Solo Exhibition - Regina Durante Jestrow: Everything Mixing Always - Baker–Hall, Miami, FL

September 6, 2025 - October 11, 2025
1294 NW 29th St.,
Miami, FL 33142

Baker—Hall presents Everything Mixing Always, Regina Durante Jestrow’s first solo exhibition with the gallery, on view September 6–October 11, 2025. Featuring new textile-based works, the show draws from the spiderweb quilt pattern—layering historical symbolism, personal meaning, and geometric abstraction. Durante Jestrow explores themes of intuition, protection, and labor through movement-driven compositions inspired by music and improvisation. Her materials—hand-dyed and secondhand fabrics, sequins, neoprene—reflect a commitment to sustainability and place. Based in Miami, Durante Jestrow reimagines American quilt traditions through abstraction and experimental processes, blending the spirit of folk art with contemporary concerns around memory, rhythm, and emotional resonance.

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Carol Rhodes: Sites, Alison Jacques, London

Sat 7 Jun 2025 to Sat 9 Aug 2025

22 Cork Street, W1S 3LZ

Tue-Fri 10.30am-6pm, Sat 11am-6pm

Alison Jacques presents Sites, a solo exhibition of work by Scottish artist Carol Rhodes (b.1959; d.2018). Spanning nearly 20 years, many of the exhibited works have never been seen in London. In 1994, Rhodes began a body of highly distinctive paintings, which she proceeded to develop over two decades, until motor neurone disease made it finally impossible for her to paint and draw.

Since her death in 2018, the significance of these works has been increasingly recognised. Drawing on recent research in her archive, this exhibition sets up specific pairings of paintings and drawings dating from 1995 to 2014 to illustrate the richness, specificity and psychological depth of her practice. This exhibition runs parallel to Rhodes participating in A Living Collection, The Hepworth Wakefield and Fake Barn Country, Raven Row, London.

Rhodes’s paintings are aerial views of fictional, post-industrial edge-lands; land interrupted by excavations, depots, industrial units, motorways and business parks, and sometimes bordered by the sea. Rhodes described her subject matter as being ‘in-between places’ and ‘non-places’ – places without history that were normally disregarded or hidden. The aerial viewpoint she employed was not, however, merely a formal device; it had very personal resonances. Being remote was not just to do with distance, it was a state of mind:

The thing about being up high is that you can see a lot. And the higher up you go, the more you can see. The more terrain that is opened up for us to see, the easier it is to understand what happens below and so it gives us a feeling of security and control. But if you go too high, there is a line that, when crossed, changes that into an agoraphobic panic. I would like my pictures to be on that line… the line between security and unease.

Rhodes felt that to look down was to see something that was ‘already over’. It induced what she described as a sort of nostalgia she connected to her peripatetic upbringing. Growing up in India, she moved to England when she was fourteen, and soon afterwards to Scotland, where she lived and worked for the rest of her life. A lasting sense of displacement and estrangement fed into her work in a very deep way. Rhodes’s working practice was detailed and very carefully planned:

I get an idea, a notion or a feeling that on the one hand is extraordinary vague but it has got a very strong core. Then I look through a lot of different photographs in the books I’ve got in the studio and flesh that out, little bits from different images, it can be tiny portions from a huge array of different photographs. Then I pin down the thing that was in my mind and spend a lot of time drawing it out.

The distance from which she depicted her views was, she said, in contrast, or even contradiction, to the specificity with which she painted them. The importance of imposing intention and function onto the substance of paint was crucial for her; was the grass dry, wet, long, short? Was the soil sandy or chalky? She wanted water to be opaque, very much a surface. Such specificity extended to clear references to social geography and the real impact of human intervention on the natural environment. But the land in Rhodes’s paintings can also be read metaphorically, for example, as a wounded body. Organs, muscles, veins, skin and bones are continually suggested. ‘These are portraits of landscapes’, she once wrote.

Rhodes’s use of colour was distinctive and particular. Annotated strips of paper used as bookmarks record the page numbers in books in which a particular colour, or the resonance, or sum, of colours and tones on the printed page, had caught her attention. Also important were the remembered colours of her Indian childhood and those of historical paintings. An especially strong influence was 14th and 15th century Sienese painting and the concurrence of this exhibition with Siena: The Rise of Painting at the National Gallery would have delighted her.

One of the first exhibitions to bring wider attention to Rhodes’s work was titled The Persistence of Painting (CCA, Glasgow, 1995). Painting has always persisted and Rhodes’s sense of that, and her contribution to its continuity, reminds us that the only landscapes we have – the only reality – are that which we ourselves create.

Carol Rhodes was born in Edinburgh in 1959. After graduating from Glasgow School of Art in 1982, she stopped painting for nearly ten years, focusing on social and political activism, including the anti-nuclear and women’s movements. She started painting again in 1992 and her work began to be exhibited regularly from 1994. A mid-career survey of Rhodes’s work was presented at the Scottish National Gallery of Modern Art in Edinburgh in 2007. Recent institutional surveys include MAC Belfast, Kettle’s Yard, Cambridge; Kelvingrove Art Gallery and Museum, Glasgow; Bonnefantenmuseum, Maastricht and Haus am Waldsee, Berlin.

Rhodes’ work has been acquired by major museums including Tate, London; National Galleries of Modern Art, Edinburgh; Bonnefantenmuseum, Maastricht; Yale Center for British Art, Connecticut; and The Hepworth Wakefield.

Luchita Hurtado. Yo Soy, Hauser & Wirth Downtown, Los Angeles

Sun 29 Jun 2025 to Sun 5 Oct 2025

901 East 3rd Street, CA 90013

Tue-Sun 11am-6pm

I did many self-portraits. And then at one point I decided I would use letters, and I did...I started with a portrait that said, ‘I am.’ And I decided that was as much me as my real face and figure.’ - Luchita Hurtado
Over the course of her eight-decade career, Venezuelan-born, Los Angeles-based artist Luchita Hurtado (1920 – 2020) committed to a lifelong journey of personal and artistic evolution defined by ceaseless experimentation. The first exhibition devoted to the artist at Hauser & Wirth in Los Angeles, ‘Yo Soy’ (I Am) brings together paintings and drawings from a pivotal moment in Hurtado’s career: Inspired by the surge of feminist activism in LA, the artist held her first solo exhibition at the Woman’s Building in February 1974, debuting her Linear Language series of expressive, geometric word paintings. A half century on, ‘Yo Soy’ revisits that landmark presentation and includes never-before-seen works from the series it introduced. Through her vibrant, abstract canvases—some cut up and meticulously resewn—visitors will be able to experience the depth of Hurtado’s exploration of pattern, mysticism, the earth and the cosmos.

