David Richard Gallery Podcasts: Recent Episodes
David Richard Gallery: David Eichholtz and Richard Barger
David Richard Gallery offers a wide range of important contemporary art by established and emerging American and international artists. Although the gallery focuses on abstraction, representational and non-representational art in a variety of media are exhibited. The gallery also presents collaborative curatorial programs highlighting significant works and art historical tendencies in the 1960s through the 1980s. The objective is to create an interactive space for gallery artists, collectors, collaborators and the general art community.
David Richard Gallery is pleased to debut Heather McGill’s newest series of artworks in the presentation, Invisible Bloom, her second solo exhibition with the Gallery.
The presentation includes 10 new paintings produced over the past 30 months during the pandemic. The new paintings were created with the artist’s novel process as she describes in the statement below. The compositions are abstract while the imagery is from the natural world and specifically from readymade fabrics and lace mass produced for women’s clothing and draperies. Each painting has many layers of imagery and paint that is then sanded to reveal colors and patterns below. Looking closer reveals floral and insect motifs bringing nature into the patterning and overall psychedelic feel as well as designs from iconic fashion designers.
Art historical references, numerous binaries, and subversions anchor the new work in painting, but McGill’s processes are rooted in sculpture, which dominated most of her studio practice and teaching career. Hence, the casting process with gel medium and textiles as stencils for patterns and images, as well as the use of automotive paints and lacquers comes naturally to the artist. The additions of painted and coordinated imagery on borders, and often more than one, functions as a frame, but also adds dimensionality and depth to the paintings and hence, making them object-like and co-locating them as sculpture.
David Richard Gallery is pleased to debut Heather McGill’s newest series of artworks in the presentation, Invisible Bloom, her second solo exhibition with the Gallery.
The presentation includes 10 new paintings produced over the past 30 months during the pandemic. The new paintings were created with the artist’s novel process as she describes in the statement below. The compositions are abstract while the imagery is from the natural world and specifically from readymade fabrics and lace mass produced for women’s clothing and draperies. Each painting has many layers of imagery and paint that is then sanded to reveal colors and patterns below. Looking closer reveals floral and insect motifs bringing nature into the patterning and overall psychedelic feel as well as designs from iconic fashion designers.
Art historical references, numerous binaries, and subversions anchor the new work in painting, but McGill’s processes are rooted in sculpture, which dominated most of her studio practice and teaching career. Hence, the casting process with gel medium and textiles as stencils for patterns and images, as well as the use of automotive paints and lacquers comes naturally to the artist. The additions of painted and coordinated imagery on borders, and often more than one, functions as a frame, but also adds dimensionality and depth to the paintings and hence, making them object-like and co-locating them as sculpture.
David Richard Gallery is pleased to debut Heather McGill’s newest series of artworks in the presentation, Invisible Bloom, her second solo exhibition with the Gallery.
The presentation includes 10 new paintings produced over the past 30 months during the pandemic. The new paintings were created with the artist’s novel process as she describes in the statement below. The compositions are abstract while the imagery is from the natural world and specifically from readymade fabrics and lace mass produced for women’s clothing and draperies. Each painting has many layers of imagery and paint that is then sanded to reveal colors and patterns below. Looking closer reveals floral and insect motifs bringing nature into the patterning and overall psychedelic feel as well as designs from iconic fashion designers.
Art historical references, numerous binaries, and subversions anchor the new work in painting, but McGill’s processes are rooted in sculpture, which dominated most of her studio practice and teaching career. Hence, the casting process with gel medium and textiles as stencils for patterns and images, as well as the use of automotive paints and lacquers comes naturally to the artist. The additions of painted and coordinated imagery on borders, and often more than one, functions as a frame, but also adds dimensionality and depth to the paintings and hence, making them object-like and co-locating them as sculpture.
David Richard Gallery is pleased to present an exhibition of new artworks by Dee Shapiro, Redrawn and Redressed, in her third solo presentation with the gallery. The new artworks are comprised of: original painting and ink renderings, collaging of found printed papers, textiles and sewing trims, appropriation of her own original artworks and human hair as well as appropriated published imagery. In the aggregate, these diverse media and methods create female figures that are mostly nude, bathing, or reclining, as her versions of classic female nudes presented over centuries of art history.
Shapiro’s use of geometric patterns and domestic materials brings a different perspective and interpretation to the nude female body. While they are still sexy and full of intrigue, there is a literalness of the female form—and body parts—that moves beyond a gaze and sexualization to a focus on: line, form, color, and the complexities of the constructions and process. Shapiro’s redux of the classical nudes brings a matter-of-fact presentation of the female body with a focus on unique materials and interpretations that provides an immediacy and contemporary perspective to an all too familiar image and historical male scrutiny of the female form. As the title suggests, “redrawing” and “redressing” not only re-presents the imagery in a new context but also attempts to rectify how the female body has historically been overly sexualized and coveted throughout art history.
The collages of Shapiro play with several concepts: the real shapes of women versus the idealized female form based on the male perspective; the unique and functional aspects of the female body for reproduction versus purely for male pleasure; deconstructing the conventional portrayal of the female figure as only sinuous and supple and redrawing the classic female nudes using the artist’s own drawn and painted patterns, sewing materials—often considered “women’s work”—and human (including pubic) hair. The resulting artworks by Shapiro are less sexualized and objectified portrayals of women’s bodies, as opposed to the historical commissioned portraits—by the Masters in the canon of art history—of women who were most likely the “prize” of the men paying the Masters to capture forever the women’s perceived and cherished fleshy beauty in pigment and oil.
David Richard Gallery is pleased to present an exhibition of new artworks by Dee Shapiro, Redrawn and Redressed, in her third solo presentation with the gallery. The new artworks are comprised of: original painting and ink renderings, collaging of found printed papers, textiles and sewing trims, appropriation of her own original artworks and human hair as well as appropriated published imagery. In the aggregate, these diverse media and methods create female figures that are mostly nude, bathing, or reclining, as her versions of classic female nudes presented over centuries of art history.
Shapiro’s use of geometric patterns and domestic materials brings a different perspective and interpretation to the nude female body. While they are still sexy and full of intrigue, there is a literalness of the female form—and body parts—that moves beyond a gaze and sexualization to a focus on: line, form, color, and the complexities of the constructions and process. Shapiro’s redux of the classical nudes brings a matter-of-fact presentation of the female body with a focus on unique materials and interpretations that provides an immediacy and contemporary perspective to an all too familiar image and historical male scrutiny of the female form. As the title suggests, “redrawing” and “redressing” not only re-presents the imagery in a new context but also attempts to rectify how the female body has historically been overly sexualized and coveted throughout art history.
The collages of Shapiro play with several concepts: the real shapes of women versus the idealized female form based on the male perspective; the unique and functional aspects of the female body for reproduction versus purely for male pleasure; deconstructing the conventional portrayal of the female figure as only sinuous and supple and redrawing the classic female nudes using the artist’s own drawn and painted patterns, sewing materials—often considered “women’s work”—and human (including pubic) hair. The resulting artworks by Shapiro are less sexualized and objectified portrayals of women’s bodies, as opposed to the historical commissioned portraits—by the Masters in the canon of art history—of women who were most likely the “prize” of the men paying the Masters to capture forever the women’s perceived and cherished fleshy beauty in pigment and oil.
David Richard Gallery is pleased to present an exhibition of new artworks by Dee Shapiro, Redrawn and Redressed, in her third solo presentation with the gallery. The new artworks are comprised of: original painting and ink renderings, collaging of found printed papers, textiles and sewing trims, appropriation of her own original artworks and human hair as well as appropriated published imagery. In the aggregate, these diverse media and methods create female figures that are mostly nude, bathing, or reclining, as her versions of classic female nudes presented over centuries of art history.
Shapiro’s use of geometric patterns and domestic materials brings a different perspective and interpretation to the nude female body. While they are still sexy and full of intrigue, there is a literalness of the female form—and body parts—that moves beyond a gaze and sexualization to a focus on: line, form, color, and the complexities of the constructions and process. Shapiro’s redux of the classical nudes brings a matter-of-fact presentation of the female body with a focus on unique materials and interpretations that provides an immediacy and contemporary perspective to an all too familiar image and historical male scrutiny of the female form. As the title suggests, “redrawing” and “redressing” not only re-presents the imagery in a new context but also attempts to rectify how the female body has historically been overly sexualized and coveted throughout art history.
The collages of Shapiro play with several concepts: the real shapes of women versus the idealized female form based on the male perspective; the unique and functional aspects of the female body for reproduction versus purely for male pleasure; deconstructing the conventional portrayal of the female figure as only sinuous and supple and redrawing the classic female nudes using the artist’s own drawn and painted patterns, sewing materials—often considered “women’s work”—and human (including pubic) hair. The resulting artworks by Shapiro are less sexualized and objectified portrayals of women’s bodies, as opposed to the historical commissioned portraits—by the Masters in the canon of art history—of women who were most likely the “prize” of the men paying the Masters to capture forever the women’s perceived and cherished fleshy beauty in pigment and oil.
David Richard Gallery is pleased to present Violets are Blue, an exhibition by New York-based artist Claire Seidl and her first solo presentation with the gallery. The exhibit is comprised of 15 oil paintings, mostly on linen and a couple on canvas, painted during 2021 and the first part of 2022 with just a few included from 2018 to 2020 that resonate with the new paintings. The compositions created by the artist’s layering of drawn lines with a range of subtle to bold gestural strokes will be readily recognized. However, the surprise in this new body of work is the broader, more vivid color palette that includes pinks, yellows, blues and reds.
