Category: Meatpacking District

Continue reading “Whitney Biennial 2022: Quiet As It’s Kept ~ 63 Artists & Collectives Selected for the Eightieth Edition at The Whitney” →

Ralph Lemon, Untitled, 2021. Oil and acrylic on paper, 26 × 40 in. (66.1 × 101.6 cm). Image courtesy the artist

The Whitney Museum of American Art announced today that sixty-three artists and collectives will be participating in Whitney Biennial 2022: Quiet as It’s Kept, co-organized by two Whitney curators, David Breslin and Adrienne Edwards. This will be the eightieth iteration in the long-running series of annual and biennial exhibitions launched by the Museum’s founder, Gertrude Vanderbilt Whitney, in 1932. The 2022 Biennial takes over most of the Whitney from April 6 through September 5, with portions of the exhibition and some programs continuing through October 23, 2022.

Fernando Botero Celebrates his 90th Birthday with The Spinx on 14th Street + a Gallery Exhibition at David Benrimon Fine Art

Fuller Building, Meatpacking District, NYC DOT

Fernando Botero’s eight-foot-tall Spinx sculpture is on view at the 14th Street Square at 9th Avenue from March 10th through April 19, 2022.

The monument, presented by David Benrimon Fine Art, is in celebration of the artist’s 90th birthday, and coincides with the gallery’s Botero exhibition.

Continue reading “Fernando Botero Celebrates his 90th Birthday with The Spinx on 14th Street + a Gallery Exhibition at David Benrimon Fine Art” →

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

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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.

Curated by Stickymonger: Spray Painterly at Allouche Gallery

Allouche Gallery, Graffiti, Meatpacking District, Street Art

Artist, UFO907. Image courtesy of the gallery.

Allouche Gallery will open its doors to Spray Painterly, a group show curated by Stickymonger, featuring works by Gucci Ghost, Michael Reeder, Paul Insect and UFO907. The exhibition debuts on October 21st and continues until November 16th, 2021.

Spray Painterly aims to advance the notion of spray paint as a fine art medium. While some categorize spray paint with graffiti and vandalism, curator and artist Stickymonger challenges this perception and believes that spray paint is indeed a gallery medium. The featured artists are from diverse artistic backgrounds, all of whom utilize spray paint conventionally and unconventionally to express their character-based styles.

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Jasper Johns: Mind/Mirror opens at The Whitney Museum of American Art

Continue reading “Jasper Johns: Mind/Mirror opens at The Whitney Museum of American Art” →

Image credit: Jasper Johns, Racing Thoughts, 1983. Encaustic and collage on canvas, 48 1/8 × 75 3/8 in. (122.2 × 191.5 cm). Whitney Museum of American Art, New York; purchase, with funds from the Burroughs Wellcome Purchase Fund; Leo Castelli; the Wilfred P. and Rose J. Cohen Purchase Fund; the Julia B. Engel Purchase Fund; the Equitable Life Assurance Society of the United States Purchase Fund; The Sondra and Charles Gilman, Jr. Foundation, Inc.; S. Sidney Kahn; The Lauder Foundation, Leonard and Evelyn Lauder Fund; the Sara Roby Foundation; and the Painting and Sculpture Committee 84.6. © 2021 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), New York

The radical, inventive art of Jasper Johns (b. 1930) continues to influence today’s artists like few others. In an unprecedented collaboration, the Whitney and the Philadelphia Museum of Art will stage a simultaneous retrospective—the largest of Johns’s seven-decade career—that offers a fresh take on the living legend. From his iconic flags to lesser-known and recent works, the exhibition will feature paintings, sculptures, drawings, and prints—nearly five hundred artworks across the two museums, many of which are from Johns’s personal collection and will be shown publicly for the first time.

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

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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 7^th(6-8 PM) at the gallery’s New York City space in the historic Meatpacking District.