The 1970s were a period of intense productivity for Hurtado. Living in Santa Monica Canyon with her own studio and her children now grown, she found herself at the heart of a burgeoning women’s movement in Los Angeles, a collective awakening that profoundly shaped her artistic identity. As an original member of the Los Angeles Council of Women Artists, Hurtado later cited a seminal meeting of local women artists in 1971, organized by Joyce Kozloff, as a turning point in both her artistry and activism. There, Hurtado introduced herself to the group using her married name, ‘Mullican.’ Her friend, the printmaker June Wayne, interjected: ‘Luchita what?’ The prompt led the artist to reintroduce herself as ‘Luchita Hurtado.’

This fabled account of self-renaming laid the foundation for Hurtado’s Linear Language series, which began with a self-portrait that featured the abstracted word ‘Yo.’ Hurtado created the subsequent works in this series between 1972 and 1974, in a process that relied upon speed of action in merging language with graphic patterns and textiles. Describing the technical innovations her series inspired, the artist explained:

‘To achieve quickness, the evenness and length of stroke I needed on large canvasses, I rigged up bottles with nozzles that became the brushes I needed. [...] I painted large paintings, all messages, some right side up, some on their side, some cut, set apart, as life does, and sewed together again. Some were in layers, one atop the other.’

Among works on view in the exhibition is ‘Self Portrait’ (1973), in which bold red, yellow, black and silver lines traverse every direction within sewn panels of varying sizes. Beneath the work’s intricate design lies the words—‘I Live I Die I Will Be Reborn’—that four decades later would serve as the inspiration for Hurtado’s 2019 retrospective at the Serpentine Galleries. In another piece on view from the original Woman’s Building exhibition, deep blue and purple patchwork obscures the title ‘Earth & Sky Interjected’ (1973)—a work that likewise provided the title for a later exhibition, Hurtado’s 2024 – 2025 survey at the Harwood Museum of Art in Taos, New Mexico.

‘Yo Soy’ also will present a selection from Luchita Hurtado’s archive, including original exhibition and artwork documentation, along with ephemera from organizations such as the Los Angeles Council of Women Artists, Womanspace and the Woman’s Building.

About the Artist
Born in Maiquetía, Venezuela in 1920, Luchita Hurtado dedicated her practice to the investigation of universality and transcendence. Though personally connected to a vast network of internationally renowned artists and intellectuals—including Mexican muralists, Surrealists, members of the Dynaton movement, feminists and artists in the Chicano/Latino art scene—Hurtado remained an independent and largely private, but highly prolific, creator. Her exhibition at the Woman’s Building in 1974 was the only solo presentation of her work prior to her mid-90s, with her first institutional survey at the age of 98.

Hurtado’s body of work cohered through an examination of self-affirmation, introduced in her early period from the 1940s to 1960s. This output was defined by surrealist figuration, biomorphism and geometric abstraction, executed in brightly hued palettes with striking expressive range. Her work continued to evolve throughout the late 1960s and 1970s, demonstrating a fluid shift towards representative figuration that led to a production of contemplative self-portraits known as her ‘I Am’ paintings. This series was followed by a group of surrealist ‘Body Landscapes’ wherein the human figure assumes the form of mountains and desert sand dunes. At the end of her life, Hurtado continued to explore themes of language and nature with her work, focusing on the planet, natural elements and the environment, in recognition of the urgency of the ecological crisis. These works function as symbolic proxies and intimate meditations on the Earth as mystic progenitor, underscoring the interconnectedness between corporeality and the natural world.

In 2019, Hurtado was listed in TIME 100’s most influential people and received the Americans for the Arts Carolyn Clark Powers Lifetime Achievement Award. Recent solo exhibitions include ‘Luchita Hurtado: Earth & Sky Interjected’ at the Harwood Museum of Art, Taos NM (2024 – 25), ‘I Live I Die I Will Be Reborn’ at the Serpentine Galleries, London, UK (2019) that traveled to the Los Angeles County Museum of Art (2020), ‘Just Down the Street’ at Hauser & Wirth Zurich (2020) and ‘Dark Years’ at Hauser & Wirth New York (2019). In 2018, her work was included in the Hammer Museum’s biennial exhibition ‘Made in L.A.’ and is featured in public collections worldwide, including The British Museum, London, UK; Hammer Museum, Los Angeles CA; Los Angeles County Museum of Art, Los Angeles CA; The Metropolitan Museum of Art, New York NY; Museo de Arte Latinoamericano de Buenos Aires, Argentina; Museum of Modern Art, New York NY; Museum of Fine Arts, Boston MA; Museum of Fine Arts, Houston TX and San Francisco Museum of Modern Art, San Francisco CA.

PROTO-HEROINE, Sarah Brook Gallery, Los Angeles

3311 E Pico Blvd
Los Angeles, CA 90023

June 28 - July 26, 2025

• Jenny Hata Blumenfield

• Cheryl Humphreys

• Lois Lane

• Jane Swavely

• Vanessa Zarate

In Gertrude Stein’s canonical stream-of-conscious poem, Sacred Emily, she wrote, “Rose is a rose is a rose.” In Proto-Heroine at Sarah Brook Gallery, the collection of works seem to be saying, “Woman is a woman is a woman.”

Stein dedicated the poem to her lover, Alice. Sarah is dedicating this show to all women, specifically mothers. Stein’s poem can appear to be disconnected or disjointed, but that general feeling is emblematic of all existence, is it not? This is especially true for women, who tend to have unreasonable expectations placed upon them and often receive a disproportionately disappointing amount of gratitude for the amount that they do simply to keep this world spinning.

The repetition of Stein’s words offer a sense of flexibility and fluidity in context and meaning. The intangible connections made between touch and tone within each of the works included in this exhibition offer a sense of grounded introspection and reverence. In times like these, we must examine ourselves and the world around us with more scrutiny than ever before; that said, we must never let go of love or lose hope. Proto-Heroine is full of love; it is full

of hope.

