Four of a kind . . . Lily Stockman Arches Quartet, 2019 Oil on linen 14 x 11 inches (each) . . . Clockwise from top left: Arches Quartet (Green) Arches Quartet (Red) Arches Quartet (Gold) Arches Quartet (Rose)
“Hold On, Hold Me” curated by Kenny Rivero is on view through August 1st. Don’t miss it! . . . Tommy Coleman I WANT TO BE BOTH WAYS IN THE NIGHT TIME, 2019 UV resistant polyester resin, glow-in-the-dark pigment, and transparent pigment on maple and purple heart hard wood panel 17 x 12 in (43.2 x 30.5 cm) . . . Tommy Coleman Bicameral by Candle, 2019 UV resistant polyester resin, glow-in-the-dark pigment, and transparent pigment on maple and purple heart hard wood panel 18 x 12 in (45.7 x 30.5 cm)
Ever since being introduced to Alec Egan I’ve been captivated by the way in which he works and how he approaches painting. After a fortuitous dinner together and many conversations (and visits) later, we’re planning an ambitious exhibition for this fall that I cannot wait to present in New York. . . . Alec Egan Poster on Wall, 2019 60 x 48 inches Oil on canvas
Peter Hristoff’s “Black Cranes” in Hold On, Hold Me. Curated by Kenny Rivero. The exhibition is on view through August 1st. . . . Charles Moffett is pleased to present “Hold On, Hold Me,”an exhibition of images and objects featuring the work of Hangama Amiri, Mariel Capanna, Tommy Coleman, Michael Demps, Peter Hristoff and Tomashi Jackson. The exhibition includes 6 artists who demonstrate a deep connection to community, closeness, awakening and resilience while addressing the complicated circumstances around displacement, intimacy, invisibility, death, and mourning.
🚨This Thursday🚨 Anderson Ranch will host it’s 23rd Annual Recognition dinner. Work by @robert_longo_studio @mickalenethomas @joelmesler @kaws @hernanbas @shiniquesmith @lucassimoes @ivanmorley @richard.serra @wangechistudio @rogangregory @jensdotter1 #junkaneko and our very own @lilystockman will be sold to benefit Anderson Ranch. You can bid early and often via the Artsy website before the live auction begins Thursday night. . . . Lily Stockman Top Pasture, 2019 Oil on linen 14 x 11 inches
“As an Afghan Canadian artist, my artworks have been influenced by the universal exploration of cross-cultural dialogues and themes such as childhood memory, identity, diaspora, body and language. My art practice continues to build layer upon layer, drawing upon my research, memory, and imagination to bring Afghan women psychological insights, inner thoughts, and social values to visual art. I convey these concepts by using a pastiche of visual styles that references both expressionism, surrealism, and representation, as well as cultural symbols, textiles, patters, and Farsi calligraphy to raise awareness about women’s current issues. I also use symbolic objects that are attached to certain nostalgia in my childhood memories of my homeland. From this exploration of cultural materials, I expand the notion of what contemporary Afghan Feminism is and how my work relates to those objects of desires.” @hangamaamiri . . . Hangama Amiri received her BFA (Major in Fine Arts) from NSCAD University in Halifax NS (2012), she was a Canadian Fulbright and Post-Graduate Fellow at Yale University School of Art and Sciences in New Haven, Connecticut (2015-2016). And currently, she is a M.F.A graduate student at Yale School of Art (Painting/Printmaking) in New Haven, CT. She has exhibited her paintings nationally and internationally, recently in New York City, Toronto, France, Italy, London (UK), and Sofia, Bulgaria. She has won the 2011 Lieutenant Governor's Community Volunteerism Award, the 2013 Portia White Protege Award, and in 2015, her painting Island of Dreams won a runner-up honorable mention at RBC Canadian Painting Competition. Amiri was also an artist-in-residence at the Banff Centre for Arts & Creativity (Fall 2017), Joya AiR Residency Program in Almería, Andalucía, Spain (Winter 2017) and at World of CO Residency program in Sofia, Bulgaria (Spring 2018).