The three paintings incorporating pink are the largest in the presentation and would even make De Kooning take pause. The variations in hues are from soft pink infused with yellow, thinly applied as ground colors, with overlays of thin, bold, linear strokes of black in The Big Picture that create an upbeat nod to spring. Another painting with pink, Believe You Me, is moodier with combinations of red and pink, overlayed with thicker, bolder, wider strokes of black and white. The third painting, Take it From Me, uses darker pink with smudges of red, infused with yellow, to generate an orange glow. Black is also extensively used in this work, but in two contrasting ways: dark, fine lines and thin, translucent swaths of black that read as dark gray revealing the warmer colors below.
The yellows are also very dynamic, ranging from large passages of sun-kissed lemon yellow in It Don’t Mean A Thing, to thick, short smudges of less vibrant, ocher yellow on a neutralized grey-green ground, accented with thin vertical strokes of bright yellow in This Must be the Place; then, all the way to a darker painting derived from the surface-mixing of yellow with black that generates an olive green color with hints of bright yellow peeking through.
David Richard Gallery is pleased to present Violets are Blue, an exhibition by New York-based artist Claire Seidl and her first solo presentation with the gallery. The exhibit is comprised of 15 oil paintings, mostly on linen and a couple on canvas, painted during 2021 and the first part of 2022 with just a few included from 2018 to 2020 that resonate with the new paintings. The compositions created by the artist’s layering of drawn lines with a range of subtle to bold gestural strokes will be readily recognized. However, the surprise in this new body of work is the broader, more vivid color palette that includes pinks, yellows, blues and reds.
The three paintings incorporating pink are the largest in the presentation and would even make De Kooning take pause. The variations in hues are from soft pink infused with yellow, thinly applied as ground colors, with overlays of thin, bold, linear strokes of black in The Big Picture that create an upbeat nod to spring. Another painting with pink, Believe You Me, is moodier with combinations of red and pink, overlayed with thicker, bolder, wider strokes of black and white. The third painting, Take it From Me, uses darker pink with smudges of red, infused with yellow, to generate an orange glow. Black is also extensively used in this work, but in two contrasting ways: dark, fine lines and thin, translucent swaths of black that read as dark gray revealing the warmer colors below.
The yellows are also very dynamic, ranging from large passages of sun-kissed lemon yellow in It Don’t Mean A Thing, to thick, short smudges of less vibrant, ocher yellow on a neutralized grey-green ground, accented with thin vertical strokes of bright yellow in This Must be the Place; then, all the way to a darker painting derived from the surface-mixing of yellow with black that generates an olive green color with hints of bright yellow peeking through.
David Richard Gallery is pleased to present new geometric, color-based, abstract paintings by Heather Jones in her first solo exhibition with the Gallery. The presentation is comprised of 15 new works, all dynamic with hard-edge geometric shapes and patterns that wrap around the sides with high key and contrasting colors that yield a range of optical to trippy compositions and all made of sewn textiles stretched on stretcher bars. While they read as paintings, the artworks are rich with content, rooted in feminist concerns and as the artist stated, honoring “female narratives that are often neglected from history.” They also celebrate and were inspired by sewing and quilt making as well as Jones’s Appalachian heritage. The title of the presentation, To Hold Tender This Land,a line from African American author, activist and feminist from Kentucky, Bell Hooks’ Appalachian Elegy: Poetry and Place, exemplifies Jones’s commitment to honoring strong and influential women and places that inspire her and her artwork.
This debut exhibition of new work at the Gallery coincides with Jones’s solo exhibition of related and larger paintings at the Contemporary Dayton in Dayton, Ohio that opened earlier in February. Her presentation, Storytellers, is one of three concurrent solo exhibitions of artworks on view by Jones, Odili Donald Odita, and Jeffrey Gibson.
David Richard Gallery is pleased to present new geometric, color-based, abstract paintings by Heather Jones in her first solo exhibition with the Gallery. The presentation is comprised of 15 new works, all dynamic with hard-edge geometric shapes and patterns that wrap around the sides with high key and contrasting colors that yield a range of optical to trippy compositions and all made of sewn textiles stretched on stretcher bars. While they read as paintings, the artworks are rich with content, rooted in feminist concerns and as the artist stated, honoring “female narratives that are often neglected from history.” They also celebrate and were inspired by sewing and quilt making as well as Jones’s Appalachian heritage. The title of the presentation, To Hold Tender This Land,a line from African American author, activist and feminist from Kentucky, Bell Hooks’ Appalachian Elegy: Poetry and Place, exemplifies Jones’s commitment to honoring strong and influential women and places that inspire her and her artwork.
This debut exhibition of new work at the Gallery coincides with Jones’s solo exhibition of related and larger paintings at the Contemporary Dayton in Dayton, Ohio that opened earlier in February. Her presentation, Storytellers, is one of three concurrent solo exhibitions of artworks on view by Jones, Odili Donald Odita, and Jeffrey Gibson.
David Richard Gallery is pleased to present a series of abstract color paintings by Brooklyn-based artist Carl E. Hazlewood (born 1951, Guyana, South America) that have never been presented as a group until now. The paintings began initially by staining, then built up with layers of color, medium, and additions of metallic, fluorescent and mirrored materials that brought complexity, depth and texture. This exhibition, Demerara Dreaming: Triptych Paintings: 1996 – 2003, also debuts the Gallery’s opening of a new space in Chelsea, its second location in New York.
The Hazlewood presentation includes fourteen narrow horizontal paintings, each a triptych measuring from 10 x 37 to mostly 10 x 44 and 10 x 46 inches, up to one very long painting at 10 x 66 inches. The three canvases comprising each triptych are stretched on separate stretcher bars with a larger horizontal canvas in the center flanked by two smaller vertical rectangular canvases on either side. The canvases themselves are the salvaged edges and discarded portions from earlier and much larger canvases by Hazlewood that he painted as early as the 1980s and cut them down to the desired shape and dimensions at the time of their creation. Years later, from 1996 to 2003, these remnants became the source material for a series of roughly 25 small horizontal paintings, of which only these 14 remain and are presented now for the first time as a group. The other eleven paintings were gifted to various individuals and institutions.
David Richard Gallery is pleased to present a series of abstract color paintings by Brooklyn-based artist Carl E. Hazlewood (born 1951, Guyana, South America) that have never been presented as a group until now. The paintings began initially by staining, then built up with layers of color, medium, and additions of metallic, fluorescent and mirrored materials that brought complexity, depth and texture. This exhibition, Demerara Dreaming: Triptych Paintings: 1996 – 2003, also debuts the Gallery’s opening of a new space in Chelsea, its second location in New York.
The Hazlewood presentation includes fourteen narrow horizontal paintings, each a triptych measuring from 10 x 37 to mostly 10 x 44 and 10 x 46 inches, up to one very long painting at 10 x 66 inches. The three canvases comprising each triptych are stretched on separate stretcher bars with a larger horizontal canvas in the center flanked by two smaller vertical rectangular canvases on either side. The canvases themselves are the salvaged edges and discarded portions from earlier and much larger canvases by Hazlewood that he painted as early as the 1980s and cut them down to the desired shape and dimensions at the time of their creation. Years later, from 1996 to 2003, these remnants became the source material for a series of roughly 25 small horizontal paintings, of which only these 14 remain and are presented now for the first time as a group. The other eleven paintings were gifted to various individuals and institutions.
The newest series of paintings by Isaac Aden, presented in his fourth solo exhibition with the gallery, are monumental in scale with single canvases measuring 144 x 108 inches and triptychs with overall dimensions of 80 x 120 and 80 x 132 inches. The paintings fill the galley as each canvas and triptych was planned and scaled specifically for each wall. Beyond the grand size of each canvas, the palettes are ethereal and complex in that they are reductive, canvas-filling, physical mixtures of aerosolized oil paint applied to a ground of tonal gray oil paint in a pointillist approach (or pixilated in a contemporary digital vernacular) using only primary colors: red, blue and yellow. At first glance, each painting (and in the aggregate within the gallery) evokes a monochrome reading, while the stronger sensation is a moodiness that each conveys alone, when interacting with adjacent canvases, and more importantly, with each viewer. The palettes and stoic compositions convey a range of interpretations from serene and meditative to somber and almost dystopian.
The newest series of paintings by Isaac Aden, presented in his fourth solo exhibition with the gallery, are monumental in scale with single canvases measuring 144 x 108 inches and triptychs with overall dimensions of 80 x 120 and 80 x 132 inches. The paintings fill the galley as each canvas and triptych was planned and scaled specifically for each wall. Beyond the grand size of each canvas, the palettes are ethereal and complex in that they are reductive, canvas-filling, physical mixtures of aerosolized oil paint applied to a ground of tonal gray oil paint in a pointillist approach (or pixilated in a contemporary digital vernacular) using only primary colors: red, blue and yellow. At first glance, each painting (and in the aggregate within the gallery) evokes a monochrome reading, while the stronger sensation is a moodiness that each conveys alone, when interacting with adjacent canvases, and more importantly, with each viewer. The palettes and stoic compositions convey a range of interpretations from serene and meditative to somber and almost dystopian.
David Richard Gallery is pleased to present Looking Back and Moving Forward,a solo exhibition of 12 artworks by Andrew Spence in his debut presentation with the gallery. The presentation also debuts a suite of five abstract paintings that were conceived and initiated as hard edge silk screen prints on canvas in 1998. Recently completed in 2020 and 2021, the suite, along with the process and resulting imagery, is the critical focus of the exhibition. The presentation also includes seven artworks that represent smaller series of paintings and prints from which imagery was appropriated and incorporated into the suite of paintings by layering certain forms and compositional elements on top of the silk screen images. Thus, the geometric screen prints serve as the ground, while the painted layered shapes and forms became the figure. The hybrid compositions combine and contrast visual and theoretical themes in art such as: non-objective abstraction and representational elements; hard edge and gestural abstraction; flat and illusory space; literal and imagined places; reality and memory; high art and graphic design; nature and architecture; original paintings and reproductions; handmade and prefab.