– Keith J. Varadi, June 2025

A Posthumous Kaari Upson Retrospective

An Exhibition That. Asks You to Confront Your Tenderness and Your Cruelty.

Bodies remember. Objects tell tales. Memories leave traces. In Kaari Upson's distinctive world, beauty meets horror, sensitivity resonates with despair. The first retrospective museum exhibition featuring Upson after her untimely death shows the strength and range of an artist already well on her way to becoming a modern classic.

The exhibition is generously supported by The Obel Family Foundation and is producered by Louisiana in collaboration with Kunsthalle Mannheim and Masi Lugano.

At her untimely death from cancer in 2021, aged 51, Kaari Upson was widely regarded as one of the most significant and versatile American artists of her generation with a practice spanning sculpture, drawing, performance, film and painting. Though her career was cut short, she has left behind a rich, intense and strongly personal body of work that revolves around identity, body, relationships, emotions, illness and loss.

27 May - 26 October 2025

Louisiana Museum Of Art

More Information Here

Sue Williamson Traces South Africa’s History, Sidestepping Memorials and Myths

Sue Williamson’s practice, rooted in South African history and influenced by her journalistic background, spans photography, drawing, and installation to probe themes of memory and remembrance. Throughout her work, injustice (and perhaps even evil) is made vividly evident. Since the early 1970s, she has documented various communities’ pleas for justice, explored the harsh realities of apartheid, and laid bare the lingering effects of colonialism—including migration, dispossession, and dislocation. Her first-ever retrospective, “There’s something I must tell you,” on view at Iziko National Gallery in Cape Town through September 24, reveals these throughlines.

Via Art In America

Iziko South African National Gallery in Cape Town, South Africa

More Information Here

22 February - 24 September 2025

Cindy Sherman - The Women (Solo Show)

Cindy Sherman is globally renowned for her exploration of identity and gender through the performance of meticulously observed personas for the camera. For her first solo exhibition in Spain in over two decades, ‘Cindy Sherman. The Women’ features a selection of the artist’s most iconic bodies of work, dating from the 1970s to 2010s, emphasising how Sherman revolutionized the role of the camera in artistic practice.

The exhibition includes the groundbreaking Untitled Films Stills (1977 – 1980), through which Sherman came to widespread attention as one of the ‘Pictures Generation’ artists who gained prominence in the 1970s and ‘80s responding to the age of mass media and celebrity. This pivotal series will be juxtaposed with Sherman’s large-format portrayals of film stars, starlets, society women and fashionistas from various series made over subsequent decades, addressing the layered presentation and public perception of femininity.

‘Cindy Sherman. The Women’ takes its title from the 1936 all-female hit play by Clare Boothe Luce, a merciless ensemble piece about women’s interactions with women, of their own and different classes, and of different appearances. Twice made into feature films (1939 and 2008), it is exemplary of the genre of classical Hollywood ‘women’s film’ around which feminist film theory was formed. Moreover, not only the characters in her play but Boothe Luce herself is representative of the multifarious kinds of femininities explored by Sherman.

Dates: 23 June – 26 October 2025

Hauser & Wirth, Menorca

More Information Here

Mildred Thompson: Frequencies

Institute of Contemporary Art (Miami, FL)

“Mildred Thompson: Frequencies” is the most comprehensive solo museum exhibition to date for American artist Mildred Thompson. Bringing together approximately fifty works from 1959 to 1999, the exhibition surveys Thompson’s multifaceted practice, featuring paintings, sculptures, etchings, drawings, assemblages, and musical compositions. Throughout her peripatetic career, Thompson worked across media and disciplines, drawing from both scientific research and a poetic pursuit of abstraction to explore the limits of perception. Often featuring radiating swirls of color and gesture, her diverse bodies of work seek to visualize extremes of scale—from the human body and built environments to microscopic particles and the vastness of the cosmos.

More Information Here

Closes: October 12, 2025

The Homeless Wanderer: Solo Show by Aïda Muluneh.

Galleria Giampaolo Abbondio in Milan presents Aida Muluneh, an internationally renowned Ethiopian photographer who has revolutionized the visual narrative of the African continent.

A former photojournalist for The Washington Post, Muluneh has exhibited in the most important international museums, from MoMA to Tate, and is the founder of key festivals and platforms for the promotion of African photography. In her work, the image becomes a political and spiritual act, a sacred space where primary color and geometric composition reflect the dialogue between migration, identity, and belonging.

Through a powerful and unmistakable visual style, Muluneh “redraws” contemporary Africa with images that speak to all of humanity. As critic Jacqueline Ceresoli, whose text introduces the exhibition, states:
“Her photographs are visionary windows that compel us to see another Africa: enigmatic, ritualistic, sublime. A land that migrates and remains at once, inhabited by timeless and placeless goddesses.”

As is customary for the gallery, the exhibition title is inspired by a piece of music: The Homeless Wanderer by Ethiopian pianist and composer Emahoy Tsegué-Maryam Guèbrou. A bittersweet echo accompanies the viewer's gaze, becoming the soundtrack to a silent and powerful diaspora.

Where: Galleria Playlist di Giampaolo Abbondio, Via Archimede 73, 20129, Milano
When: 13 June - 31 July 2025, Mon - Fri 3.00PM - 6.00PM / on appointment
Admission: Free

More Information Here

Jenny Saville: The Anatomy of Painting

National Portrait Gallery London

Jenny Saville: The Anatomy of Painting is the largest major museum exhibition in the UK dedicated to one of the world’s foremost contemporary painters.

Saville rose to prominence in the early 1990s, following her acclaimed degree show at the Glasgow School of Art. Since then, she has played a leading role in the reinvigoration of figurative painting – a genre that she continues to test today. Her unique ability to create visceral portraits from thick layers of paint reveals an artist with a deep passion for the process itself.

From charcoal drawings to large-scale oil paintings of the human form, this chronological display includes works that question the historical notions of female beauty, the monumental nudes that launched Saville to acclaim in 1992, and new works on display for the first time.

Jenny Saville: The Anatomy of Painting brings together 45 works made throughout the artist's career. It traces the development of her practice, spotlighting key artworks, and exploring her connection to art history. The exhibition was created in close collaboration with the artist. It brings together works from public and private collections worldwide.