Kenny Rivero describes “Hold On, Hold Me” as an offering: “This show means to articulate the space between two artists, the deep space between an artist and their people, an artist and themselves, and the space between an artist and the auras surrounding the objects they make.” Among the artists included is Tomashi Jackson, whose work “Interstate Love Song (Derek III),” comes out of the body of work she made for her first solo museum exhibition: “Interstate Love Song.” . . . The body of work made for her exhibition, “Interstate Love Song,” emerges from Tomashi Jackson’s research of the history of transportation in the greater region of Atlanta, Georgia. This series of work was conceptualized out of the ideas expressed in ”White Flight: Atlanta and the Making of Modern Conservatism” by Kevin M. Kruse, a historical study of post-war resistance to the integrations of schools and neighborhoods in Atlanta, specifically focused on the movement of white Atlanta residents to suburbs outside of the metropolitan area in order to preserve racist, segregation policies. Jackson takes a closer look at three key pillars outlined in Kruse’s text- the voting system, public transportation, and a college public radio- as her primary source material. (Text and image courtesy of @tiltongallery) . . . Tomashi Jackson Interstate Love Song (Derek III), 2018 C-Print 16 7/8 x 30 in (42.9 x 76.2 cm) Edition 1 of 2 with 1 AP
“Hold On, Hold Me” is on view through August 1. It was impossible to choose just one @marieljoan work, so here’s all 6 keeping it 💯 . . . Mariel Capanna Shoe, 2019 Lime plaster, earth pigment, watercolor and pencil on drywall 9 1/2 x 16 3/4 in (24.1 x 42.5 cm) . . . Mariel Capanna He took/takes/will be taking a break, 2019 Lime plaster and earth pigment on drywall 12 x 13 1/4 in (30.5 x 33.7 cm) . . . Mariel Capanna Alligator, 2019 Lime plaster, spray paint, and earth pigment on drywall 12 1/4 x 25 1/4 in (31.1 x 64.1 cm) . . . Mariel Capanna A Piece of Toast, 2019 Lime plaster and earth pigment on drywall 14 1/2 x 22 in (36.8 x 55.9 cm) . . . Mariel Capanna The First Letter, 2019 Lime plaster and earth pigment on drywall 9 1/4 x 13 1/2 in (23.5 x 34.3 cm) . . . Mariel Capanna 1990, 2019 Lime plaster and earth pigment on drywall 7 x 13 in (17.8 x 33 cm)
Dear Public, Although this exhibition is a "presentation" of works by brave and loving artists, who are also my friends, I prefer to express it as an offering. All the folks in this show are my allies, my teachers, and part of my creative family. This show means to articulate the space between two artists, the deep space between an artist and their people, an artist and themselves, and the space between an artist and the auras surrounding the objects they make. In that space we find the urgency we have in relationship to a finite existence, the intimacy between our multidimensional selves and the self we challenge you to receive, the fear and doubt that comes with making our hearts available and abundant, and the energies, frequencies, and spiritual circumstances we are constantly channeling as makers. The objects in this show are not casual. The mystery and discovery surrounding making objects under unpredictable political and personal circumstances is at the core of the images and objects featured in this show. This show is very selfish of me; it's a love letter. This show is a promise I've kept from the very first time I made a drawing, and it's an attempt to recalibrate my practice and realign my own urgencies. Although I've articulated some ideas about my intentions as a curator, I don't know what this show is about necessarily, and in my mind, the show isn't complete until it's physically engaged. I trust those involved as I trust that this collection of objects will generate meaning for me and for an audience willing to look, listen, and respond in kind. Sincerely, Kenny . . . “Hold On, Hold Me” Curated by Kenny Rivero is now on view and open through August 1st. Run, don’t walk to see this incredible group of artists @kenny172 brought together.