David Richard Gallery is pleased to present Looking Back and Moving Forward,a solo exhibition of 12 artworks by Andrew Spence in his debut presentation with the gallery. The presentation also debuts a suite of five abstract paintings that were conceived and initiated as hard edge silk screen prints on canvas in 1998. Recently completed in 2020 and 2021, the suite, along with the process and resulting imagery, is the critical focus of the exhibition. The presentation also includes seven artworks that represent smaller series of paintings and prints from which imagery was appropriated and incorporated into the suite of paintings by layering certain forms and compositional elements on top of the silk screen images. Thus, the geometric screen prints serve as the ground, while the painted layered shapes and forms became the figure. The hybrid compositions combine and contrast visual and theoretical themes in art such as: non-objective abstraction and representational elements; hard edge and gestural abstraction; flat and illusory space; literal and imagined places; reality and memory; high art and graphic design; nature and architecture; original paintings and reproductions; handmade and prefab.
David Richard Gallery is pleased to present Looking Back and Moving Forward,a solo exhibition of 12 artworks by Andrew Spence in his debut presentation with the gallery. The presentation also debuts a suite of five abstract paintings that were conceived and initiated as hard edge silk screen prints on canvas in 1998. Recently completed in 2020 and 2021, the suite, along with the process and resulting imagery, is the critical focus of the exhibition. The presentation also includes seven artworks that represent smaller series of paintings and prints from which imagery was appropriated and incorporated into the suite of paintings by layering certain forms and compositional elements on top of the silk screen images. Thus, the geometric screen prints serve as the ground, while the painted layered shapes and forms became the figure. The hybrid compositions combine and contrast visual and theoretical themes in art such as: non-objective abstraction and representational elements; hard edge and gestural abstraction; flat and illusory space; literal and imagined places; reality and memory; high art and graphic design; nature and architecture; original paintings and reproductions; handmade and prefab.
David Richard Gallery is pleased to present Joe Ramiro Garcia, Keep Off the Grass, his first solo exhibition in New York and debut with the gallery. Garcia’s paintings are narrative, derived from current events and inspired by art historical figures, while the imagery and palettes reference personal memories and emotions. Initially, the paintings appear Pop-inspired and a collaging of everyday, somewhat banal and often appropriated images. However, the paintings are highly technical in that they also incorporate a complex printing process to introduce certain imagery that provides not only layers of color and detail, but also content as a referent and/or memory trigger. The medium for the image transfer process is paint, not ink, so that every layer and detail in the composition is painted.
David Richard Gallery is pleased to present Joe Ramiro Garcia, Keep Off the Grass, his first solo exhibition in New York and debut with the gallery. Garcia’s paintings are narrative, derived from current events and inspired by art historical figures, while the imagery and palettes reference personal memories and emotions. Initially, the paintings appear Pop-inspired and a collaging of everyday, somewhat banal and often appropriated images. However, the paintings are highly technical in that they also incorporate a complex printing process to introduce certain imagery that provides not only layers of color and detail, but also content as a referent and/or memory trigger. The medium for the image transfer process is paint, not ink, so that every layer and detail in the composition is painted.
David Richard Gallery is pleased to present Joe Ramiro Garcia, Keep Off the Grass, his first solo exhibition in New York and debut with the gallery. Garcia’s paintings are narrative, derived from current events and inspired by art historical figures, while the imagery and palettes reference personal memories and emotions. Initially, the paintings appear Pop-inspired and a collaging of everyday, somewhat banal and often appropriated images. However, the paintings are highly technical in that they also incorporate a complex printing process to introduce certain imagery that provides not only layers of color and detail, but also content as a referent and/or memory trigger. The medium for the image transfer process is paint, not ink, so that every layer and detail in the composition is painted.
David Richard Gallery is pleased to present Julio Valdez, Water Paintings, in his first solo exhibition with the Gallery. The presentation includes a selection of 15 paintings created from 2012 through 2019 and one earlier painting from 2008 when the artist initially embarked on this ambitious and extensive body of work. The sizes of the paintings in this presentation range from 12 x 10.5 inches up to 54 x 76 inches. Some of the largest paintings were prepared for and included in the 58th edition of the Venice Biennale where Valdez represented the Dominican Republic.
David Richard Gallery is pleased to present Julio Valdez, Water Paintings, in his first solo exhibition with the Gallery. The presentation includes a selection of 15 paintings created from 2012 through 2019 and one earlier painting from 2008 when the artist initially embarked on this ambitious and extensive body of work. The sizes of the paintings in this presentation range from 12 x 10.5 inches up to 54 x 76 inches. Some of the largest paintings were prepared for and included in the 58th edition of the Venice Biennale where Valdez represented the Dominican Republic.
David Richard Gallery is pleased to present Julio Valdez, Water Paintings, in his first solo exhibition with the Gallery. The presentation includes a selection of 15 paintings created from 2012 through 2019 and one earlier painting from 2008 when the artist initially embarked on this ambitious and extensive body of work. The sizes of the paintings in this presentation range from 12 x 10.5 inches up to 54 x 76 inches. Some of the largest paintings were prepared for and included in the 58th edition of the Venice Biennale where Valdez represented the Dominican Republic.
David Richard Gallery is pleased to present Wax and Wane by Kevin Umaña, his first solo exhibition in New York and with the Gallery. This exhibition of 17 new artworks created during 2021 is part of a larger body of work comprised of five different, but related and interdependent bodies of works that differ by size, supports and media. The various bodies of work include: 1) seven large canvases made of acrylic and oil media that also include a range of additions that model and provide tactile and sculpted surfaces to the individual geometric shapes; 2) four smaller paintings that experiment with novel supports, media and additions to the media as well as specific geometric shapes and compositions that have a direct dialogue with the larger paintings; 3) two flat-ish glazed ceramic wall pieces; 4) two hybrid paintings with additions of flat glazed ceramic fragments adhered to the canvas and integrated within the compositions; and 5) one painted, wooden, free-standing sculpture on a pedestal.
David Richard Gallery is pleased to present Wax and Wane by Kevin Umaña, his first solo exhibition in New York and with the Gallery. This exhibition of 17 new artworks created during 2021 is part of a larger body of work comprised of five different, but related and interdependent bodies of works that differ by size, supports and media. The various bodies of work include: 1) seven large canvases made of acrylic and oil media that also include a range of additions that model and provide tactile and sculpted surfaces to the individual geometric shapes; 2) four smaller paintings that experiment with novel supports, media and additions to the media as well as specific geometric shapes and compositions that have a direct dialogue with the larger paintings; 3) two flat-ish glazed ceramic wall pieces; 4) two hybrid paintings with additions of flat glazed ceramic fragments adhered to the canvas and integrated within the compositions; and 5) one painted, wooden, free-standing sculpture on a pedestal.
David Richard Gallery is pleased to present Wax and Wane by Kevin Umaña, his first solo exhibition in New York and with the Gallery. This exhibition of 17 new artworks created during 2021 is part of a larger body of work comprised of five different, but related and interdependent bodies of works that differ by size, supports and media. The various bodies of work include: 1) seven large canvases made of acrylic and oil media that also include a range of additions that model and provide tactile and sculpted surfaces to the individual geometric shapes; 2) four smaller paintings that experiment with novel supports, media and additions to the media as well as specific geometric shapes and compositions that have a direct dialogue with the larger paintings; 3) two flat-ish glazed ceramic wall pieces; 4) two hybrid paintings with additions of flat glazed ceramic fragments adhered to the canvas and integrated within the compositions; and 5) one painted, wooden, free-standing sculpture on a pedestal.
David Richard Gallery is pleased to present Diverse Vocabularies by Roland Gebhardt in his second solo exhibition with the Gallery in New York. The common thread in this presentation is the artist’s ongoing systematic exploration of voids in various sculptural objects. The sculptures in this presentation are made of natural or painted wood and range from free-standing floor works to pedestal pieces and wall sculptures. There are 4 additional wall sculptures comprised of paper, cut voids and matte black paint all hung from wood cleats. The nuance, and first of two curatorial foci in the presentation, is how the voids are realized, either literally as a dimensional void (or cut) in the material of an object or, the shape of the void painted graphically in matte black paint on the surface of the object.
David Richard Gallery is pleased to present Diverse Vocabularies by Roland Gebhardt in his second solo exhibition with the Gallery in New York. The common thread in this presentation is the artist’s ongoing systematic exploration of voids in various sculptural objects. The sculptures in this presentation are made of natural or painted wood and range from free-standing floor works to pedestal pieces and wall sculptures. There are 4 additional wall sculptures comprised of paper, cut voids and matte black paint all hung from wood cleats. The nuance, and first of two curatorial foci in the presentation, is how the voids are realized, either literally as a dimensional void (or cut) in the material of an object or, the shape of the void painted graphically in matte black paint on the surface of the object.
David Richard Gallery is pleased to present Color Field Paintings from the 1960s and 1970s: Aesthetic Transitions Through Process, Willem de Looper’s first solo exhibition with the gallery and his first in New York City since 1988. The presentation of 13 paintings from 1968 to 1976 covers a seminal period in the artist's career. De Looper (1932, The Hague, Netherlands – 2009, Washington, D.C.) maintained his focus on formal concerns using a process driven approach that yielded numerous color-based abstractions during these decades. The big shift during this period was his moving away from pouring and physically rolling and manipulating the paint on the canvas surface to bringing brushes and rollers into the process to guide the location, but not always the flow and final placement of the acrylic paint. Thus, the compositions transitioned from amorphous, billowy and free-flowing using mostly gravity and chance to drive his compositions to decidedly creating striated bands of color, often unbounded and melding from one to the other. The continued application of multiple thin layers of pigment and allowing underlayers and residue of previous passages to remain and peak through upper layers maintained a level of chance and surprise that was just as challenging to control and fresh to the artist as the tilting of the canvases and rolling the pigment in an attempt to guide the outcome.