National Portrait Gallery. St Martin's Place. London, WC2H 0HE. Tel +44(0)20 7306 0055

20 June - 7 September 2025

Marilla Palmer: Ecstatic Earth,Kathryn Markel Fine Arts, New York

Thu 26 Jun 2025 to Fri 1 Aug 2025

179 10th Avenue, NY 10011

Tue-Sat 11am-6pm

Kathryn Markel Fine Arts presents Ecstatic Earth, featuring new paintings by Marilla Palmer. This is her sixth solo exhibition with the gallery.

On this body of work Palmer writes, "Where is Mother Nature? Wondered Goethe. “She is the only artist; arriving, without a trace of effort, at perfection, at the most exact precision, though always veiled under a certain softness.” Working so directly with nature makes it feel like I’m collaborating, but with an unpredictable partner. Who knows what will appear in my studio garden, the forest or in the coral reefs? How will the petals change when pressed or if the wet watercolor, interference paint or sequins will capture the ecstasy of what I see? I find the tiny steps and evanescence of what Goethe called nature’s dance fascinating, even hallucinatory. “We live in her midst and know her not. She is incessantly speaking to us, but betrays not her secret.” wrote Goethe.

Maria Sibylla Merian was determined to uncover nature’s secrets. She believed that insects were having sex and making babies in the ecstatic earth. It seemed like a wild idea at the time, in 1700. She sat in the mud of Surinam and gorgeously documented vibrating life, intimately in minutiae proving her theory. Close observation of what’s growing or flying through my studio garden feels important, urgent, because it’s fleeting. The wind blows in spores and birds drop exotic seeds on the native pollinators. (Who’s native anyway?) Human presence is everywhere on the earth, in the seas and in the sky. So what I do, in my collages, is to create hybrids: nature and artifice. I don’t only document what I see, I respond to the unfathomable beauty of what is with embellishment. Nothing on the earth is pure anymore, our planet is a collage. Technology and travel reveal and make accessible the fabulousness of our planet, but then there’s the famous, Faustian pact.

Purple haze is in my brain, lately things don’t seem the same. Don’t know if it’s day or night. Excuse me while I kiss the sky. A multicolored constantly changing hallucinatory evanescence. Jimi Hendrix ecstatically saw “Butterflies and zebras and moonbeams.” Nature is fluid, euphoric. Hermaphrodite tropical fish flamboyantly change color and shape as they morph from female to male or exist as both, living in the reefs with the hermaphrodite coral and jellyfish bright as miniature neon. But the purple, ochre and black coral is being bleached by pollution. “The tiny island sags downstream, 'Cause the life that lived is dead And the wind screams “Mary””….shred that guitar, Jimi."

Inès Longevial: Skin of a Storm Almine Rech, Tribeca, New York

Thu 26 Jun 2025 to Fri 1 Aug 2025

361 Broadway, NY 10013

Tue-Sat 10am-6pm

Almine Rech New York, Tribeca presents 'Skin of a Storm', Inès Longevial's third solo exhibition with the gallery.

Skin cells are among the most rapidly renewed in the human body, only to be outpaced by varied gastrointestinal organs, elements of blood, and the cervix. Skin is the peel of our human body, a protective layer that encapsulates every other sensitive and squishy slice. Even as we decorate, bruise, and rejuvenate skin, it absorbs time, transforming for all to see. Skin can be a map, a projection—a mole or a scar, soft hands, a knobby knee, and a sweat-laden upper lip can rustle memories awake, occupying a space between seeing and feeling.

Inès Longevial's oil paintings draw attention to the skin, layered in seemingly smooth swatches of ultramarine, crimson, slate, chantilly, and mauve. These self-portraits—composed mostly from memory, informed by a repository of textures and forms consulted prior to their emergence—are a method of situating the artist in herself and the world. They are painted with urgency and oftentimes completed in one sitting. In this flow-state, the female form becomes a surface littered with subtle footnotes, like an odd wrinkle in a pleated skirt or the deep crease of a dog-earred page. A cropped face with down-turned eyes, a punctuated nipple, and a scapula blooming like an iris are, at a distance, totemic. The stoic sitters are disassociated, fermented. Upon closer inspection, hot-pink contour or blankets of honey light, feathered by the dry bristles of the artist's paintbrush, generate a supple, saturated landscape. Longevial offers an extreme perspectival shift through her impulsive markmaking upon the skin, often surprising herself. Her own experience living with myopia (extreme nearsidedness) is relayed to the viewer with grace, transforming skin into a woven surface, a microcosm, within the seemingly smooth composition of each painting. Wrapped in the tangible shimmer of the surface, unconcerned with matching the eye of the viewer, Longevial's sage subject is unconcerned with the viewer's yearning to define, place, or ingest her.

Longevial's drawings make an arresting shift, directly addressing the viewer with deadpan eyes and a seemingly dimensionless face in a tight crop of the eyes, nose, and mouth. In one set, an inverted pelvis is perched upon the lips, with spread legs engulfing the nose in a diamond shape, heels touching at the bridge. In another set, howling wolves replace the nose and a deep plié surrounds the lips. Within the sublime uniformity of the face, a cast of characters narrativizes the legacy of living in flashes of allegory. Ballet slippers are odes to flippant adolescence, while butterflies and snakes allude to metamorphosis. An anthropomorphized house and flower-headed femme throw us off the scent of such simplicity, however—these drawings serve as mythic self-reflection, nodding to place-making, masking, fear, transition, and freedom. Like petite prayer cards, each face is a theater and a mirror. Rather than scars or wrinkles, the imagery emanating from each face is grounded in experience, tethered to what the viewer cannot know behind the eyes.

A lesser-shown element of Longevial's practice, her monotypes, are being shown here for the first time. Although each print is unique, identical twins arise: an identical facial structure hosts distinct hairstyles or diametrically opposed color palettes, for example. Longevial's use of additive and subtractive marks, produced with alcohol markers and oil paint, insinuate an exfoliation and moisturizing regimen. The skin here is in-process, wherein pooled pigment and camouflaged critters upon the face suggest the pressure and joy, turmoil and unabashed sensuality have visceral remnants. These faces are defiant, lacking both performativity and ease so commonly found in female portraiture. In these prints, skin narrates the artist's relation to her changing world—stretching, sagging, morphing, and reflecting altercations or victories no one could know the true depth of.