Ron English: Brand Royalty Opening at Allouche Gallery in September 2021

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Ron English: Aqua Apes, 2021; Oil on Canvas; 36 x 54 inches. Image courtesy of the Gallery.

Allouche Gallery will open its doors to Brand Royalty, the first solo show of the Fall season, featuring the inaugural debut of twenty new paintings by the contemporary Pop and street artist. Ron English. The exhibition will remain on view at Allouche Gallery from September 18 to October 19, 2021.

L.E.A.F. Festival of Flowers 2021 Coming to the Meatpacking District this Weekend!

Flower Art, L.E.A.F., Meatpacking District

Flower Flash ‘The Crosby Cat’, Lewis Miller ‘Flower Flashes’ Fernando Botero’s The Crosby Cat’, Crosby Street Hotel, 2019

Last year, L.E.A.F. celebrated #NYFlowerWeek with a celebration of its own ~ L.E.A.F. 2020 Festival of Flowers, They’re back! This weekend, June 12 ~ 13, New Yorkers can shop L.E.A.F.’s European-style flower market and visit a series of floral displays, all in the historic Meatpacking District at L.E.A.F. Festival of Flowers 2021.

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Allouche Gallery Presents ‘Operation Varsity Blues’

Continue reading “Allouche Gallery Presents ‘Operation Varsity Blues’” →

B. Robert Moore: Degrees of Separation: Admissions of Education; 60W x 40H ; Arches paper, Acrylic, charcoal, soft pastel, oil pigment stick, c. 2021; $26,000. Image courtesy of the gallery.

Allouche Gallery opens its doors to “Operation Varsity Blues,” a group exhibition exploring the structural inequities of the American higher education system through the lens of the recent high-profile college admissions scandal. The exhibition features new, commissioned works by seven artists—Lindsay Adams, Debra Cartwright, Kevin Claiborne, Malaika Temba, Lindsey Brittain Collins, Alteronce Gumby, Lanise Howard, Jeffrey Meris, Raushan Rucker, Khari Turner, Telvin Wallace, and Esteban Whiteside—who are responding to the 2019 college admissions scandal of the same name wherein affluent families conspired to influence undergraduate admissions decisions at several top-tier American colleges and universities. “Operation Varsity Blues” is organized by author, art historian, and independent curator Charles Moore.

‘The Intricate Intimate’ opens at Allouche Gallery

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Artist, Monica Canilao. Image courtesy of the gallery

In collaboration, artists and curators Swoon, Monica Canilao, and BLK PALATE present a group art exhibition focusing on the erotic. Featuring established and emerging artists, The Intricate Intimate offers a safer space for artists to explore the intricacies of erotic intimacy, on their own terms and based on their own definitions.

May we Know our Own Strength ~ Release your Burden in a New Installation by Amanda Phingbodhipakkiya

Meatpacking District

May We Know our Own Strength, Amanda Phingbodhipakkiya

MAY WE KNOW OUR OWN STRENGTH was created by Amanda Phingbodhipakkiya, who brought us public art addressing anti-Asian racism, working in partnership with the NYC Commission on Human Rights and NYC Department of Cultural Affairs.

Here, she created a place for New Yorkers to gather and share their hidden sins, secrets, and suffering. This is a space for vulnerability and healing.

Continue reading “May we Know our Own Strength ~ Release your Burden in a New Installation by Amanda Phingbodhipakkiya” →

David Hammons Permanent Installation ‘Day’s End’ in Hudson River Park + Six Rarely-Seen Works in Exhibit at The Drawing Center

Continue reading “David Hammons Permanent Installation ‘Day’s End’ in Hudson River Park + Six Rarely-Seen Works in Exhibit at The Drawing Center” →

Rendering of the proposed project, Day’s End by David Hammons, as seen from the Whitney Museum of American Art. Courtesy Guy Nordenson and Associates.