David Richard Gallery is pleased to present Color Field Paintings from the 1960s and 1970s: Aesthetic Transitions Through Process, Willem de Looper’s first solo exhibition with the gallery and his first in New York City since 1988. The presentation of 13 paintings from 1968 to 1976 covers a seminal period in the artist's career. De Looper (1932, The Hague, Netherlands – 2009, Washington, D.C.) maintained his focus on formal concerns using a process driven approach that yielded numerous color-based abstractions during these decades. The big shift during this period was his moving away from pouring and physically rolling and manipulating the paint on the canvas surface to bringing brushes and rollers into the process to guide the location, but not always the flow and final placement of the acrylic paint. Thus, the compositions transitioned from amorphous, billowy and free-flowing using mostly gravity and chance to drive his compositions to decidedly creating striated bands of color, often unbounded and melding from one to the other. The continued application of multiple thin layers of pigment and allowing underlayers and residue of previous passages to remain and peak through upper layers maintained a level of chance and surprise that was just as challenging to control and fresh to the artist as the tilting of the can
David Richard Gallery is pleased to present Color Field Paintings from the 1960s and 1970s: Aesthetic Transitions Through Process, Willem de Looper’s first solo exhibition with the gallery and his first in New York City since 1988. The presentation of 13 paintings from 1968 to 1976 covers a seminal period in the artist's career. De Looper (1932, The Hague, Netherlands – 2009, Washington, D.C.) maintained his focus on formal concerns using a process driven approach that yielded numerous color-based abstractions during these decades. The big shift during this period was his moving away from pouring and physically rolling and manipulating the paint on the canvas surface to bringing brushes and rollers into the process to guide the location, but not always the flow and final placement of the acrylic paint. Thus, the compositions transitioned from amorphous, billowy and free-flowing using mostly gravity and chance to drive his compositions to decidedly creating striated bands of color, often unbounded and melding from one to the other. The continued application of multiple thin layers of pigment and allowing underlayers and residue of previous passages to remain and peak through upper layers maintained a level of chance and surprise that was just as challenging to control and fresh to the artist as the tilting of the canvases and rolling the pigment in an attempt to guide the outcome.
David Eichholtz joins Isaac Aden in his studio in New York to discuss his artwork for the exhibition "Immersion" at David Richard Gallery
David Eichholtz joins Isaac Aden in his studio in New York to discuss his artwork for the exhibition "Immersion" at David Richard Gallery
David Eichholtz joins Isaac Aden in his studio in New York to discuss his artwork for the exhibition "Immersion" at David Richard Gallery
David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.
David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.
David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.
David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.
David Richard Gallery is pleased to present Arlo Namingha, Stories and Conversation, his first solo exhibition in New York in 17 years and his debut with David Richard Gallery. The presentation includes 19 new and recent sculptures and wall reliefs in a variety of carved and polished stones and wood. Namingha’s artworks are clean lined and minimalist, reductions of complex imagery such as the landscape, pueblo buildings, people, animals, butterflies and fish as well as abstractions that include cultural symbols, the fifth world, timelines and Mother Earth.
David Richard Gallery is pleased to present Arlo Namingha, Stories and Conversation, his first solo exhibition in New York in 17 years and his debut with David Richard Gallery. The presentation includes 19 new and recent sculptures and wall reliefs in a variety of carved and polished stones and wood. Namingha’s artworks are clean lined and minimalist, reductions of complex imagery such as the landscape, pueblo buildings, people, animals, butterflies and fish as well as abstractions that include cultural symbols, the fifth world, timelines and Mother Earth.
David Richard Gallery is pleased to present Arlo Namingha, Stories and Conversation, his first solo exhibition in New York in 17 years and his debut with David Richard Gallery. The presentation includes 19 new and recent sculptures and wall reliefs in a variety of carved and polished stones and wood. Namingha’s artworks are clean lined and minimalist, reductions of complex imagery such as the landscape, pueblo buildings, people, animals, butterflies and fish as well as abstractions that include cultural symbols, the fifth world, timelines and Mother Earth.
David Richard Gallery is pleased to present Arlo Namingha, Stories and Conversation, his first solo exhibition in New York in 17 years and his debut with David Richard Gallery. The presentation includes 19 new and recent sculptures and wall reliefs in a variety of carved and polished stones and wood. Namingha’s artworks are clean lined and minimalist, reductions of complex imagery such as the landscape, pueblo buildings, people, animals, butterflies and fish as well as abstractions that include cultural symbols, the fifth world, timelines and Mother Earth.
Artist, William Staples and Curator, David Eichholtz, discuss the exhibition “Pastoral Pictures” at David Richard Gallery.
David Richard Gallery is pleased to present Pastoral Pictures, a selection of recent paintings by New York artist William Staples in his first solo exhibition in New York City and debut with the gallery. The imagery is of landscapes and figures that reference Modernist pastoral painting, yet the artist considers the paintings abstractions. The images include nude bathers, mythical figures, animals and birds along with detailed fragments of trees and branches, windmills, valleys, hillsides, rivers and ponds. The abstraction comes from the not-so-traditional palettes (reminiscent of Impressionism and Modernism in general), the medium and novel materials as well as alterations to the perimeters and manipulated surfaces of the canvas (something near and dear to the artist). There are 30 paintings of an intimate size in the presentation, ranging from 8 x 8 inches square to 28 x 23 inches with only one large painting measuring 52 x 42 inches.
Artist, William Staples and Curator, David Eichholtz, discuss the exhibition “Pastoral Pictures” at David Richard Gallery.
David Richard Gallery is pleased to present Pastoral Pictures, a selection of recent paintings by New York artist William Staples in his first solo exhibition in New York City and debut with the gallery. The imagery is of landscapes and figures that reference Modernist pastoral painting, yet the artist considers the paintings abstractions. The images include nude bathers, mythical figures, animals and birds along with detailed fragments of trees and branches, windmills, valleys, hillsides, rivers and ponds. The abstraction comes from the not-so-traditional palettes (reminiscent of Impressionism and Modernism in general), the medium and novel materials as well as alterations to the perimeters and manipulated surfaces of the canvas (something near and dear to the artist). There are 30 paintings of an intimate size in the presentation, ranging from 8 x 8 inches square to 28 x 23 inches with only one large painting measuring 52 x 42 inches.
Artist, William Staples and Curator, David Eichholtz, discuss the exhibition “Pastoral Pictures” at David Richard Gallery.
David Richard Gallery is pleased to present Pastoral Pictures, a selection of recent paintings by New York artist William Staples in his first solo exhibition in New York City and debut with the gallery. The imagery is of landscapes and figures that reference Modernist pastoral painting, yet the artist considers the paintings abstractions. The images include nude bathers, mythical figures, animals and birds along with detailed fragments of trees and branches, windmills, valleys, hillsides, rivers and ponds. The abstraction comes from the not-so-traditional palettes (reminiscent of Impressionism and Modernism in general), the medium and novel materials as well as alterations to the perimeters and manipulated surfaces of the canvas (something near and dear to the artist). There are 30 paintings of an intimate size in the presentation, ranging from 8 x 8 inches square to 28 x 23 inches with only one large painting measuring 52 x 42 inches.
David Richard Gallery is pleased to present Pastoral Pictures, a selection of recent paintings by New York artist William Staples in his first solo exhibition in New York City and debut with the gallery. The imagery is of landscapes and figures that reference Modernist pastoral painting, yet the artist considers the paintings abstractions. The images include nude bathers, mythical figures, animals and birds along with detailed fragments of trees and branches, windmills, valleys, hillsides, rivers and ponds. The abstraction comes from the not-so-traditional palettes (reminiscent of Impressionism and Modernism in general), the medium and novel materials as well as alterations to the perimeters and manipulated surfaces of the canvas (something near and dear to the artist). There are 30 paintings of an intimate size in the presentation, ranging from 8 x 8 inches square to 28 x 23 inches with only one large painting measuring 52 x 42 inches.
David Richard Gallery is presenting Ed Shostak / Rose Royale: A Queer Perspective From Postminimalism to Social Practice, Selected Works: 1963 – 2020, an exhibition curated by Isaac Aden and David Eichholtz. This is the gallery’s first major exhibition for the artist Ed Shostak who passed away in April of 2020 from the Covid-19 virus. It is unusual to uncover an artist of his pedigree for which so little is publicly known after establishing himself amidst the visual arts most notable institutions and exhibitions, such as his inclusion in the first 1973 Biennial Exhibit at the Whitney Museum of American Art, New York. Shostak cloistered himself in his downtown loft relentlessly working and opting for a less mainstream practice. This exhibition is the first look at many of his late works.
David Richard Gallery is presenting Ed Shostak / Rose Royale: A Queer Perspective From Postminimalism to Social Practice, Selected Works: 1963 – 2020, an exhibition curated by Isaac Aden and David Eichholtz. This is the gallery’s first major exhibition for the artist Ed Shostak who passed away in April of 2020 from the Covid-19 virus. It is unusual to uncover an artist of his pedigree for which so little is publicly known after establishing himself amidst the visual arts most notable institutions and exhibitions, such as his inclusion in the first 1973 Biennial Exhibit at the Whitney Museum of American Art, New York. Shostak cloistered himself in his downtown loft relentlessly working and opting for a less mainstream practice. This exhibition is the first look at many of his late works.
David Richard Gallery presents curators David Eichholtz and Isaac Aden discussing the exhibition Ed Shostak / Rose Royale “A Queer Perspective From Postminimalism to Social Practice, Selected Works from 1963 – 2020”.
This is the gallery’s first major exhibition for the artist Ed Shostak who passed away in April of 2020 from the Covid-19 virus. It is unusual to uncover an artist of his pedigree for which so little is publicly known after establishing himself amidst the visual arts most notable institutions, such as his inclusion in the first 1973 Biennial Exhibit at the Whitney Museum of American Art, New York. Shostak cloistered himself in his downtown loft relentlessly working and opting for a less mainstream practice. This exhibition is the first look at many of his late works.