On the occasion of Longevial's first solo exhibition at Almine Rech's New York City location, a new publication including the artist's drawings and poems written over the last two years will be available. This volume offers comprehensive insight into the artist's use of the face and skin to understand the topography of the body and soul, connected over time.

Mary Sipp Green - Beyond the Visible,Findlay Galleries, New York

Wed 11 Jun 2025 to Fri 1 Aug 2025

32 East 57th, 2nd Floor, NY 10022

Mon-Fri 10am-6pm

Mary Sipp Green’s evocative landscapes transcend the boundaries of realism, inviting the viewer into a world shaped by memory, light, and atmosphere. Her signature skies — layered with subtle, radiant hues — do not merely depict a scene; they reveal its emotional and spiritual resonance.

“I began painting what I saw — realistic, recognizable scenes,” she explains. “But over time, I longed to express something deeper. I wanted my work to speak beyond appearances, to capture a sense of place as it exists in memory and feeling.”

This shift in vision emerged in Dusk on Goldenrod, a turning point in Sipp Green’s career. Inspired by a familiar meadow suddenly transformed by goldenrod and shifting light, the painting marked her transition from realism to something more intuitive and poetic.

A native of New York, Mary grew up drawing in her father’s Manhattan art studio. She studied fashion design at the Fashion Institute of Technology and later ran a boutique in Greenwich Village. Eventually, she moved to the Berkshires, where she embraced painting full-time. “I needed to see what my work could become — I knew I would regret not trying.”

Her influences include George Inness, Albert Pinkham Ryder, James Whistler, Mark Rothko, and the Luminist painters — artists known for their spiritual engagement with light, tone, and space.

Findlay Galleries is proud to present the work of Mary Sipp Green — a Massachusetts-based artist whose paintings open a window into the soul of the landscape.

“These are paintings to live with. Restrained and blurred, with a minimum of edge, they quietly draw you in, enveloping you as in a dream. There are forms enough to suggest a landscape, a seascape, or trees nestled by a stream. The time of day seems to be at twilight or just before dawn. Over it all is light - light as radiance, light emerging from shadow. Mary Sipp Green has brought her art via expert training to its present day stage over a quarter-century of painting. Its dependable quality will not escape you. Most remarkable to me, is a special sense of emergence. Put another way, her visions seem to find their path from within, rather than be forms applied to a surface…Her paintings offer a delicate serenity and peace.”

Niki de Saint Phalle: Mythology, Galerie Mitterrand Temple, Paris

Fri 6 Jun 2025 to Sat 26 Jul 2025

79, rue du Temple, 75003

Tue-Sat 11am-7pm

Entitled Mythology, this exhibition brings together works from the 1960s to 2000 and explores the artist’s iconography and the symbols that underlie it. The Nanas remain Niki de Saint Phalle’s emblem, but many other figures populate her work. Whether animals, monsters or hybrids, her figures often derive from mythology and tend towards a double meaning.

The snake in particular occupies a central role in Niki de Saint Phalle’s work. A recurring motif in the artist’s bestiary since the 60s, it is at once associated with sin and new life, a savior animal but also a cursed beast, its omnipresence calls for a form of transcendence of the violence of nightmares and traumas. She recalls: “I was born terrified of snakes. Snakes are imbued with a bewitching mystery. At the zoo, I loved trembling in front of them. To me, they represented life, an indomitable primitive force. By making snakes myself, I was able to turn my fear of them into joy. Through my art, I learned to tame and harness these creatures that terrorized me.”

Drawn from various mythological traditions, Niki de Saint Phalle’s subjects are imbued with a rich and abundant symbolic imagination. Her work conjures up references to Greek, Egyptian and Christian legends, as well as figures associated with esotericism. These multiple iconographies nourish a singular dreamlike universe, within which the artist gradually fashions her own mythology.

For Niki de Saint Phalle, mythology becomes a tool for reappropriation: she revisits ancient tales to offer a personal reading. By redefining popular myths, she makes them a reflection of her own intimate experience and preoccupations, while infusing them with new meanings. Her work tackles major themes such as women’s emancipation and the fight against injustice.

The Tarot Garden, built in Italy from 1979 to 1993, is a tangible embodiment of Niki de Saint Phalle’s mythological universe. Inspired by Gaudí, the gardens of Bomarzo and the Palais du Facteur Cheval, Niki de Saint Phalle has assembled 22 monumental sculptures representing the major arcana of the Tarot of Marseille. Each work, both architectural and sculptural, incarnates an aspect of her personal vision of the world, combining symbolism, spirituality and reflection on the human condition.

Some of the works presented at the gallery are scale models of the monumental works in the Tarot Garden. These include the Snake Tree (1988), The Hanged Man (1988) and Adam and Eve (1985).

Nature, dragons, monsters and the animals of my artistic imagination kept me in touch with my childhood emotions. In me, the child and the artist are inseparable. (1)

The exhibition Niki de Saint Phalle, Jean Tinguely, Pontus Hultén, a co-production between the Centre Pompidou and the Grand Palais, opens to the public on June 20th. The exhibition retraces the prolific career of both artists through the eyes of Pontus Hultén.

Born on October 29th, 1930 in Neuilly-sur- Seine, Niki de Saint Phalle enjoyed her first retrospective at the Pompidou Centre, Paris in 1980. Recently, her work has been exhibited at the Grand Palais in Paris in 2014, at MoMA PS1 in New York in 2020, and at the Menil Collection in Houston and at the MCASD in San Diego in 2022. Her works are included in some very prestigious museum collections: the Pompidou Centre, Paris; Musée d’Art Moderne in Paris; Moderna Museet, Stockholm; Tate, London; Hirshhorn Museum and Sculpture Garden in Washington D.C.; the MoMA, New York; the Whitney Museum of American Art, New York, among others.

Rosalind Tallmadge: Pareidolia,CARVALHO PARK, New York

Fri 13 Jun 2025 to Sat 26 Jul 2025

112 Waterbury Street, Brooklyn, NY 11206

Thu-Sat 12-6pm & by appointment

CARVALHO presents the 3rd edition of its acclaimed performance series, with a commissioned, architecturally scaled installation by gallery artist, Rosalind Tallmadge, in collaboration with globally renowned Principal dancer and activist, Ingrid Silva, with Elias Re and Vinícius Freire. Tallmadge’s ten-panel tapestry installation of mirrored mica on silk, titled Pareidolia, coalesces to a faceted luminarium, refracting light and the dancers’ forms off its glimmering surfaces.