On April 29, 2021, the Whitney announced the completion of David Hammons’s permanent public sculpture Day’s End (2021), one of the largest public art projects completed in the United States this year. Located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum, Day’s End was developed in collaboration with the artist and Hudson River Park Trust. The sculpture derives its inspiration and name from multi-media artist Gordon Matta-Clark’s 1975 intervention in which he cut openings into the existing, abandoned Pier 52 shed. With exquisite simplicity, Hammons’s artwork traces the outlines, dimensions, and location of the original Pier 52 shed in slender steel pipes. Visible from numerous vantage points at the Museum and from multiple locations along the Hudson River Park promenade, the sculpture measures 52 feet high at its peak, 325 feet long, and 65 feet wide.

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

Fort Gansevoort, Meatpacking District, Online Exhibition Viewing

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.

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

‘Stickymonger: Still Smiling’ at Allouche Gallery NYC

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Stickymonger, Waiting 1980, 2021, Aerosol paint, 106×79 in.

Feelings of loneliness, fear and the unknown have engrossed the globe since the outbreak of COVID-19 back in March 2020. The pandemic can take its toll, pushing people further from others and leaving many feeling like they are living in a surreal world. Stickymonger conveys these difficult emotions across her latest body of work, but also incorporates the unpredictable, magical moments of everyday life to instill hope and positivity amid the difficult circumstances posed by the pandemic. These otherworldly pieces will fill New York City’s Allouche Gallery as part of a solo exhibition entitled “Still Smiling.”……Keith Estiler

Julie Mehretu: A Mid Career Survey at The Whitney in March, 2021

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Julie Mehretu, *Retopistics: A Renegade Excavation,* 2001. Ink and acrylic on canvas, 101 ½ × 208 ½ inches (257.81 × 529.59 cm). Crystal Bridges Museum of American Art, Bentonville, Arkansas 2013.28. © Julie Mehretu

Co-organized by the Los Angeles County Museum of Art and the Whitney Museum of American Art, Julie Mehretu is a midcareer survey that will unite more than seventy paintings and works on paper dating from 1996 to the present, reflecting the breadth of Mehretu’s multilayered practice. Born in Addis Ababa, Ethiopia, in 1970 and based in New York City, Mehretu has created new forms and found unexpected resonances by drawing on the histories of art and human civilization. Her play with scale and technique, as evident in intimate drawings, large canvases, and complex forms of printmaking, will be explored in depth.

Julie Mehretu at The Whitney. Image taken from Zoom press preview courtesy of The Whitney

Filling the Whitney’s entire fifth floor gallery, the exhibition will take advantage of the expansive and open space to create dramatic vistas of Mehretu’s often panoramic paintings. The first-ever comprehensive survey of Mehretu’s career, Julie Mehretu is organized by Christine Y. Kim, curator of contemporary art at LACMA, with Rujeko Hockley, assistant curator at the Whitney. The installation at the Whitney is overseen by Hockley and on view from March 25 through August 8, 2021.

Adam Neate: Madalena opens at Allouche Gallery NYC

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Adam Neate, The Mods, 2020. Image courtesy Allouche Gallery

Allouche Gallery will open its doors to a new solo exhibition by British Dimensionalist artist Adam Neate entitled Madalena on February 6th.

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

Fort Gansevoort, Meatpacking District, Online Exhibition Viewing, Online Viewing Rooms

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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The Whitney presents First Solo Museum Exhibition, Salman Toor: How Will I Know

Continue reading “The Whitney presents First Solo Museum Exhibition, Salman Toor: How Will I Know” →

Image credit: Salman Toor, Four Friends, 2019. Oil on plywood, 40 × 40 in. (101.6 × 101.6 cm). Collection of Christie Zhou. © Salman Toor. Image courtesy the artist and Luhring Augustine, New York

Salman Toor’s first solo museum exhibition—originally scheduled to open in March 2020 but postponed due to the pandemic—will be presented by the Whitney Museum of American Art from November 13, 2020 to April 4, 2021. Primarily making intimate oil-on-panel works, Toor expands the tradition of figurative painting by melding sketch-like immediacy with disarming detail to create affecting views of young, queer Brown men living in New York City and South Asia. Salman Toor: How Will I Know is part of the Whitney’s emerging artists program, which most recently included solo shows by Kevin Beasley and Eckhaus Latta, and will be on view in the first-floor John R. Eckel, Jr. Foundation Gallery, which is accessible to the public free-of-charge.

