‘Michelangelo Lovelace: Cleveland by Night’ at Fort Gansevoort

 

 

 

Michelangelo Lovelace, Starry Night Over The City, 2019, Acrylic on canvas, 53 x 50.25 inches. © Michelangelo Loveland Estate. Courtesy of the artist’s estate and Fort Gansevoort, New York.

Beginning February 1, 2024, Fort Gansevoort will present Cleveland by Night, its second exhibition devoted to the work of late artist Michelangelo Lovelace (1960-2021). On view will be paintings and drawings depicting nocturnal city life in Cleveland, Ohio—exterior and interior tableaux capturing the city where he was born and lived for all of his sixty years.

  • Thursday, March 7th at 6:30pm, Michelangelo Lovelace’s widow, Shirley Lovelace ~ in conversation with artist John Ahearn. Space is limited, and RSVP will be required.

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Melvin Smith & Rose Smith: Recollections of Rondo to Open at Fort Gansevoort in November

 

 

 

Rose Smith, Journey to Minnesota,, 2008; Oil on canvas, 48 x 96 inches. © Rose Smith. courtesy of the artist and Fort Gansevoort, New York

Beginning November 16, 2023, Fort Gansevoort will present Recollections of Rondo, its first exhibition with the visionary Minnesota-based artist couple Melvin Smith and Rose Smith. This presentation features a selection of key works from the vast, ongoing, collaborative project the Smiths refer to as Rondo, which consists of painted portraits made by Rose, and collages of urban scenes along with architectural sculptures made by Melvin. Initiated in the 1990s, Rondo documents the artists’ memories of civic life in their vibrant Rondo neighborhood of St. Paul, Minnesota as it existed prior to being bulldozed in the 1960s for construction of the Interstate 94 highway. Now both in their 80s, Rose and Melvin have focused for three decades on a unique shared artistic mission to recall that lost enclave, which was the center of Black life in St. Paul and home to a number of individuals, among them Major League baseball great Dave Winfield and artist Gordon Parks, who would achieve national and international renown in their fields. Rose spent most of her youth in Rondo, while Melvin was a resident between 1963 and 1968—the neighborhood’s final years. With the construction of Interstate 94 between 1956 and 1968, the Smiths witnessed first-hand the systematic leveling of their community and its culture—the process of so-called “urban renewal” that James Baldwin dubbed “Negro Removal.”

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‘Yvonne Wells: Play the Hand That’s Dealt You’ to Open at Fort Gansevoort

 

 

 

Yvonne Wells, Play the Hand That’s Dealt You, 2011; Assorted fabrics, 81.5 x 65 inches © Yvonne Wells. Courtesy of the artist and Fort Gansevort, New York

Beginning June 8, 2023, Fort Gansevoort will present Play The Hand That’s Dealt You, the first New York solo exhibition of Alabama-based artist Yvonne Wells. Born in 1939 in Tuscaloosa, Wells is known for her intricate narrative quilts depicting American history subjects, pop culture figures, and religious subject matter. As a self- taught artist living and working in the same region as the enslaved female quilters from the rural Alabama community known as Gee’s Bend, Wells is aware of heritage techniques, yet cleaves to her own contemporary visual vernacular. Through a practice that illuminates quilt making as a form of fine art and not simply craft, she has developed a style that uniquely melds geometric abstraction with bold figuration. The evolution of Wells’ personal aesthetic and technical mastery will be seen through over a dozen large works on view, spanning three decades of the artist’s career.

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‘Zoya Cherkassky: The Arrival of Foreign Professionals’ at Fort Gansevoort

 

 

 

Zoya Cherkassky ‘Simone, 2022’; Acrylic on paper. 51.25 x 78 in. © Zoya Cherkassky. Courtesy of the artist and Fort Gansevoort

Beginning April 6, 2023, Fort Gansevoort will present The Arrival of Foreign Professionals, a solo exhibition of new paintings by Ukraine-born, Israel-based artist Zoya Cherkassky. In her latest works, Cherkassky offers up vibrant figurative compositions to depict scenes of African diasporic communities in Europe, Israel, and the USSR from the 1930s to the present day. Based upon historical research and the artist’s own memories, these paintings examine cross cultural encounters from disparate times and locations. Cherkassky’s personal experiences as the wife of a Nigerian emigrant and mother of a mixed-race child simultaneously inform her perspective and complicate her relationship to the subjects she portrays. Aware of the challenges that come with presenting these works in America—a nation whose own history of African enslavement and white supremacy remains entrenched— Cherkassky aims to engage viewers in open conversation about the aftermath of failed colonial projects.