David Richard Gallery presents curators David Eichholtz and Isaac Aden discussing the exhibition Ed Shostak / Rose Royale “A Queer Perspective From Postminimalism to Social Practice, Selected Works from 1963 – 2020”.
This is the gallery’s first major exhibition for the artist Ed Shostak who passed away in April of 2020 from the Covid-19 virus. It is unusual to uncover an artist of his pedigree for which so little is publicly known after establishing himself amidst the visual arts most notable institutions, such as his inclusion in the first 1973 Biennial Exhibit at the Whitney Museum of American Art, New York. Shostak cloistered himself in his downtown loft relentlessly working and opting for a less mainstream practice. This exhibition is the first look at many of his late works.
David Richard Gallery is pleased present curators Isaac Aden and David Eichholtz in a gallery discussion on the exhibition Ed Shostak / Rose Royale: A Queer Perspective From Postminimalism to Social Practice, Selected Works: 1963 – 2020. This is the gallery’s first major exhibition for the artist Ed Shostak who passed away in April of 2020 from the Covid-19 virus. It is unusual to uncover an artist of his pedigree for which so little is publicly known after establishing himself amidst the visual arts most notable institutions, such as his inclusion in the first 1973 Biennial Exhibit at the Whitney Museum of American Art, New York. Shostak cloistered himself in his downtown loft relentlessly working and opting for a less mainstream practice. This exhibition is the first look at many of his late works.
David Richard Gallery presents curators David Eichholtz and Isaac Aden discussing the exhibition Ed Shostak / Rose Royale “A Queer Perspective From Postminimalism to Social Practice, Selected Works from 1963 – 2020”.
This is the gallery’s first major exhibition for the artist Ed Shostak who passed away in April of 2020 from the Covid-19 virus. It is unusual to uncover an artist of his pedigree for which so little is publicly known after establishing himself amidst the visual arts most notable institutions, such as his inclusion in the first 1973 Biennial Exhibit at the Whitney Museum of American Art, New York. Shostak cloistered himself in his downtown loft relentlessly working and opting for a less mainstream practice. This exhibition is the first look at many of his late works.
David Richard Gallery is pleased to present the gallery’s first solo exhibition for New York artist, Laura Watt. The presentation, Hide and Seek, focuses on two related series of paintings that explore geometry in very different ways. Both series rely on formal elements of lines and modified grids with centrally situated canvas-filling compositions rooted in similar concepts and inspirations. The earlier series painted in 2016, Open Ceiling, includes 6 square canvases each comprised of a grid composition and vector geometry reminiscent of Mandalas and intricate spider webs. The paintings are 30 x 30 inches square in mostly neutral palettes of black, grey, white and brown with only two canvases having the color red and/or blue. The paintings in the more recent Hide series were painted from 2018 through 2021. The lines are curvilinear with fluid and irregular grid structures that pull loosely toward the four corners of rectangular shaped canvases, evocative of large nets or animal hides. The paintings in the Hide series measure 36 x 60 inches or 44 x 70 inches and each explores a distinct and wide range of colors from bright and vivid to dark and moody.
David Richard Gallery is pleased to present the gallery’s first solo exhibition for New York artist, Laura Watt. The presentation, Hide and Seek, focuses on two related series of paintings that explore geometry in very different ways. Both series rely on formal elements of lines and modified grids with centrally situated canvas-filling compositions rooted in similar concepts and inspirations. The earlier series painted in 2016, Open Ceiling, includes 6 square canvases each comprised of a grid composition and vector geometry reminiscent of Mandalas and intricate spider webs. The paintings are 30 x 30 inches square in mostly neutral palettes of black, grey, white and brown with only two canvases having the color red and/or blue. The paintings in the more recent Hide series were painted from 2018 through 2021. The lines are curvilinear with fluid and irregular grid structures that pull loosely toward the four corners of rectangular shaped canvases, evocative of large nets or animal hides. The paintings in the Hide series measure 36 x 60 inches or 44 x 70 inches and each explores a distinct and wide range of colors from bright and vivid to dark and moody.
David Richard Gallery is pleased to present the gallery’s first solo exhibition for New York artist, Laura Watt. The presentation, Hide and Seek, focuses on two related series of paintings that explore geometry in very different ways. Both series rely on formal elements of lines and modified grids with centrally situated canvas-filling compositions rooted in similar concepts and inspirations. The earlier series painted in 2016, Open Ceiling, includes 6 square canvases each comprised of a grid composition and vector geometry reminiscent of Mandalas and intricate spider webs. The paintings are 30 x 30 inches square in mostly neutral palettes of black, grey, white and brown with only two canvases having the color red and/or blue. The paintings in the more recent Hide series were painted from 2018 through 2021. The lines are curvilinear with fluid and irregular grid structures that pull loosely toward the four corners of rectangular shaped canvases, evocative of large nets or animal hides. The paintings in the Hide series measure 36 x 60 inches or 44 x 70 inches and each explores a distinct and wide range of colors from bright and vivid to dark and moody.
David Richard Gallery is pleased to present the gallery’s first solo exhibition for New York artist, Laura Watt. The presentation, Hide and Seek, focuses on two related series of paintings that explore geometry in very different ways. Both series rely on formal elements of lines and modified grids with centrally situated canvas-filling compositions rooted in similar concepts and inspirations. The earlier series painted in 2016, Open Ceiling, includes 6 square canvases each comprised of a grid composition and vector geometry reminiscent of Mandalas and intricate spider webs. The paintings are 30 x 30 inches square in mostly neutral palettes of black, grey, white and brown with only two canvases having the color red and/or blue. The paintings in the more recent Hide series were painted from 2018 through 2021. The lines are curvilinear with fluid and irregular grid structures that pull loosely toward the four corners of rectangular shaped canvases, evocative of large nets or animal hides. The paintings in the Hide series measure 36 x 60 inches or 44 x 70 inches and each explores a distinct and wide range of colors from bright and vivid to dark and moody.
The online presentation is comprised of Monroe Hodder’s recent paintings from 2020 including large works in the range of 72 x 44 inches, mid-sized works in the range of 40 x 30 inches and smaller works that measure 16 x 16 and 18 x 18 inches.
Hodder sees her paintings as a montage of many small paintings together. The geometric overlay and patchwork compositions are like separate individual paintings aggregated together in one large composition. She loves to work with oil paint, applying thick impasto mixtures of color either as stripes or small patches mixed wet on wet, or using a palette knife to pull and mix as the paint moves across the canvas.
Online exhibition: December 17, 2020 through January 17, 2021
The online presentation is comprised of Monroe Hodder’s recent paintings from 2020 including large works in the range of 72 x 44 inches, mid-sized works in the range of 40 x 30 inches and smaller works that measure 16 x 16 and 18 x 18 inches.
Hodder sees her paintings as a montage of many small paintings together. The geometric overlay and patchwork compositions are like separate individual paintings aggregated together in one large composition. She loves to work with oil paint, applying thick impasto mixtures of color either as stripes or small patches mixed wet on wet, or using a palette knife to pull and mix as the paint moves across the canvas.
David Richard Gallery is pleased to present Awakening, the gallery’s second solo exhibition for New York artist, Lester Rapaport. The presentation includes 14 paintings: eight square canvases from a new series, Into The Mystery, completed in 2020 and six from an earlier series of shaped canvases, Gifts to the Universe, painted in 1988 and 1989.
David Richard Gallery is pleased to present Awakening, the gallery’s second solo exhibition for New York artist, Lester Rapaport. The presentation includes 14 paintings: eight square canvases from a new series, Into The Mystery, completed in 2020 and six from an earlier series of shaped canvases, Gifts to the Universe, painted in 1988 and 1989.
David Richard Gallery is pleased to present Awakening, the gallery’s second solo exhibition for New York artist, Lester Rapaport. The presentation includes 14 paintings: eight square canvases from a new series, Into The Mystery, completed in 2020 and six from an earlier series of shaped canvases, Gifts to the Universe, painted in 1988 and 1989.
David Richard Gallery is pleased to present Translucent Saturation, an exhibition of new and recent paintings by New York artist Gabriel J. Shuldiner in his second solo exhibition with the gallery. The presentation surveys Shuldiner’s recent migration to creating his unconventional lush and gestural paintings—that read as much as wall sculptures and objects as they do paintings—on traditional canvas and paper supports. His earlier works were primarily created from found materials, mostly repurposed construction materials and debris that he found and thus, limited the scale and compositions to his daily finds. The forty works in the presentation are mostly small to medium in size and intimate in scale with a few larger works that push the limits of his process. They wind their way up the gallery staircase and into the second-floor exhibition hall where they are hung by aesthetic and conceptual groupings in pairs and small series. While Shuldiner has historically worked with only the color black, several of these newest works sport small splashes of neon and bright colors that draw attention to important interior spaces and structural elements within the sculptural hybrid artworks that defy categorization and straddle objects and painting.
David Richard Gallery is pleased to present Translucent Saturation, an exhibition of new and recent paintings by New York artist Gabriel J. Shuldiner in his second solo exhibition with the gallery. The presentation surveys Shuldiner’s recent migration to creating his unconventional lush and gestural paintings—that read as much as wall sculptures and objects as they do paintings—on traditional canvas and paper supports. His earlier works were primarily created from found materials, mostly repurposed construction materials and debris that he found and thus, limited the scale and compositions to his daily finds. The forty works in the presentation are mostly small to medium in size and intimate in scale with a few larger works that push the limits of his process. They wind their way up the gallery staircase and into the second-floor exhibition hall where they are hung by aesthetic and conceptual groupings in pairs and small series. While Shuldiner has historically worked with only the color black, several of these newest works sport small splashes of neon and bright colors that draw attention to important interior spaces and structural elements within the sculptural hybrid artworks that defy categorization and straddle objects and painting.