Working Together: The Photographers of The Kamoinge Workshop to Open at The Whitney

Continue reading “Working Together: The Photographers of The Kamoinge Workshop to Open at The Whitney” →

Ming Smith, America seen through Stars and Stripes, New York City, New York, printed ca. 1976. Gelatin silver print, sheet: 15 3/4 × 20 in. (40.01 × 50.8 cm), image: 12 1/2 × 18 1/2 in. (31.75 × 46.99 cm). Virginia Museum of Fine Arts, Adolph D. and Wilkins C. Williams Fund, 2016.241. © Ming Smith

The much anticipated exhibition, Working Together: The Photographers of the Kamoinge Workshop will finally unveil at The Whitney on November 21st. This groundbreaking exhibition features over 150 photographs by fourteen early members of the Kamoinge Workshop, nine of whom are living and working today.

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

Fort Gansevoort, Meatpacking District, Online Exhibition Viewing, Online Viewing Rooms

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

Continue reading “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.

Malik Roberts: GLORY | IN BLK at Allouche Gallery

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Malik Roberts, Ski-Mask, acrylic, oil, oil pastel on canvas, 62 x 50 inches

Allouche Gallery will open its doors to “GLORY | IN BLK” featuring 15 original works by the Brooklyn based contemporary artist Malik Roberts (b. 1990, Brooklyn, NY) on March 12th.

‘Doze Green: A Volta’ to Open at Allouche Gallery

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Artist, Doze Green: Ramma 2019: Acrylic on canvas: 53.5 x 66.5 in. Image courtesy Allouche Gallery

Allouche Gallery will open its doors to new works by legendary New York artist Doze Green. A Volta, opening on Thursday November 14th, marks the return to the city that inspired and defined Green’s long standing career. Concurrently, this show offers a comprehensive look into the evolution of the artist’s style leading up to his present creative departure, which is deeply influenced by the raw nature of Alto Paraíso de Goiás, Brazil, where Doze Green lives now.

Vanessa German: Trampoline at Fort Gansevoort

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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?”

BÄST: Melmoth Confetti at Allouche Gallery

Allouche Gallery, Meatpacking District, Street Art

Bäst: Untitled, 2019 Acrylic on canvas 101 x 135 inches

Allouche Gallery opened its doors to the solo exhibition, BÄST: Melmoth Confetti, a new body of work influenced by Oscar Wilde’s favored alias, Sebastian Melmoth. with an opening reception on October 17 from 6-9pm.

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Rafa Macarron: Fluorescent Routine to open at Allouche Gallery in September

Continue reading “Rafa Macarron: Fluorescent Routine to open at Allouche Gallery in September” →

Rafa Macarron, Rutina Fluor, 2019 Mixed media on canvas 90 x 115 inches

Allouche Gallery opens its doors to Rafa Macarron: Fluorescent Routine, in a solo exhibition ~ a magic circus of elongated figures on a journey to Manhattan!

50 Years After Stonewall at Fort Gansevoort

Meatpacking District

Image: Paula Gately Tillman, ‘Nelson Sullivan’, 1986, Silver Print. Courtesy, Fales Library, NYU

Fort Gansevoort presents A Look Back: 50 Years After Stonewall, organized by Lucy Beni and Adam Shopkorn. The exhibition commemorates the fiftieth anniversary of the 1969 Stonewall Uprising, a six-day riot said to have been spontaneously set off byMarsha P. Johnson in protest of one of many regular police raids at The Stonewall Inn, a gay bar located in New York City’s Greenwich Village. This event marks the beginning of the Gay Liberation movement and the contemporary fight for LGBTQ+ rights in the United States.