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Hauser & Wirth in Collaboration with Fort Gansevoort Present ‘Winfred Rembert. All of Me’

 

 

 

Saint to Saint II, 2016. Dye on carved and tooled leather. 87 x 97.8 cm/34 1/4 x 38 1/2 in (framed); Winfred Rembert © 2023 The Estate of Winfred Rembert/ARS NY Courtesy the estate, Fort Gansevoort, and Hauser & Wirth

On 23 February, Hauser & Wirth will present ‘All of Me,’ its first exhibition of works by late American artist Winfred Rembert (1945-2021), in collaboration with Fort Gansevoort. Occupying all three floors of the gallery’s 69th Street location, this immersive tribute to Rembert’s life and artistry will include more than 40 works made in his signature medium of carved, tooled and painted leather, including several never before seen.

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The Danzling, Hand-Beaded & Sequin-Embroidered Textile Work of Haitian Artist Myrlande Constant in the Exhibition ‘DRAPO’ at Fort Gansevoort in January, 2023

 

 

 

Myrlande Constant, Apres Gran Met La Fey Nan Bwa Se Tretmant Yo Viy, 2022,
Beads, sequins and tassels on fabric, 80 x 111.5 inches. ©Myrlande Constant. Courtesy of the artist and Fort Gansevoort.

Beginning January 12, 2023, Fort Gansevoort will present DRAPO, its first solo exhibition with Haitian artist Myrlande Constant, who has attracted international attention for dazzling hand-beaded and sequin-embroidered textile works in which heritage techniques are used to mingle contemporary and traditional themes. The evolution of Constant’s personal aesthetic and mastery of her medium will be evident in monumental new pieces juxtaposed with examples from earlier in the artist’s career. The exhibition has been extended through March 25, 2023.

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‘Dawn Williams Boyd: The Tip of the Iceberg’ to Open at Fort Gansevoort Gallery in September

 

 

 

Dawn Williams Boyd, Leaving Alabama, 2022, Assorted fabrics, cotton embroidery floss, and mixed media, 60 × 60 inches

Fort Gansevoort will present The Tip of the Iceberg, its first solo exhibition with Dawn Williams Boyd at the gallery’s space in New York City. Featuring twelve new large-scale works, this presentation coincides with the last leg of the artist’s traveling museum exhibition Dawn Williams Boyd: Woe, on view at Sarah Lawrence College in Bronxville, New York.

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‘Iwantja Rock n Roll’ to Open at Fort Gansevoort in Historic Meatpacking District

 

 

 

Kaylene Whiskey. Kungkas in Hollywood, 2021. Acrylic on linen. 65.75 x 78 inches. © Kaylene Whiskey/ Courtesy the artist and Fort Gansevoort

Fort Gansevoort is pleased to announce Iwantja Rock n Roll, a group exhibition of new works by Australian artists Vincent Namatjira, Kaylene Whiskey, and Tiger Yaltangki, three leading members of the indigenous Indulkana Community in the northwestern region of South Australia on Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. On view from Thursday, July 7, 2022, their combined paintings, complemented by recent video works by Whiskey and Yaltangki, offer insight into the confluent global influences – from contemporary Western pop culture to traditional Anangu culture – that vivify the extraordinary artistic outpouring from Iwantja Arts, one of eleven indigenous owned and governed Aboriginal art centers in the APY Art Centre Collective. Iwantja Arts supports the artistic practices of more than forty members, working across various mediums, including painting, sculpture, video art, and printmaking.

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Willie Birch, Chronicling Our Lives: 1987-2021 to Open at Fort Gansevoort New York

 

 

 

Willie Birch ~ Johnny Makes the Nightly News, 1988. Pencil graphite and gouache on paper with acrylic painted papier-mâché frame. 32.5 x 46.5 x 1.75 in. WB049

Fort Gansevoort Gallery will open its doors to Chronicling Our Lives: 1987-2021, a solo exhibition of works by Louisiana-based artist Willie Birch. Opening Thursday, March 3, 2022, the presentation features large paintings on paper and painted papier-mâché sculptures created between 1987 and 1996, complemented by a new monumental, mural-like work executed in black and white. Together, the thirty works on view reflect Birch’s perspective on the beauty and complexities of the human experience.

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Winfred Rembert: 1945-2021 at Fort Gansevoort in October, 2021

 

 

 

Winfred Rembert, All Me, 2002; Dye on carved and tooled leather; 25 x 25 inches.; © 2021 Winfred Rembert / ARS NY; Courtesy Estate of Winfred Rembert and Fort Gansevoort

Fort Gansevoort will open its doors to Winfred Rembert: 1945-2021, a solo exhibition of works by Winfred Rembert, opening Thursday, October 7th (6-8 PM) at the gallery’s New York City space in the historic Meatpacking District.