Apertures to human connection, Tallmadge’s compositions of hand-cut mirrored mica – formed by thin layers of liquid silver on silk – require corporeal presence to come fully into being. The work’s illusory, cloud-like contours offer the reflections of both dancers and audience, while also obscuring them. Speaking to contemporary reflective obsessions, the installation seeks to harness a desire to re-root in a sense of self: individually, collectively – and through the gallery’s perpetual stream of light – in the phenomena of nature.

In the tradition of Light and Space Movement artists such as Mary Corse, Doug Wheeler, and Larry Bell, the installation issues transformation through physical, chemical, and elemental means. Mineral becomes glass-like, while light, air, time, and bodies are integrated into the work. Through the process of making, the silk structures began to represent totemic bodies for the artist, catalyzing an impulse to seek oneself in the suspended forms. The artist states “art as an action” as a means to counteract self-isolating and divided realities, heightened by a mounting dominance of the digital sphere in our behaviors.

While the audience lines this gallery-scaled luminarium, as viewers are pulled into the panels’ illusory wakes, the dancers are the bridge. With this collaboration, Silva expands her international reputation as one of the leading performing artists of her generation, now honing her voice as a choreographer. Silva, Re, and Freire, set their movements through the mirrored surfaces and shrouded forms – the audience tracking them through the gauzy transparencies of Tallmadge’s installation. Silva’s dance work considers the emotional architecture of the stories we build, break, and lean against, as well as their mutability. As choreography engages the inherent impermanence of Tallmadge’s installation, Silva translates the mercurial relationships between body and art object, individual and space.

Performance series are commissioned by CARVALHO, New York, and curated by Director, Jennifer Carvalho. The biannual series invites both visual and dance artists to reimagine their creative process. It draws dance out of the theatre and into the collective consciousness, while bringing visual art into the realm of movement and performance—opening possibilities for both forms. Commissioned collaborations between performing and visual artists consider how disciplines are transformed through collaboration, as limitations are eclipsed, creating new intersectional approaches and total, synthesized works.

Performances are free and open to the public, but due to the limited space, an RSVP is required: rsvp@carvalhopark.com

Rosalind Tallmadge – Visual Artist
Ingrid Silva – Choreographer
Ingrid Silva, Elias Re, Vinícius Freire – Performing Artists
Leandro Albuquerque – Composer
Erica Johnston – Costume Design
Jennifer Carvalho – Curator and Producer

Ingrid Silva (b. 1988, Rio de Janeiro, Brazil) is an activist and among the most prominent figures in contemporary classical dance. Her international career began in 2007 with Dance Theatre of Harlem in New York, one of the most prestigious ballet companies in the United States, where she currently holds the position of Principal Dancer. She is known for her roles in George Balanchine’s Glinka Pas de Trois and Agon; Robert Garland’s Return; Ulysses Dove’s Dancing on the Front Porch of Heaven; and John Alleyne’s Far but Close. She has also danced soloist roles in works by Lark, Ascending by Alvin Ailey, and Contested Space by Donald Byrd.

Silvia is widely recognized for her work as an activist, particularly her fight against racism. In 2019, Silva received her first pair of skin-toned pointe shoes—a symbolic moment that garnered worldwide attention and spurred discussions on representation in ballet. Her hand-painted shoes are in the Smithsonian National Museum of African American History and Culture’s permanent collection. Silva has served as a Cultural Ambassador for the US State Department, and spoke at the United Nations in 2018 and at the UN Summit in 2025. In 2020, she co-founded Blacks in Ballet and also founded EmpowHer.

Sliva has been named one of "20 Women of Success" by Forbes Brazil and participated in the 14th LEAD Conference at Harvard University. She was the first African Brazilian to be on the cover of Pointe Magazine and appeared on the covers of Vogue Brasil and Harper’s Bazaar Brasil. She is also the author of two books: her autobiography “The Pointe Shoe That Changed My World” (2021, Globo Livros) and the children’s book “The Ballerina Who Painted Her Pointe Shoes” (2023, Globinho).

Rosalind Tallmadge (b. 1987, Cincinnati, Ohio) is a multi-media artist living and working in Brooklyn, New York. Tallmadge holds a BFA from Indiana University, Bloomington, 2010, and an MFA from Cranbrook Academy of Art, 2015. Her work has been acquired by international public and private collections and has been exhibited widely in New York, Brussels, Miami, Detroit, Chicago, and Seoul. Recent solo and two-person shows include Pareidolia (CARVALHO PARK, 2025); Aether (CARVALHO PARK, 2024); Moonlight Room (CARVALHO PARK, 2022); Unearthed (Arden + White, 2022); Terrain (David Klein, 2021); The Supernal Plane (CARVALHO PARK, 2019); and Embodied Earth (David Klein, 2019). Tallmadge's architecturally-scaled installation, Pareidolia, acts as the site for a performance collaboration with internationally renowned contemporary ballet dancer and activist, Ingrid Silva, Principal with Dance Theatre of Harlem. Other notable exhibitions include With Eyes Opened: Cranbrook Academy of Art since 1932, Cranbrook Art Museum, Bloomfield Hills, Michigan. In 2023, Opus One commissioned an installation of five site-specific works, titled Les Elements, for the entry rotunda and Opus One’s permanent collection in Napa Valley, California. Tallmadge is represented by CARVALHO PARK, New York, and David Klein, Detroit.