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Nick Georgiou: Codex Chroma at Allouche Gallery

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Nick Georgiou, Unassuming Self, 2019. Discarded books, acrylic ink and paint on canvas. 48 x 60 x 5 in. Courtesy Allouche Gallery

Allouche Gallery will open its doors to Nick Georgiou: Codex Chroma, a vibrant new collection of paper wall reliefs, exploring the unique life cycle of books as objects of art.

Sine Qua Non by Sebastian Wahl Opens at Allouche Gallery

Allouche Gallery, Art Exhibit, by AFineLyne, Meatpacking District

Sebastian Wahl, The Dream Machine, 2018. Collage and resin on MDF. 51 x 84 in. Image courtesy Allouche Gallery

‘Sine qua non‘ is derived from Latin and can be translated literally as “Without which, not.” It represents the idea that without (something), (something else) won’t be possible.

In Sebastian Wahl’s new body of work, he explores the contrast between colors and solid black, while incorporating his signature process of arranging images between multiple layers of clear resin to create depth and dimension, creating a sense of zero gravity where images are suspended in time and space

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‘Patrick Martinez | That Which We Do Not See’ opening at Fort Gansevoort

by AFineLyne, Meatpacking District

Patrick Martinez, Coretta, 2019, Neon, Edition of 3, 1 AP, 24 x 30 x 3 inches

Fort Gansevoort will open its doors to the exhibition PATRICK MARTINEZ | That Which We Do Not See, the first solo show featuring new work by Los Angeles-based artist Patrick Martinez.

“Everything that we see is a shadow cast by that which we do not see.” Martin Luther King, The Measure of a Man, 1958

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Eric Freeman + Nathan Ritterpusch + Brian Willmont = ‘A 3 Person Show’ at Allouche Gallery

Allouche Gallery, by AFineLyne, Meatpacking District

Eric Freeman, Untitled, 2018, oil on canvas, 48 x 48 in. Image courtesy Allouche Gallery

Allouche Gallery will open its doors to A 3 Person Show featuring the works of Eric Freeman, Nathan Rittenpusch, and Brian Willmont on January 31st, with each artist defining their art in their own precise and distinctive style.

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Keith Duncan: The Big Easy opens at Fort Gansevoort

by AFineLyne, Meatpacking District

Keith Duncan, The Wedding Reception, 2015 courtesy Fort Gansevoort

Fort Gansevoort is kicking-off the new year with the exhibition, The Big Easy, featuring new work by New Orleans, Louisiana-based artist Keith Duncan, opening on Thursday, January 10^th. Keith Duncan is a visual storyteller, depicting stories both familiar to all and those specific to New Orleans, with a focus on a multidimensional approach both in subject matter and material.

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Starbucks Reserve Roastery Arrives in the Meatpacking District

Chelsea, Meatpacking District

In a City where ‘bigger & better’ is the norm, the new Starbucks Reserve Roastery, next to Chelsea Market, fits right in with its three-level, 23,000 square-feet of very inviting, beautifully designed space.

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Andy Warhol ~ From A to B and Back Again at The Whitney

Andy Warhol, Meatpacking District

The exhibition Andy Warhol ~ From A to B and Back Again at The Whitney Museum of American Art is the first Warhol retrospective organized by a U.S. institution since 1989. On view are more than 350 works of art, many assembled together for the first time. Below are just a few of the images in this exhibition, along with the story behind them. Plan on spending the day.

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Ron English returns to Allouche Gallery with Delusionville

Allouche Gallery, Art Exhibit, by AFineLyne, Meatpacking District

Ron English ~ Pink Temper Tot Mousemask Murphy, oil on canvas, 52 x 60″. Image courtesy Allouche Gallery

Ron English: Delusionville, new paintings and sculptures, will open at Allouche Gallery on Thursday, October 11th. In this exhibition, English returns to the Gallery with an aggressive reinterpretation of pop culture. Prepare to be mesmerized by the spectacle of chaos!

