Nicolas Grenier's painting From Our Position, Yours is a Mystery, will also be included in group show, Des Horizons D'Attente in early 2021. 

"The eye-popping color purposefully draws both the attention and empathy of the viewer, as much a plea to recognize the context of the death as its memorialization. It is this same guiding principal, the interplay between context and content, that drives paintings such as George Floyd Triptych, 2020, a three-part rendering of the life, death, and burial of George Floyd reminiscent of a stained glass window. Floyd’s death at the hands of four Minneapolis police officers sparked the ongoing Black Lives Matter demonstrations."

While in the residency Nicolas has worked on a project consisting in building, on a small scale, a system allowing a paradigm shift toward a post-capitalist economic culture.

"With so many crises affecting our country, the work diverges in focus, addressing a range of issues: pandemic’s loneliness, the toppling of monuments, and the lives lost to police brutality."

"While group shows can sometimes lack a coherent vision, this one seems worth a trip. All of the works were made during the COVID-19 pandemic, ranging from bitingly political paintings to beautiful reflections on home."

Federico's works, The Loving Despots and The Great Encounter, will be included. 

"Unreachable Spring is a group exhibition featuring artists prompted by a desire to take refuge in their work and address this transformational moment in a personal way."

The gallery is pleased to announce that Edra Soto has received the Joan Mitchell Foundation Grant. The Joan Mitchell Foundation Grant is an unrestricted award in which $25,000 is granted to 25 different artists from throughout the United States.

For Which It Stands is an evolving physical and online exhibition platform featuring over thirty-five contemporary artists who use the iconic American flag, loaded with centuries of convoluted history and exclusion, to create new symbols of national identity. 

Peter Williams has long engaged issues of American racism and the Black experience, and his new exhibition Black Universe at Luis De Jesus Los Angeles is no different: his paintings include flying cars, abstracted landscapes, snatches of text (“Trump,” “Wall Street,” “Lawyers,” “Floater,” and “Help” all appear), and Black astronauts whose need to wear helmets in space makes me think of the phrase “I can’t breathe.”

Through a four-part passage from living room to flea market to museum to art studio, Transformations presents the metamorphosis of everyday objects in radically different contexts, highlighting how the ever-changing interpretations of the past are consistently informed by present-day views and concerns.

Recently retired from the University of Delaware, his work is currently on view in solo exhibitions in Los Angeles and Detroit and, this week, Williams received the Artists’ Legacy Foundation 2020 Artist Award. 

My nomadic childhood is what, in part, attracted me to photography. The camera is a way for me to connect to permanence. Memory, heritage, and loss are major themes in my work.

Drawn entirely from the Mead’s collection, the group exhibition Founding Narratives raises questions about representation and the absence of representation in national narratives and in the establishment of a national art, about the significance of “firsts,” and about the interpretative frameworks that museums offer about artists and artworks.

Otros Lados: Itzel Basualdo, Hugo Crosthwaite, and Judithe Hernández brings together three generations of artists who are deeply informed by Mexican and Mexican American experiences from the other side.

Artist Ken Gonzales-Day has been widely recognized for the Erased Lynching series, which include lynching postcard photos that effectively “erased’ the victims of lynching and focused on the white crowds gathered to witness the murders. 

In the exhibition Peter Williams: Incarceration at the Cressman Center for Visual Arts, Louisville, Kentucky (February 7–March 21, 2020), curated by Chris Reitz, the focus is on incarceration; as a Black man and a painter who feels entrapped in modernism’s legacy of the grid, Williams recognizes that imprisonment of one kind or another has run throughout White America’s dealing with Black people since the beginning of its history.

Presented by the Paris-based nonprofit Aware, the new award recognises a solo presentation of work by a female artist at The Armory Show.