for record-

that lives just beneath and atop the

ing Furnas’s unique marks, customized

surface, contained and fractured by the

software, robotics, and modified digital

two-dimensional confines of the canvas.

printing technology. These versatile

Confronted with the tumultuous 2016

tools allow Furnas to complete his large-

presidential election, Furnas began

scale canvases with a greater breadth of probing at a subject that has itself been creative options and attention to myriad

built on the tension between the real

details. Furthermore, this experimen-

and perceived: American identity. From

tation with new technical approaches

large-scale portraits of wooly buffalos

extends Furnas’s thematic complexity

to scenes of travelers traversing distant

around the ideas of mirroring, reflec-

lands to images of Midwestern choir

tion, and movement. Together, these

singers, Furnas’s new paintings exude a

tools offer Furnas the ability to extend

sense of nostalgia that simultaneously

his vision beyond the constraints of the

feels at the brink of rupture—at any

human hand. Furnas is also engaging in

moment those idealized views will crack

a wider set of ideas around human-ma-

from the energy and emotion

chine capabilities, working with ART-

underneath.

MATR to create further technologies to support his practice.

Marianne Boesky Gallery The Rally, 2017-2018 (top) Dispersed pigments, acrylic, colored pencil, pencil on linen 73 1/8 x 64 1/2 inches Untitled Remains, 2018 (bottom) Dispersed pigments, acrylic, colored pencil, pencil on linen 51 1/2 x 65 1/2 inches

Thallus: “Everyone is an actor in Rome. The theater isn´t what it was.” Aristarchus: “No, and I’ll tell you something else. It never was, what it was.” I, Claudius by Robert Graves, 1976 BBC adaptation

Untitled, 2017 Acrylic, ink, and gold leaf on wood Three works, tallest: 27 1/2 inches

March 1 – April 14, 2018

CLAUDIA WIESER: CHAPTER Marianne Boesky Gallery is pleased to

Rome when power and insanity reigned

present Claudia Wieser’s Chapter, the

in equal parts. Set during a period when

Berlin-based artist’s second solo exhibi-

divinity or other characteristics were

tion with the gallery. Drawing inspiration

conveyed through visual tropes, the

from the BBC Television series “I, Clau-

intentionally anachronistic 1976 BBC

dius” (1976), Wieser transforms the

adaptation provides fertile ground for a

gallery’s white box into an arena where

range of explorations, from aesthetic in-

history, artifice and social constructs

quiry and play to its uncanny prescience

collide. Wieser’s practice derives from

to contemporary social and political

the distinct, but interrelated realms of

dialogues. Images drawn from the series

fine art, architecture, design, and film.

are fragmented and recombined with

These elements are united by Wieser’s

those from other real-life contexts to

engagement with geometric pattern-

create composite wallpaper installed on

ing as a means of abstraction and a

three of the four gallery walls. Charac-

manifestation of spirit, psychic space

ters, historic and powerful, shift in and

and the subconscious. The exhibition

out of focus and are viewed through

highlights Wieser’s adept ability to cre-

the different lenses and perspectives of

ate an experiential environment through

past and present setting the first scene

a reductive vocabulary of composite

of Chapter.

wallpaper, ornamented woodwork, gilded drawings, hand-painted tiles, and

Against the backdrop of Wieser’s

multifaceted mirrors.

wallpaper, there are three tiled plinths that function as monoliths as well as

Robert Graves’ novels “I, Claudius” and

stages populated with groups of wooden

“Claudius, The God,” are told from the

sculptures. For Wieser, the varying

title character’s perspective in a time

shapes and sizes of the sculptures are

of prosperity and intrigue in imperial

indicative of their personalities, like a

family constellationâ&#x20AC;&#x201D;restrained, robust, refined. She distinctly adorns each by hand further emphasizing their individual characteristics. This gathering of characters, of which the viewer becomes one, is reflected back by mirrors, copper and other metal-leafed works installed in the scenography. Here, as in a movie, what is real and imagined is indiscernible and the span of time is skimmed, cropped, and erased. The individual chapters of a life or a story are conflated with memory and perception. Guided by Wieserâ&#x20AC;&#x2122;s meticulous hand, the scene provokes questions about the relationships between these elements inviting viewers to create their own associations and narratives.