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Let the Mermaids Flirt With Me ~ Christopher Myers at Fort Gansevoort Gallery

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Maping the dreams of migrants, artist Christopher Myers presents three bodies of work on three floors of Fort Gansevoort Gallery, entitled Let the Mermaids Flirt With Me.

A Visit to the Meatpacking District ~ Hector’s Cafe’ & Diner

Architecture, Meatpacking District

Hector’s Cafe & Diner, 44 Little West 12th Street in the Meatpacking District

Hector’s Cafe’ first opened its doors in the Meatpacking District when it was humming with packers and wholesalers moving from slaughterhouse to slaughterhouse, under the elevated, with trains running from West Side Yards south to St. John’s Terminal on West Houston Street. Much of this work began at the crack of dawn, with many of the workers beginning their day at Hector’s Diner.

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Paper Trail ~ a Group Show ~ Opens at Allouche Gallery

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Sebastian Wahl, Mandala His 2005. All images courtesy of Allouche Gallery

Allouche Gallery explores the use of paper in a new group exhibition entitled, Paper Trail. From drawings and paintings to sculptures and collages, the artists employ unique methods of layering, space, and emphasis.

UNCANNY: Tigran Tsitoghdzyan @ Allouche Gallery

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Tigran Tsitoghdzyan, The Crowd III, 2006, Oil on 45 cardboards. Image courtesy of Allouche Gallery

Allouche Gallery opens its doors to the exhibition, UNCANNY: Tigran Tsitoghdzyan ~ new work of black & white portraits.

Lou Ros Featuring Valentin van der Meulen @ Allouche Gallery

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Allouche Gallery is pleased to present new bodies of work by French artists Lou Ros and Valentin van der Meulen meant to sharpen your own creative lens.

Anthony Lister: The Art of Fact opening at Allouche Gallery

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Anthony Lister, The Abstract Expressionist Seance, 2018

The contemporary, Australian-born painter and installation artist, Anthony Lister, turns the word ‘art’ into the ‘fact’ in a new exhibition, The Art of Fact, at Allouche Gallery.

ECLIPSE: Out From The Shadows @ Allouche Gallery

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As the moon passed in front of the sun, creating a black orb for all who watched, artist Jessica Lichtenstein layed down a parallel from folklore, with the moon (as feminine), obstructing the sun (masculine) ~ simulating a women’s movement. And so began a new body of work entitled, ECLIPSE: Out From The Shadows, on view at Allouche Gallery.

Emilie Stark-Menneg: The Breakers @ Allouche Gallery

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Get ready for an explosion of color and imagination, as Allouche Gallery kicks-off the New Year with the exhibit, Emilie Stark-Menneg: The Breakers.

‘Dimensions of Three’ at Allouche Gallery

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Martin Gremse, Mapped Inter Cellusive, 2017. Mixed Media, rubber and silver on canvas. 70.9 x 98.4 inches. Image via Allouche Gallery

Dimension of Three, an exhibition featuring contemporary artists, Martin Gremse~Reinoud Oudshoorn~Crystal Wagner will open on November 30th at Allouche Gallery.

The Whimsical Work of Laura Owens at The Whitney in November

Art Exhibit, Meatpacking District, Museums

Image credit: Laura Owens, Untitled, 2004. Acrylic and oil on linen, 66 x 66 in. (167.6 x 167.6 cm). Collection of Nina Moore. © Laura Owens

Opening this week at The Whitney Museum of American Art, a comprehensive look at the whimsical work of Los Angeles-based artist, Laura Owens, featuring approximately 60 paintings from the mid-1990s to today.

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‘STAND STILL: A Still Life Show’ opening at Allouche Gallery