David Richard Gallery is pleased to present Translucent Saturation, an exhibition of new and recent paintings by New York artist Gabriel J. Shuldiner in his second solo exhibition with the gallery. The presentation surveys Shuldiner’s recent migration to creating his unconventional lush and gestural paintings—that read as much as wall sculptures and objects as they do paintings—on traditional canvas and paper supports. His earlier works were primarily created from found materials, mostly repurposed construction materials and debris that he found and thus, limited the scale and compositions to his daily finds. The forty works in the presentation are mostly small to medium in size and intimate in scale with a few larger works that push the limits of his process. They wind their way up the gallery staircase and into the second-floor exhibition hall where they are hung by aesthetic and conceptual groupings in pairs and small series. While Shuldiner has historically worked with only the color black, several of these newest works sport small splashes of neon and bright colors that draw attention to important interior spaces and structural elements within the sculptural hybrid artworks that defy categorization and straddle objects and painting.
David Richard Gallery is pleased to present Translucent Saturation, an exhibition of new and recent paintings by New York artist Gabriel J. Shuldiner in his second solo exhibition with the gallery. The presentation surveys Shuldiner’s recent migration to creating his unconventional lush and gestural paintings—that read as much as wall sculptures and objects as they do paintings—on traditional canvas and paper supports. His earlier works were primarily created from found materials, mostly repurposed construction materials and debris that he found and thus, limited the scale and compositions to his daily finds. The forty works in the presentation are mostly small to medium in size and intimate in scale with a few larger works that push the limits of his process. They wind their way up the gallery staircase and into the second-floor exhibition hall where they are hung by aesthetic and conceptual groupings in pairs and small series. While Shuldiner has historically worked with only the color black, several of these newest works sport small splashes of neon and bright colors that draw attention to important interior spaces and structural elements within the sculptural hybrid artworks that defy categorization and straddle objects and painting.
David Richard Gallery is pleased to present Andrew Huffman’s first solo exhibition in New York City and his second solo with the gallery. The presentation includes 10 new canvases organized as 4 single paintings and 3 diptychs. The sizes of the artworks range from 30 x 30 inches up to 60 x 60 inches square and a couple measuring 30 x 60 inches in horizontal formats.
David Richard Gallery is pleased to present Andrew Huffman’s first solo exhibition in New York City and his second solo with the gallery. The presentation includes 10 new canvases organized as 4 single paintings and 3 diptychs. The sizes of the artworks range from 30 x 30 inches up to 60 x 60 inches square and a couple measuring 30 x 60 inches in horizontal formats.
David Richard Gallery is pleased to present Andrew Huffman’s first solo exhibition in New York City and his second solo with the gallery. The presentation includes 10 new canvases organized as 4 single paintings and 3 diptychs. The sizes of the artworks range from 30 x 30 inches up to 60 x 60 inches square and a couple measuring 30 x 60 inches in horizontal formats.
David Richard Gallery is pleased to present Andrew Huffman’s first solo exhibition in New York City and his second solo with the gallery. The presentation includes 10 new canvases organized as 4 single paintings and 3 diptychs. The sizes of the artworks range from 30 x 30 inches up to 60 x 60 inches square and a couple measuring 30 x 60 inches in horizontal formats.
David Richard Gallery is pleased to present Andrew Huffman’s first solo exhibition in New York City and his second solo with the gallery. The presentation includes 10 new canvases organized as 4 single paintings and 3 diptychs. The sizes of the artworks range from 30 x 30 inches up to 60 x 60 inches square and a couple measuring 30 x 60 inches in horizontal formats.
David Richard Gallery is pleased to present Andrew Huffman’s first solo exhibition in New York City and his second solo with the gallery. The presentation includes 10 new canvases organized as 4 single paintings and 3 diptychs. The sizes of the artworks range from 30 x 30 inches up to 60 x 60 inches square and a couple measuring 30 x 60 inches in horizontal formats.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.
David Richard Gallery is pleased to present its first solo exhibition for New York-based artist Isaac Aden. The presentation consists of a stunning series of 16 new paintings that are interrelated and produced with the same method and approach. They are reductive, ethereal and introspective paintings that formally explore tonal ranges of color in three different dimensions (nine measuring 60 x 48 inches, four at 60 x 96 inches and three additional verticals at 96 x 60 inches) and roughly in three distinct, yet related color palettes. The canvases are mostly vertical and host subtle horizontal transitions of desaturated color. The paintings are moody as they trigger those rare moments as the sun ignites a new day or gently fades into the evening. In the aggregate, the paintings capture singular moments within a day or much longer period of time. Inherently, these moments and views reference the landscape, which adds to the complexity of this series as they also read as pure color abstractions in a mostly vertical portrait format.
Mike Childs and David Eichholtz discuss Mike's works on paper as part of The Journey: Grids, Color and Curvilinear forms, 2004 to 2020
David Richard Gallery is pleased to present its first solo exhibition of paintings by New York-based artist Mike Childs. The presentation includes 28 paintings that survey the subtle, but important transitions in formal approaches and compositional elements in the artist’s paintings from 2004 through 2020.
David Richard Gallery is pleased to present its first solo exhibition of paintings by New York-based artist Mike Childs. The presentation includes 28 paintings that survey the subtle, but important transitions in formal approaches and compositional elements in the artist’s paintings from 2004 through 2020.
Spanning six decades, Robert Murray: Sculpture includes photographs of nearly two hundred works, seen in galleries, museums, and private collections, at public outdoor exhibitions, in his studios, and in the workshops of his fabricators. Jonathan D. Lippincott’s introduction and interview with Murray cover the sculptor’s process of working with fabricators and foundries, issues of public art and the siting of sculpture, Murray’s early years, his close friendship with Barnett Newman and relationships with other artists, his lifelong interest in flying, and more, insightfully illuminating both the work and the life of his remarkable sculptor.
Jonathan D. Lippincott is the author of Large Scale: Fabricating Sculpture in the 1960s and 1970s. Design manager at Farrar, Straus and Giroux, he also works independently as art director and designer on illustrated books about architecture, landscape, and fine art. He has written about art for The Paris Review Daily, On-Verge, and Tether: A Journal of Art, Literature, and Culture, and curated shows including the eightieth-anniversary exhibition for American Abstract Artists. He lives in New York City.
Systemic Pattern Painting: Artists of the Criss-Cross Cooperative
Artists Panel, Saturday, September 22, 2018 3:30 - 4:30 PM. Gloria Klein, Dee Shapiro and Mario Yrisarry and will be moderated by Anne Swartz
David Richard Gallery - Santa Fe
Artist Talk:
REBECCA ALLAN
In Voltaire’s Garden
June 12 - July 14, 2018
Saturday, July 7, 4-5pm with Rebecca Allan and David Eichholtz
Colleagues and gallery mates in the 1990s in Julian Pretto’s gallery in New York, both artists explore painted surfaces and supports. Kretschmer excavates the surface and leverages process to reveal literal depth and volume, while Trincere uses subtle transitions of hue and shaped supports to create illusory movement and depth within her compositions.
Monday, May 7, 2018, 7:00 - 8:00 pm Panel Participants: Melissa Rachleff Tamara Melcher Alex Bacon David Eichholtz Moderator: Lara Pan
at White Box 329 Broome Street (Between Bowery and Chrystie) New York, NY 10002
David Richard Gallery in collaboration with WhiteBox - New York and part of Frieze New York VIP Program, “In The City”. This exhibition is made possible thanks to the generous support from David Richard Gallery, LLC and Artworks Advisory.
Alex Bacon, Art Historian, Critic and Curator Peter Reginato, Artist David Eichholtz, Gallerist, Art Historian Wednesday, April 11 from 7:00 to 8:00 PM
The exhibition, “Curved”, surveys Leo Valledor’s career-long interest in curvilinear and circular shapes as well as multi-component canvases. The artworks span from the 1950s through the 60s, 70s and 80s. Aesthetically, the presentation includes Valledor’s early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color-based abstractions from the 1970s and 80s. The latter include illusory and optical constructs exploring space and creating a tension between the two-dimensional and three-dimensional worlds.
For the past 50 years, Robert Swain has dedicated his career to a rigorous study of color sensations and their effect on the human experience. Swain’s paintings offer visual, cognitive, and sensuous experiences, while elevating our understanding of color phenomenon and perception. This heightened awareness of seeing and unique experience of feeling color occurs when Swain’s works are viewed in person with attentive, patient observation. Perceptual effects will begin to emerge slowly, rearranging themselves as the constant flow of color’s energy changes and moves in response to Swain’s compositions and palettes.
Robert Swain, Color: Theory and Affect, on view December 9, 2017 – January 20, 2018 at the Gallery’s newest venue in Harlem, located at 211 East 121st Street, New York, NY 10035,
David Richard Gallery is pleased to announce the upcoming presentation, Abiquiú Paintings by Shane Tolbert at the Gallery’s newest venue in Harlem, located at 211 East 121st Street, New York, NY 10035, P: (212) 882-1705. This is Tolbert’s debut exhibition with the Gallery and his first presentation in New York. The exhibition will be on view through March 3, 2018. A digital catalogue will be available online.
Gallery Talk with artist, Erik H Gellert and Kathryn M Davis of ArtBeat Santa Fe
Out of Square
October 13 - November 3, 2017
In this most recent body of work Gellert has returned his attention to that of the square. Where previously he had married the wiggly elements of nature with the efficiency of the square Gellert has now broken these elements apart and fused them together resulting in quirky, more animated forms. These works are built upside down and are righted only before being glaze fired.