Marianne Boesky Gallery

February 23 – April 8, 2018

MARIA LAI: INVITO A TAVOLA Marianne Boesky Gallery is pleased to

expresses Lai’s deeply felt belief that

present Invito a Tavola, an exhibition

art provides essential nourishment for

dedicated to the work of artist Maria Lai

the soul, and at the same time suggests

(1919–2013). The exhibition high-

the importance of breaking bread as a

lights Lai’s career-long commitment

means of binding communities together

to community, from her early drawings

and healing discord. The installation

depicting the women of her hometown

also underscores Lai’s experimentation,

in Sardinia to a major late-career instal-

play, and mastery of materials, which

lation that invokes ideas of communion

can also be seen in her extensive work

and for which the exhibition is titled.

with textiles. Invito a Tavola has not

Invito a Tavola marks Lai’s first solo

previously been displayed in the U.S.,

exhibition in the U.S. since 1956, and

and is one of only two such installations

provides an intimate portrait of the late

produced by the artist. The second is

artist through one of the most enduring

on display in Lai’s birthplace, Ulassai,

themes from her illustrious sixty-year

at the Stazione Dell’Arte, a museum

practice. The exhibition is the first orga-

dedicated to Lai’s work.

nized by the gallery since it commenced representation of the artist’s archive in

The exhibition also features a selection

November 2017.

of Lai’s early drawings, which depict the women of Ulassai in their daily routines.

The exhibition is anchored by the in-

Inspired by the poetry and teachings of

stallation Invito a Tavola (The Invitation

her close friend and mentor Salvatore

Table), which is comprised of a large-

Cambosu, and concerned in particular

scale table, measuring approximately

with the female voice, Lai developed a

nine feet in length and three feet in

rhythmic visual language that interpret-

width, set with terracotta-cast breads

ed the domestic and social lives of these

and books. The work, created in 2004,

women. Her drawings and watercolors,

Marianne Boesky Gallery

produced between 1958 and 1965, gave way to a deep and long-lasting engagement with the loom and textiles—one that would shift her focus from realistic representation to an interrogation of gesture and the collective experience. Indeed, the large-scale tapestry included in Invito a Tavola includes the line, “Every work of art must become bread to be shared at a common table.” Perhaps even more than her object-based practice, performance and community-activated engagement were at the core of Lai’s career. Her most famous of these works is Legarsi alla Montagne (To Bind to the Mountain), which she created in 1981 as a “monument to the living” in response to a request to make a war memorial in Ulassai. In this social action, inspired by a local legend, neighbors tied blue fabric together, creating a single ribbon that wove around homes and other structures until it encircled a peak that overlooked the town. The performative work served to physically and metaphorically bind the town, mountain, and people, establishing a sense of community and bringing the individual into a bigger whole. This work led to the development of other social actions initiated by Lai in cities across Italy and Europe.

Marianne Boesky Gallery Mother and Child, 1960 Pencil on paper Framed: 24 7/8 x 18 3/4 inches

Laundress/washerwoman, 1965 Pencil and watercolor on paper Framed: 24 7/8 x 18 3/4 inches

January 11 – February 24, 2018 SERGE ALAIN NITEGEKA: PERSONAL EFFECTS IN BLACK Marianne Boesky Gallery is pleased

er’s path and movement through them,

to present Personal Effects in BLACK,

creating a directed, and at times forced,

Johannesburg-based artist Serge Alain

encounter with the environment.

Nitegeka’s third solo exhibition with the gallery. The exhibition features a new

These immersive installations gave way

body of work, created in 2017, that

to a series of paintings that mimicked

continues Nitegeka’s examination of

the physical experiences in two-dimen-

color, form, and space. Personal Effects

sional space. The use of unprimed ply-

in BLACK is presented across both the

wood surfaces, bisected by bold swaths

gallery’s Chelsea locations, connecting

of color creates a dynamic interplay

them with a site-specific installation in

between depth and flatness, inviting

one of the interior corridors.

the viewer to step into the frame only to then block the seeming point of entry.

The paintings featured in Nitegeka’s

With his new paintings, Nitegeka moves

exhibition highlight the artist’s ongoing

further into abstraction, focusing in par-

engagement with the ways in which

ticular on the effect that the color black

manipulations of line, color and volume

has on both the visual and emotional

affect our experience and understand-

perceptions of his work.

ing of space. This new body of work can

be traced to Nitegeka’s earlier large-

The geometric compositions arise

scale, site-specific installations, which

spontaneously, with Nitegeka shaping

he began in 2008 and were composed

the lines, colors, and geometric volumes

of variously scaled painted and unpaint-

organically on the wood panels. Matte

ed wood panels. These sculptural works

and glossy blacks appear in wide

reconfigured the spaces in which they

strokes and in fine, delicate lines across

appeared, and choreographed the view-

crisp whites, warm yellows, and cool

Marianne Boesky Gallery

blues, creating a complex web of layers

that is dense and viscous, weighing me

that seem to reach further and further

down deep into silence. It puts me into

beyond the surface field. Perceptions

a state of overwhelming appreciation

of depth are further complicated by the

and meditation—a space of unknown

incorporation of additional wood panels

emptiness and depth. There is an

and forms, producing a physical depth

uninterrupted silence, and nothing is

in some works that is only perceived in

familiar. It is there as I drift in and out

others. The flow between the real and

of sleep, where I wander blindly, arms

imagined is further heightened by the

stretched outwards trying to clutch onto

installation in the gallery’s corridor,

something. I move about in a majestic

which references the site-specific works

solitude of colors and forms. My mind

that first yielded these investigations.