* Rise and Repaint Member * Beyond O’Keeffe: Contemporary Artists in Wisconsin, Group Exhibition

Selected Artists: David Baker, Jennifer Bastian, Myriam Baudin, Brigitte Boucher, Shlomit Cohen Kafri, Scott Espeseth [MFA ’00], Doug Fath, Mira Goodman, Rachael Hunter, Kinga Johnson, Amanda Langer, J. Myszka Lewis [MFA ’15], Paola Mayorga, Michelle Meier, Sara Meredith, Deb Mortl, Denise Presnell, Chele Ramos, Fernanda Rico, Meghan Rosing, Emily Marie Schroeder, Katie Schutte, Lael Sheber, Alyssa Smith-Moudy, Sarah Stankey [MFA ’19], Katherine Steichen Rosing, Mallory Stowe [MFA ’25], Mark Weller, and Rita Yanny [BS-Art Ed ’88]

Curated by: Rebecca Kautz [MFA ’18]

Location: Monarch on Main, 110 S Bristol St, Sun Prairie, WI

Artist Reception: Friday, June 20, 5-7pm

Beyond O’Keeffe: Contemporary Artists in Wisconsin is an exhibition of contemporary artists living in Wisconsin and working in a variety of styles and subject matter. This curated exhibition features work by both emerging and established artists and showcases the diverse, vibrant talent of the contemporary art landscape here in the state. Beyond O’Keeffe is curated and organized by Sun Prairie artist Rebecca Kautz. Event sponsors include the Sun Prairie Tourism Commission and Prairie Music & Arts. This programming is in conjunction with the inaugural Sun Prairie Mural Fest to honor the legacy of Georgia O’Keeffe. In late June artists from around the country will be painting large downtown murals with the Streets of Sun Prairie Reveal Party the evening of June 26th.

Curator Talk: Friday, June 27, 7-8pm at The Loop, 202 E Main St, Sun Prairie, WI

Art critic and writer, Lucy Lippard defines place as “the locus of desire”. The influence of place is significant to contemporary Wisconsin artists as well as in the work of late artist, Georgia O’Keeffe. Artist and curator, Rebecca Kautz discusses the significance or place as it relates to artists and artworks selected for the Beyond O’Keeffe exhibition. Please note that the Curators Talk is located at a different location from the exhibition.

* Rise and Repaint Member * Group Exhibition, Slice Gallery 10th Birthday, Vancouver British Columbia

Slice Gallery
1636 Venables Street
Vancouver, British Columbia
July 5th - July6th 1-6pm
July7th - July 8th - 10am-6pm

* Rise and Repaint Member * Jen Hintz Eggers, Solo Exhibition, Mezzanine Gallery, Wilmington Delaware,

The Mezzanine Gallery,
820 N. French Street, Wilmington, DE
Monday through Friday,
from 8:00 a.m. to 4:30 p.m

The Delaware Division of the Arts’ Mezzanine Gallery is pleased to present “Seeds of Life”, a solo exhibition of collage works by Delaware artist Jennifer Hintz Eggers. The show will be on view from June 6 to July 25, 2025, with a free opening reception on Friday, June 6, from 5:00 to 7:00 p.m.

“Seeds of Life” reflects Eggers’ deeply personal exploration of early motherhood. Her evocative oil paintings beautifully weave sacred geometric patterns, branching lines, and biomorphic “mammary flowers” inspired by physiological forms. These meticulously composed images layer rich colors and potent symbolism, emphasizing life’s cyclical, persistent, and hopeful nature.

Eggers describes her artistic process as deeply meditative, embracing the calming rhythm of drafting patterns using grids and interlocking circles. Overlapping circles, a motif prevalent since ancient decorative art, symbolize interconnectedness and continuity. Her delicate use of transparent oil paints captures subtle shifts—mirroring cellular growth and lunar phases—to embody the various stages of womanhood and caregiving.

A lifelong Delawarean, Jen Hintz Eggers earned her Bachelor of Fine Arts in painting from the University of Delaware in 2008. She is the founder of The Ladies’ Art House and currently maintains her studio practice at the Studios at The Delaware Contemporary. Eggers also teaches painting and drawing courses through New Castle County Art Studio and Delaware Technical Community College. Her artwork has been exhibited at institutions including the Susquehanna Art Museum and the University of Mary Washington.

Through “Seeds of Life,” Eggers hopes to offer viewers a moment of tranquility and reflection—similar to the meditative experience of tracing paths in a labyrinth—reinforcing the reassuring message that life remains cyclical, persistent, and ever hopeful.

About the Artist

Jen Hintz Eggers is a Delaware-based painter whose work explores themes of spirituality, motherhood, and the rhythms of nature through the use of sacred geometry and biomorphic forms. A 2008 graduate of the University of Delaware with a BFA in painting, Eggers is the founder of The Ladies’ Art House and maintains a studio practice at the Studios at The Delaware Contemporary. Her work has been exhibited regionally, including at the Susquehanna Art Museum and the University of Mary Washington. In addition to her studio practice, she teaches painting and drawing at the New Castle County Art Studio and Delaware Technical Community College.

Claudette Schreuders: Genesis, Jack Shainman Gallery, New York

Thu 5 Jun 2025 to Fri 1 Aug 2025

513 West 20th Street, NY 10011

Tue-Sat 10am-6pm

Jack Shainman Gallery presents Genesis, an exhibition of new work by Claudette Schreuders, the artist’s eighth solo exhibition with the gallery. Bringing together figurative sculptures made in both wood and bronze, Genesis reimagines scenes and characters from the suburban landscape of Cape Town that Schreuders calls home. Using the raw material of her own life as the foundation to create portraits that are equally archetypal and idiosyncratic, Schreuders explores how specific forms can convey universal truths and how personal history remains fundamentally connected to social reality.

For over thirty years, Schreuders has made sculptures about the human figure that express a deep understanding of human psychology. Working slowly and gradually, Schreuders carefully shapes her material to create uncannily familiar subjects that invite association and comparison while at the same time resisting any single link or reference. Though the poses and arrangements of her figures are often static, straightforward and direct, Schreuders pays great attention to the subtleties of each face, where slight inflections of shape and contour, or line and color, can provide viewers with the necessary detail to see humanity in figures that might otherwise appear impersonal. Looking at the historical examples of West African and Medieval sculpture, American folk and outsider art as well, Schreuders borrows the simplicity of form and composition found in those traditions as a way of sparking interpretation and emotional investment.

The works in Genesis were made after the conclusion of Schreuders’ previous exhibition with the gallery, Doubles, in 2022. In that exhibition, Schreuders investigated the universal experience of isolation that resulted from the lockdown during COVID-19 pandemic. Her sculptural figures were rendered in joined pairs in which each seemed to hauntingly, if not exactly, mirror the other. In Genesis Schreuders returned to the confines of her own home or studio and looked at the larger world of the suburbs as a kind of idyll in itself, one that can provide the time and space to contemplate the essential structures and forms of life around us.