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Randolph Lamonier: My Kind of Dirty, an Online Exhibition in conversation with Maxwell Alexandre + Raphael Fonseca at Fort Gansevoort Gallery on View in April

 

 

 

Randolpho Lamonier, Rua Vista Alegre (Vista Alegre Street), 2021 Mixed media (fabric, embroidery and buttons on carpet) 17.5 x 24 in., RL005

Beginning Thursday, April 1st, Fort Gansevoort will present My Kind Of Dirty, the gallery’s first exhibition with Brazilian artist Randolpho Lamonier. This online presentation brings together recent textile works in which Lamonier responds to his upbringing in Contagem, an industrial city in southeastern Brazil, drawing upon observations of hardship and inequality to create powerful expressions in vivid colors, word combinations, and raw images. The artist locates his inspiration in an environment where joy grows proportionally to misfortune and likens his work to diaristic entries. Rendered in deceptively humble handwork and fabrics, the scintillating psychedelic landscapes on view in My Kind Of Dirty celebrate “the exuberance of life that resists against the necropolitical agenda guided by the current Brazilian government,” the artist has said. In this way, Lamonier’s approach to representation acts as personal revolution, whereby the aura of possibility defines his blueprint for the future. My Kind Of Dirty is accompanied by the transcript of a conversation between Lamonier and fellow Brazilian artist Maxwell Alexandre with curator Raphael Fonseca.

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Sacred Nation, Scared Nation ~ a Virtual Exhibition to Open at Fort Gansevoort

 

 

 

Above Image: Gordon Hookey, Ready to Rumble, 2020, Oil pastel and pencil on paper, 30.5 x 44 inches.

Beginning January 7, Fort Gansevoort will present Sacred Nation, Scared Nation, the gallery’s first exhibition with the noted Waanyi Aboriginal artist Gordon Hookey. Organized in collaboration with Los Angeles-based artist Gary Simmons, the presentation will focus on Hookey’s use of metaphors, wordplay, and humor – sometimes brazenly provocative – to subvert tropes of Western colonialization and to reclaim, empower, and redefine Aboriginal culture. Eschewing the traditional dot abstraction most commonly associated with indigenous Australian art, he deploys deceptively folksy figuration, contemporary images, and bold painted words in paintings that connect Black Aboriginal experience to that of African Americans.

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‘Michelangelo Lovelace. Nightshift’ coming to the Online Viewing Room at Fort Gansevoort

 

 

 

Micaelangelo Lovelace, Untitled, 2008. Ink one paper. 8.5 x 11 in. ML209.. Image courtesy Fort Gansevoort Gallery

Beginning Thursday, May 28, Fort Gansevoort will present Nightshift, an exhibition of drawings by Michelangelo Lovelace (b. 1960), composed from the bedsides and common areas of nursing homes throughout Cleveland, Ohio, where he has worked for over 30 years as a nurse’s aide while pursuing his artistic practice.

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Fort Gansevoort Gallery debuts ‘Seeing Through You’, a Series of Weekly Online Exhibitions

 

 

Pilar Trujillo, Desayuno sobre la hierba, 2015. Tapestry (burlap embroidery with wool), 73 x 61 in. Courtesy of the Artist and Fort Gansevoort

Fort Gansevoort Gallery will open its online window, announcing SEEING THROUGH YOU, a series of weekly online exhibitions organized for the gallery by invited curators and scholars. Launching with its first exhibition on Thursday, March 26, 2020, this initiative will highlight artists from around the globe and aim to initiate lively discourse among larger and more diverse audiences for whom the web and social media are an even more vital ‘salon space’ in a time of crisis.

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Gordon Hookey: Sacred Nation, Scared Nation at Fort Gansevoort

 

 

 

Gordon Hookey, GH001, Pelvis Deadly, 2005, Oil on canvas, 48 x 66.25 inches

Fort Gansevoort Gallery will open its doors to Sacred Nation, Scared Nation, the first solo exhibition in the United States for noted Brisbane-based Waanyi Aboriginal artist Gordon Hookey (b. 1961, Cloncurry, Australia). Hookey uses metaphors, wordplay, and humor – sometimes brazenly provocative – to subvert tropes of English colonialization and to reclaim, empower, and redefine Aboriginal culture. Eschewing the traditional dot abstraction most commonly associated with indigenous Australian art, Hookey deploys deceptively folksy figuration and bold painted words in paintings that connect Black Aboriginal experience to that of African Americans.

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Vanessa German: Trampoline at Fort Gansevoort

 

 

 

Vanessa German, Venus as an Around Away Girl, 2019, Mixed-media collage on New York Times magazine, 25 x 19.5 x 5 inches

Fort Gansevoort, in association with Pavel Zoubok Fine Art, is pleased to present Vanessa German, TRAMPOLINE: Resilience & Black Body & Soul, opening Thursday, November 7th, 2019. German’s exhibition will showcase her richly encrusted sculptures, which she refers to as power-figures, alongside a series of wall-mounted altars that each act as seers or protectors carrying with them the gift of their own human technology: joy, love, and protection for the souls of Black Americans. The work is made as an act of love in response to the daily injustices and violence committed against Black and Brown people, their bodies and their souls. Each figure confronts us with the questions, “how do we survive? How do we, as hybrid-people, keep breathing? How then do we surpass mere existence into creative champions, future makers, lovers even?”

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