Aired Wednesday, October 25, 2017 6:30 PM
Nancy Graves gallery talk featuring Christina Hunter, Ph.D., Director of the Nancy Graves Foundation and Cassandra Lozano, Director of Artists’ Estates at Mitchell-Innes & Nash, and David Eichholtz, Curator / David Richard Gallery
Scott continues the tradition of making pictures inspired by landscapes. However, in his newest paintings, there is no horizon or direct reference to landscapes. Using a modified acrylic paint and process of application as well as a two dimensional support frequently consisting of shaped canvases, he instead creates an experience of the earth and specific location of a landscape. The surfaces of these paintings are actually sculpted using many different devices, basically anything other than a brush and including, pouring the paint. The paint is thick and full of volume from the inclusion of a variety of particulates – iron, marble dust, mica – and full of life. The colors range from black to vibrant, bold pigments with the use of fluorescence, pearlescent finishes and interference paint, each providing spectral shifts, a shimmer like the sun reflecting off sand and rocks, as well as optical effects. These paintings look as though they have been sculpted by the earth’s eruptions and tectonic shifts as well as carved by the blowing wind and rushing water, giving them a painterly and hand-crafted feels. They are tactile and the non-square shapes make them seem less likely to have been painted from a “window-view” of the world, but more like they were observed from various shaped portals from outer space or through one’s imagination.
In the artist’s words, the inspiration for these new paintings is the “visual distillations of observed geologic phenomena that occurs in the high elevations of the Mojave Desert in Joshua Tree California.” Other influences that come through in these paintings are his interests in cross cultural experiences and symbols, and a passion for the trippy, psychedelic side of life with vivid and phosphorescent and interference paints.
Mokha Laget artist talk with Kathryn M Davis of ArtBeat Santa Fe Wednesday, September 27, 6:30 - 8:00 PM
Mokha Laget, “In Shape, In Color”
Through - October 7, 2017
Mokha Laget In Her First Solo Exhibition with David Richard Gallery Presents New Shaped and Colorful Stained Canvases That Create Illusions of Three-Dimensional Structures Floating In Space
New York-based artist Gloria Klein was an early member of the Pattern and Decoration movement in the 1970s. She was an active participant in the artist’s co-operative Criss-Cross, which was co-founded by Clark Richert and included George Woodman, Marilyn Nelson, Dee Shapiro and Robert Swain, among others. Her work was frequently featured in their avant-garde publication, Criss-Cross Art Communications. Klein’s rigorous and colorful geometric abstract paintings are based on her own mathematical system for dividing and organizing her canvases and systematically distributing colors to create stunning and detailed compositions.
This new series of paintings involves the quiet and rigorous discipline in process as a form of meditation. The intention of this work offers an interruption from the world of screens, and the constant stream of information that our culture is immersed in. Exploring a radical shift in palette, these new paintings engender peaceful contemplation, and a calming visual respite.
Tim Bavington and Art Critic / Historian Dave Hickey
Gallery Discussion About Tim’s paintings at David Richard Gallery
Saturday, September 2, 2017 from 4:00 – 5:00 PM
Teri Yarbrow and Max Almy are Emmy, AFI and NEA award winning internationally exhibited video and installation artists known for pushing the boundaries of art and technology. Their complex installations seamlessly combine video, constructed surfaces, painting, digital imagery, flat screens and video projection to create dramatic, mesmerizing artworks. The newest creations are mandala-like multi-media pieces that incorporate flat screens behind large waterjet-cut, patinated copper circles, on to which moving digital images are projected that spill on to the wall and span a diameter of 72 inches.
“Some Assembly Required,” an Exhibition of Ted Larsen's Latest Salvaged and Repurposed Metal Constructions at David Richard Gallery, Santa Fe.
Larsen’s artwork is reductive, material and instantly intriguing. The openness and range of dimensions for this newest work—from a small floor piece 12 x 7 x 12 inches to a wall-mounted and floor supported piece of 80 x 30 x 73 inches—creates a tension between the constructions and the exhibition space as well as between the various artworks. Using wooden and metal supports clad in repurposed metal and other non-traditional and industrial materials, often with exposed rivets and support structures, Larsen reveals both his process and patina of the salvaged steel. Through his wall constructions he explores the tension between painting and sculpture, referencing and conflating Minimalism, hard-edge painting and Op Art. There is also an element of discovery as the multi-dimensional pieces engage the viewer and beg investigation of the sides and behind the protruding elements, evoking a Zen-inspired sensibility that celebrates chance and a continuum of the materials from one form and purpose to another.
Allan Graham has deconstructed the English language over the past thirty years of his career by literally envisaging words, phrases and concepts using the words themselves as the visual language. Canvas and oil paint, handmade paper, graphite, ink, toilet paper rolls and rubber plungers are his varied supports and media. His latest paintings are comprised of four letter words written with no spaces and the letters stacked in quadrants, two over two. Initially, the viewer sees a pattern in black and white, some purely geometric and others a bit more anthropomorphic depending upon the grouping of letters, but then the actual word emerges through the abstraction. Through his work the viewer realizes language is an abstraction, both in the way it is spoken and written. The meaning and power of language is not only in the content of the chosen word, but more in the context in which it is delivered and even then, subject to personal interpretation.
The in-gallery events of “Art Matters | Santa Fe”, hosted by individual galleries and museums and sponsored by the Santa Fe Gallery Association, will feature the diversity of artwork in Santa Fe as well as critical discussions and lectures regarding the specific artists and art historical time periods presented by the host galleries. These events, intended to focus on the galleries, their artists and curatorial programs, will appeal to collectors and art enthusiasts as well as academics and historians and showcase the depth and expertise of Santa Fe gallery collections and owners respectively. The artwork ranges from contemporary abstraction and figuration, modern masters and French Impressionists, film, installations and interactive presentations to historic and twentieth-century Native American art, Japanese Samurai warrior armor and Japanese painting.
Artwork
Fitzgerald is inspired by the landscape that exists between the natural and urban worlds and the many oppositions and contradictions it presents. Thus, her paintings are active and dynamic with their own oppositions, such as bold colors and shapes next to neutralized palettes and detailed scratches in the painting surface; combinations of strong gestural strokes next to figurative elements; and raw textured surfaces adjacent to calligraphic details.
Davis' paintings are a combination of figurative elements, negative spaces and gestural abstractions. Most notably, nearly all of them contain negative-space images of chairs and the combinations of images and other painting events are akin to furniture and architectural elements as experienced by an active viewer in an interior space.
Participate in a 15-minute one-on-one art performance and meeting with Jessamyn Lovell as part of her DIY PI Clinic (Do It Yourself Private Investigator) in her presentation for History / Her Story that combines photography, research and performance. Appointments recommended, walk-ins for 15 minute meetings welcome on Saturday: July 22 between 3:00 to 4:00 PM.
Contact the David Richard Gallery to schedule.
Join afterwards for a performance open to the public from 4:00 to 5:00 PM.
In collaboration with the New Mexico State Committee of the National Museum of Women in the Arts and In conjunction with PhotoSummer 2017 #PhotoSummer
Wednesday, July 19 6:30 - 8:00 PM
Moderator:
Katherine Ware is the curator of photography at the New Mexico Museum of Art in Santa Fe.
Abbey Hepner is an artist and educator investigating the human relationship with landscape and technology. She received degrees in Art and Psychology from the University of Utah and an MFA in Studio Art from the University of New Mexico.
Jessamyn Lovell is a visual artist working with photography, video, and surveillance as tools to document her own life experiences making connections between class and personal identity. Holding a BFA from Rochester Institute of Technology and an MFA from California College of the Arts Lovell lives in Albuquerque, NM where she is currently a Senior Lecturer in the Art Department at the University of New Mexico.
Cara Romero is a Santa Fe-based visual storyteller with a distinctive lens shaped by years of study, personal experience, collective history and a visceral Indigenous and non-Indigenous cultural memory. Cara studied Photography at both the Institute of American Indian Arts in Santa Fe and Oklahoma State University and studied Cultural Anthropology at the University of Houston.
The photography exhibition and artists talks at David Richard Gallery during the exhibition are in conjunction with the New Mexico State Committee of the Natiional Museum of Women in the Arts and are part of PhotoSummer 2017
Wednesday, July 5 6:30 - 8:00 PM
Artists Panel:
Delilah Montoya is currently a professor of Photography and Digital Media at the University of Houston School of Art. As a photographic printmaker who has experimented with most print processes, Delilah consistently pushes the boundaries of what is technically possible and conceptually challenging.
Kali Spitzer earned a diploma in Professional Photography from the Western Academy and studied at the Institute of American Indian Arts and Santa Fe Community College in Santa Fe. She challenges pre-conceived notions of race, gender and identity through her portraits. Her aim is to provide space for people to be seen, heard and represented in the way they want.
Laurie Tümer teaches Photography, Art Criticism and Art History at Santa Fe Community College, and Writing at Northern New Mexico College. Laurie addresses a variety of themes in her work from the presence of chemicals in our lives to clouds.
Moderator:
Laura Addison is currently the Curator of European & American Folk Art Collections at the Museum of International Folk Art in Santa Fe.
The photography exhibition and artists talks at David Richard Gallery during the exhibition are in conjunction with the New Mexico State Committee of the National Museum of Women in the Arts and are part of PhotoSummer 2017
In this lively panel discussion, three noted women in the arts will address The Power of Photography. Don't miss this chance to hear their views and ask your questions!
Merry Scully, Curator of Contemporary Art at the New Mexico Museum of Art in Santa Fe, Moderator.
Panelists:
Kathryn M Davis, art historian specializing in modern and contemporary American art, arts writer, editor, curator, and educator and host of ArtBeat
Lucy Lippard, internationally known writer, art critic, activist, curator and early champion of feminist art.
Maria Varela, activist, writer, and photographer in the black Civil Rights Movement. In addition to her primary work of supporting communities in the Southwest, Varela has been a visiting Professor at UNM and The Colorado College.
Be Part Of A Collaborative Performance - Sign Up For A Free Private Investigator Discussion as Part of theD.I.Y. P.I. Clinic
Participate in a 15-minute one-on-one art performance and meeting with Jessamyn Lovell as part of her DIY PI Clinic (Do It Yourself Private Investigator) in her presentation that combines photography, research and performance.