Like its biblical reference, the exhibition title reflects Schreuders’ sustained emphasis on creating simplistic yet original forms as a way of pursuing profound truths. In the titular sculpture in the exhibition, her partner is shown supine while reading Robert Crumb’s The Book of Genesis. The muted and relatively restrained palette that Schreuders uses to describe the scene ultimately belies its subtlety of detail and psychological implication. This dynamic is present throughout the exhibition in works that are disarmingly approachable before revealing themselves to be materially complex and narratively open-ended. In School (2024), made in bronze, Schreuders depicts her son sitting pensively in a chair too small for his body. Though it appears to depict an exaggerated yet familiar scene, the richly detailed texture and surface of the figure suggest depths of meaning. Like Genesis (2024), Work (2024) considers the act of creation itself, as Schreuders herself is shown fixed in a moment of contemplation while she holds a newly made sculpture in her hands.

The relationship between personal experience and collective history is explored in Crucible (2025), a work originally commissioned by the University of Stellenbosch, Schreuders’ alma mater. A park bench cast in bronze is home to a whole host of indigenous birds that create a delicate balance and equilibrium between them. Schreuders uses the park bench as a formal and conceptual foundation for the work because its history remains charged by the legacy of apartheid, which saw it function as a symbol of exclusion. Schreuders allows the bench to be a site of transformation and possible harmony—it can produce something new out of an original period of trial and tribulation.

Throughout Genesis, Schreuders’ sculptures return to the commonplace and the quotidian, as they ask for a heightened attention to the world of experience that might otherwise be overlooked. With these familiar characters, scenes and moments as her subject matter, she pursues what is universal in them and relevant to all.

About Claudette Schreuders
Claudette Schreuders (b. 1973 in Pretoria, South Africa) lives and works in Cape Town, where she graduated with a Master’s degree from the Michaelis School of Fine Art in 1998. She was part of the Liberated Voices exhibition at the Museum for African Art in New York in 1999. From 2004-2005 her first solo museum exhibition toured the United States and in 2011 she had a solo exhibition at the LUX Art Institute in California. Schreuders has shown extensively in group exhibitions, including Impressions from South Africa, 1965 to Now, at the Museum of Modern Art, New York (2011), Since 2000: Printmaking Now, at the Museum of Modern Art in New York (2006) and Personal Affects: Power and Poetics in Contemporary South African Art at the Museum for African Art and the Cathedral of St John the Divine, New York (2004). Schreuders’ work is included in the permanent collections of The Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Johannesburg Art Gallery, Johannesburg, South Africa and the Pretoria Art Museum, South Africa, among others.

Kathleen Ryan: Roman Meal, Gagosian Davies St, London

Thu 5 Jun 2025 to Fri 15 Aug 2025

17-19 Davies Street, W1K 3DE

Tue-Sat 10am-6pm

London Gallery Weekend: Fri 6 Jun 11am-6pm, Sat 7 Jun 11am-6pm, Sun 8 Jun 12-5pm

Gagosian presents Roman Meal, an exhibition of two new sculptures by Kathleen Ryan at 17–19 Davies Street, London. In this, her solo debut at the gallery, Ryan mines ideas of utility and excess, luxury and repulsion, pondering culture’s inherent state of perpetual transformation while maintaining an appealing sense of the absurd.

Ryan is known for her surreal interpretations of everyday objects. To date she has realized a glistening jack-o’-lantern at human scale, fashioned a delicate pearl necklace from preloved bowling balls, and pierced the trunk of a 1968 AMC Javelin with an aluminum umbrella to produce cocktail garnish. Applying traditional techniques of making and ornamentation to natural and manufactured objects and materials, Ryan unites the organic and the artificial, producing tense yet self-aware meditations on desire, overabundance, and the cycle of life and death. Like one of the handwrought birds that reoccur within her practice, she plays among the ruins of late-capitalist America, gathering together both remnants of natural beauty and the emblems of overconsumption that led to this ultimate decay.

The exhibition at the Davies Street gallery comprises two new large-scale sculptures, Fender Bender and Sliced Bread (Golden Hour) (both 2025)—the first a pair of triangular lemon slices leaning upon each another, the second a slice of moldy bread slouched against the back wall of the room. Both works are contiguous with the ongoing series Bad Fruit (2018–), in which Ryan meticulously coats the surfaces of enlarged, decomposing foodstuffs with a near-painterly abundance of semiprecious stones. But Fender Bender and Sliced Bread (Golden Hour) are also linked by the shared history of their subjects as everyday and oft-discarded things, something that extends Ryan’s long-standing interest in salvage: in locating and illuminating the beauty that can be found in seemingly common things, from two thin slivers of lemon to the bumpers that were wrenched from the same car to form their aluminum rinds.

Much of the humor that characterizes Ryan’s work stems from an animated back-and-forth between subject and object: between that which she depicts and the often-incongruous materials that she employs to do so. In Sliced Bread (Golden Hour), for instance, it is the lingering pattern of crisscross stitching that reveals the foundational presence of a king-size mattress. That this once-discarded mattress and the slice of mass-produced bread that it has come to portray coexist in such a way is indicative of the manner in which, throughout Ryan’s practice, seemingly quotidian subjects are imbued with a richness of collective and individual stories. Sliced Bread (Golden Hour) is, in addition to the subject it represents and the object that gives it form, an absurd indulgence in and critique of opulence; a meditation on growth, the passing of time, and mortality; and an enduring memory, preserved within a specific brand of pre-cut bread, of the artist’s own childhood.

From May 4 to October 12, 2025, Kistefos in Jevnaker, Norway, is presenting the first major museum survey of Ryan’s work, which originated at the Hamburger Kunsthalle in Germany in 2024.

Above: Kathleen Ryan, Sliced Bread (Golden Hour), 2025. Agate, labradorite, aventurine, argonite, jamesite, copper malachite, citrine, calcite, zeolite, magnesite, amazonite, celestite, prehnite, turquoise, quartz, rhyolite, carnelian, garnet, jasper, serpentine, pink opal, ruby in zoisite, amethyst, quartz, amber, marble, acrylic, steel pins, polyurethane foam, aluminum, and king-size mattress 80 x 80 x 35 inches (203.2 x 203.2 x 88.9 cm) © Kathleen Ryan. Photo: Maris Hutchinson. Courtesy Gagosian