blank and hands busy. The once straight lines bend evenly into curves as I learn

At the same time, Nitegeka’s incisive

to surrender.”

use of black evokes a psychological depth. Where his earlier installations

In considering the work outside of

suggested the conditions of forced

himself, he also noted, “I know that no

migration, which the artist himself ex-

one is exempt from the heaviness of the

perienced, his current engagement with

unknown. At the end of the day, while

black relates to emotions of solitude,

we close our eyes asleep in the black,

emptiness, and the sensation of being

the heaviness catches up. No one is

weighed down. Of his work with black,

spared. Black is ever constant.”

Nitegeka said: “Black is brute darkness. An intangible destructive mass 59

Colour & Form XL, 2017 Paint on wood 31 1/2 x 48 inches

Colour & Form XXXVII, 2017 Paint on wood 43 1/4 x 74 5/8 inches

Marianne Boesky Gallery

Colour & Form XXXV, 2017 Paint on wood 64 1/2 x 48 inches

December 13, 2017 – February 19, 2018

TONIC OF WILDNESS

Marianne Boesky Gallery is pleased to present Tonic of Wildness, an exhibition of works by Pier Paolo Calzolari, Donald Moffett, and Günther Uecker. The exhibition takes its title from a phrase in Henry David Thoreau’s Walden, first published in 1854. In the two years, two months and two days that Thoreau lived in a cabin by Walden Pond, he chronicled his environs, plants, animals and the seasons. While the author’s interest in nature is indisputable, it is nature as a restorative and creative nourishment that makes Walden an enduring guide to leading a purposeful life. Tonic of Wildness highlights how nature inspires these three artists to incorporate the organic into their work. The exhibition will include a selection of Calzolari’s signature works composed of elemental materials, new extruded and resin wall works by Moffett, and several of Uecker’s nail-relief works, and the sculpture Trees from One Trunk, 2009–2015. Displayed together, these works present an international and multi-generational exploration of nature’s influence on the creative process. We need the tonic of wildness—To wade sometimes in the meadowswhere the bittern and the meadow-hen lurk,and hear the booming of the snipe; To smell the whispering sedge where onlysome wilder and more solitary fowl builds her nest,and the mink crawls with its belly close to the ground.At the same time we are earnest to explore and learn,we require that all things be mysterious and unexplorable,that land and sea be infinitely wild,unsurveyed and unfathomed by us because unfathomable.We can never have enough of nature,We must be refreshed by the sight of inexhaustible vigor,vast and titanic features:The sea-coast with its wrecks,the wilderness with its living and decaying trees,the thunder cloud, the rain that lasts three weeksand produces freshets.We need to witness our own limits transgressed,and some life pasturing freely where we never wander. -Henry David Thoreau, Walden

Marianne Boesky Gallery

Donald Moffett Lot 090917 (white), 2017 Pigmented epoxy resin on wood panel support with steel 45 x 45 x 5.25 inches

Pier Paolo Calzolari Untitled (Little Peacock), 2016 Lead, paper, gold string, cotton string 75 3/4 x 81 5/8 x 8 1/4 inches

Marianne Boesky Gallery

GĂźnther Uecker BĂ¤ume aus einem Stamm (Trees from One Trunk), 2009-2015 Painted nails with ash and glue on wood Tallest element: 80 11/16 inches high x 31 1/2 inches in diameter Middle element: 59 inches high x 31 1/2 inches in diameter Shortest element: 51 3/16 inches high x 29 1/2 inches in diameter

About Marianne Boesky Gallery Since its inception in 1996, Marianne Boesky Gallery’s mission has been to represent and support the work of contemporary international artists of all media. The gallery expanded its flagship location in 2016 to the adjacent space on West 24th Street. This space more than doubles the gallery’s footprint in Chelsea, allowing for ever more ambitious solo and group shows that highlight dynamic narratives and parallels across artist, media, and theme. In 2017, the gallery opened its newest location, Boesky West, in Aspen, CO. This space presents rotating exhibitions by both gallery artists and artists invited to present special projects. With three locations in New York and Aspen, the gallery currently represents 30 esteemed artists of different generations and backgrounds. These recent expansions highlight the gallery’s ongoing experimentations with space and architecture as well as its continued commitment to the needs and interests of its dynamic roster of artists from around the globe. *All images and text are from http://www.marianneboeskygallery.com/ 509 West 24th Street, New York, NY 10011 t. 212-680-9889 f. 347-296-3667 info@boeskygallery.com Hours: Tuesday – Saturday, 10AM – 6PM

Marianne Boesky Gallery

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Dani Delossantos 2018