Appointments recommended, walk-ins welcome
Saturday: July 8 between 3:00 to 4:00 PM. Contact info(@)DavidRichardGallery.com to schedule.
Join afterwards for a performance open to the public from 4:00 to 5:00 PM.
Free Private Investigation Discussion Offered with Performance
Participate in a 15-minute one-on-one art performance and meeting with Jessamyn Lovell as part of her DIY PI Clinic (Do It Yourself Private Investigator) in her presentation for History / Her Story that combines photography, research and performance. Appointments recommended, walk-ins for 15 minute meetings welcome on Saturdays: June 24, July 8 or July 22 between 3:00 to 4:00 PM.
Contact the David Richard Gallery to schedule.
Join afterwards for a performance open to the public from 4:00 to 5:00 PM.
David Richard Gallery is pleased to present, The Tapestries: Forces of Nature and Beyond, a solo exhibition celebrating the glorious tapestries and life of the multi-media artist June Wayne. The gallery exclusively represents and will offer for sale for the first time in several decades the 16 hand-woven tapestries produced from 1970 through 1974 in France by the legendary artist June Wayne. The tapestries were based upon lithographs produced by Wayne, featuring her contemporary images in a historic medium and artistic practice. Centered around three technology-based themes of interest to Wayne: waves, DNA and the cosmos, the tapestries were most recently exhibited in Chicago at the Art Institute of Chicago, June Wayne's Narrative Tapestries: Tidal Waves, DNA, and the Cosmos, November 3, 2010–May 15, 2011.
David Richard Gallery is pleased to present The Circle ReViewed: 1964 to 2012, a career retrospective and the gallery’s first solo exhibition for Tadasky (Tadasuke Kuwayama).
Throughout Tadasky’s career, the circle has been his primary subject as he explored numerous approaches to painting and applying color to canvas. In addition to circles comprised of perfectly and colorfully painted stripes, Tadasky has painted his famous stripes on narrow rectangular and large triangular-shaped canvases, but he always returned to the circular compositions. His paintings from the 1960s were complex, hard-edged circular stripes of bright colors that created pulsating and vibrating optical effects. Later the edges of the circles became broken and uneven, more painterly and less defined. Later still, the circles themselves became more atmospheric, diffuse and ethereal. Since 2007, Tadasky has reintroduced optical effects by infusing his atmospheric circles with brightly colored drips of paint that activate the surface and create a three-dimensional illusion as though the circles bulge out of the picture plane. As Donald Kuspit emphasizes in the catalogue essay, the circles are pure modern abstractions, yet the combination of the brightly colored concentric rings centered in the square canvas is reminiscent of mandalas, invoking a spiritual connotation; a Zen sensibility.
Maggie Faralla, owner of Maggie’s Cakes in Santa Fe, discusses the work of her uncle, artist Richard Faralla, with David Eichholtz of David Richard Gallery.
In July, David Richard Gallery in Santa Fe will host “ReViewing PowerPlay,” a series of work created in the 1980's examining the construct of masculinity. When Judy began this series, she went to the library to research gender; the only material available then was entirely focused on women, as if only women have gender. It would be another decade before Women’s Studies evolved into Gender Studies and Queer Studies emerged, which created a new context for PowerPlay. Judy is thrilled that the catalog essay will be written by Dr. Jonathan Katz, director of the Visual Studies Doctoral Program at SUNY Buffalo, president of the Board of Directors of the Leslie/Lohman Museum of Gay and Lesbian Art in New York, and co-curator of the recent (and controversial) exhibition “Hide/Seek: Difference and Desire in American Portraiture," which premiered at the National Portrait Gallery in Washington, D.C., where it created quite a stir.
In conjunction with the PowerPlay exhibition, Jonathan and Judy will hold a public conversation on Saturday, July 7th, at 3PM at the New Mexico Museum of Art in Santa Fe. When Jonathan and Judy first discussed the possibility of his writing for the catalog (because, as she told him, he was the perfect person for the job), he told me that even though he thought he was familiar with my work, he knew nothing at all about PowerPlay. When he perused the material, he commented that the series seemed both prescient and powerful, perhaps because it anticipated some of the theories about performing masculinity that would emerge from queer studies. It was interesting to think back about the antics of her male peers in the male-dominated Los Angeles art scene of the 1960's and realize that this is precisely what they were doing, i.e., performing their socialized notions about how a man should act.
Kathryn M. Davis of ArtBeat
David Eichholtz of David Richard Gallery discusses their latest series of rotating exhibitions, The Santa Fe Art Project, and why local art collectives have recently become significant in our town.
Kathryn Davis interviews David Eichholtz, curator of The Santa Fe Art Project as well as Kade Twist, artist and Jennifer Joseph, curator "Women's Work" and Sydney Cooper , artist
Weekly Edition with Pat Allen featured John G. Feins, Public Relations Manager for the City of Santa Fe and David Eichholtz, Manager of David Richard Gallery and founder of The Santa Fe Art Project. The discussion focused around the inaugural exhibition of The Santa Fe Art Project as well as other events going on in Santa Fe this fall.
John Vokoun and Kathryn Davis of ArtBeat will discuss horizons/structures an exhibition in response to a month-long National Parks Art residency in 2016 at Chaco Canyon in New Mexico. This series is inspired by his reflection on the architecture, mark making, and symbolism of ancient Chacoans in contrast to our contemporary, technology-driven lives.
David Richard Gallery is pleased to present “Park Place gallery: Founders and Friends, Then and Now”. The focus of the exhibition will be on paintings and drawings from the 1960s as well as later career works from founding members Dean Fleming, Edwin Ruda and Leo Valledor along with several of their friends and quest exhibitors at Park Place: Linda Fleming, Patsy Krebs, Ronnie Landsfield, Robert Swain, Neil Williams and Mario Yrisarry. The exhibition will be presented February 3 through March 25, 2017, with an opening reception and several of the artists present on Friday, February 3 from 5:00 - 7:00 PM. There will be a gallery talk with artist Patsy Krebs and curator David Eichholtz on Saturday, February 4 from 3:00 - 4:00 PM. David Richard Gallery is located at 1570 Pacheco Street, Suite A1, Santa Fe, NM 87505, P: 505-983-9555.
The members of the Park Place Group and Gallery have been the subject of several important museum exhibitions that explored their contributions and importance in the then burgeoning, cutting edge art scene in Lower Manhattan during the 1960s. Curated by Linda Dalrymple Henderson, the Blanton Museum of Art, The University of Texas at Austin, presented “Reimagining Space: The Park Place Gallery Group in 1960s New York” from September 28, 2008 to January 18, 2009. Currently, on view through April 1, 2017 at New York University’s Grey Art Gallery is the exhibition, “Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965”, curated by Melissa Rachleff. This presentation includes several artworks by Park Place Gallery founding members Dean Fleming, Edwin Ruda and Leo Valledor.
Altered States looks at contemporary artists who explore psychedelia (mostly painting and some constructions with a mix of figuration, geometric and Op imagery) against a back drop of 1960s Op Art, figurative and Color Field paintings, as well as original rock posters from concerts at the Fillmore West, Avalon Ballroom and other San Francisco venues to set the stage and create the mood. Psychedelia, influenced by surrealism, visual perception and Op Art along with others such as Art Nouveau, Indian textiles and Pop Art defined the 1960s and Counter Culture movement and was ever present in rock culture on album covers, poster art and light shows as the back drop for concerts.
The exhibition, Altered States, will feature contemporary Santa Fe artists Andrew Cimelli, Jennifer Joseph, Caity Kennedy, Daniel McCoy Jr., Heather McGill and Martin Rixe, as well as Vadim Stepanov, a Russian painter living in Tel Aviv. The historic backdrop for this presentation will include paintings by Richard Anuszkiewicz, Francis Celentano, Tom Green, Ed Mieczkowski, Rakuko Naito, Paul Reed, Oli Sihvonen, Julian Stanczak, Tadasky and Leo Valledor.
Chris Collins of Santa Fe Collective will lead a discussion on sculpture and use of ‘ready mades’ with exhibiting artists, Daisy Quezada, Garrett Koch
A Survey of the Feminist Movement from the Turn of the Century to Present Day featuring Angie Rizzo, Thais Mather and Lucy Madeline at David Richard Gallery in conjunction with The Santa Fe Art Project and the exhibition "Women's Work"
Artist Panel led by Jennifer Joseph, Curator, Santa Fe Collective with artists Sydney Cooper, Thais Mather and Terri Rolland.
Lecture is in part of the Women's Work exhibition at David Richard Gallery in conjunction with The Santa Fe Art Project
Kade L. Twist, is an interdisciplinary artist working with video, sound, interactive media, text and installation environments. Twist's work combines re-imagined tribal stories with geopolitical narratives to examine the unresolved tensions between market-driven systems, consumerism and American Indian cultural self-determination. Twist is one of the co-founders of Postcommodity, an interdisciplinary artist collective. With his individual work and the collective Postcommodity, Twist has exhibited work nationally and internationally including the: Arizona State University Art Museum, Tempe, Arizona; Scottsdale Museum of Contemporary Art, Scottsdale, Arizona; National Museum of the American Indian, Gustav Heye Center, Smithsonian Institution, New York; Museum of Contemporary Native Arts, Santa Fe; SITE Santa Fe; Pennsylvania Academy of Fine Arts Museum; Art Gallery of Ontario, Toronto; Nuit Blanche, Toronto; Contour: 5th Biennial of the Moving Image, Mechelen, Belgium; Adelaide International, Adelaide, Australia; National Museum of of Art, Architecture and Design, Oslo; and the 18th Beinnale of Sydney.
Artists Anne Farrell and Matthew Kluber discuss their work in "Beyond" at David Richard Gallery with curator David Eichholtz and Kathryn M Davis of ArtBeat Santa Fe
Chris Collins discusses his new sculptures and prints in the exhibition "Destruction Ritual" at David Richard Gallery with Kathryn M Davis of ArtBeat Santa Fe