Feeling incredibly lucky to work with @kenny172 who organized a must see group show. “Hold On, Hold Me” opened Wednesday night and will be up through August 1. It’s an honor and a privilege to show the work of @hangamaamiri @marieljoan @hardwerk @michael.jevon.demps @phristoff and @tomashi_ashi. Thank you to everyone who came out, it was a truly memorable opening. 🙏
Please joins us tomorrow, Wednesday, June 26 for the opening of “Hold On, Hold Me,” curated by Kenny Rivero . . . June 26 - August 1, 2019 Opening reception June 26, 6-8pm . Charles Moffett is pleased to present Hold On, Hold Me, an exhibition of images and objects featuring the work of Hangama Amiri, Mariel Capanna, Tommy Coleman, Michael Demps, Peter Hristoff and Tomashi Jackson. The exhibition includes 6 artists who demonstrate a deep connection to community, closeness, awakening and resilience while addressing the complicated circumstances around displacement, intimacy, invisibility, death, and mourning.
Summer is right around the corner and Kenny Rivero has put something extra special together for @charlesmoffettgallery. “Hold On, Hold Me” opens Wednesday, June 26, 6-8pm. . . . Hangama Amiri Mariel Capanna Tommy Coleman Michael Demps Peter Hristoff Tomashi Jackson
Fair warning, last chance, “Rosebud” is closing: TODAY. A huge thanks to everyone who has made it out to see Maggie’s debut exhibition at the gallery. I am incredibly grateful that Maggie trusted me with this truly remarkable and altogether personal body of work. “Rosebud” features a deeply intimate examination of tribalistic life in the United States. A biker church, a barren basement lounge, a jovial and repressed Christian man. These paintings are all explorations of a “culture of hiding” the truth: true feelings, actions, addictions and desires.
🚨 FINAL WEEK 🚨 “Rosebud” Closes this Saturday, June 15th. Run don’t walk, before it’s too late! . . . Rose-colored glasses cover a town in wishful suburban dreams. Even in name, the residents of Loganville, Georgia attempt to keep up appearances beyond their means. Maggie Ellis’ paintings evoke a town embedded in the American dream of a crisp, untouched room reserved for perfection and a visitor who never comes. Somewhere above a drug-riddled basement party, that room is a beacon of hope to compartmentalized suburbanite ideals.
If you have a moment, and have not done so already, please read the pieces written by Bruce Altshuler for @hyperallergic (adapted from an essay that originally appeared in Zabriskie Gallery: Fifty Years) and Roberta Smith for the @nytimes. While the time I spent with the gallery was relatively brief, just two years, my experience working for her and Director Jonathan Spies was an incredibly important and formative first step in my career. It was my first full time job out of college, one that I applied to blindly after finding a listing for an unnamed gallery on NYFA. I answered phones, made coffee, learned how to cut mattes and frame photographs, painted walls, patched holes, worked my first art fairs and experienced, for the first time, the incredible amount of joy and fulfillment one gets working directly with artists, for which I am forever grateful.
“Think in Pictures” is on view through June 21st and the new work Sam Bornstein made for the show has me incredibly jealous and wishing they were hanging at the gallery. Go check out the exhibition at 32 Orchard Street before it closes! . . . Sam Bornstein Horse Fabricators, 2019 Oil, screen print, airbrush, and acrylic on panel 24 x 20 inches
“Downtown Painting” presented by Alex Katz at @peterfreemaninc opens tomorrow, June 5th, with a reception from 6-8pm. The exhibition will feature the work of over 70 artists, including none other than Kenny Rivero. 🔥 🔥 🔥 Kenny Rivero “Uptown Fire (Front Knot),” 2019 Oil, acrylic and flashe on canvas 48 x 48 inches
😱 There’s just two more weeks to see “Rosebud.” Don’t miss it before it closes June 15th!
We’re very excited and honored to be supporting Anderson Ranch this year. Lily Stockman has generously donated a 14 x 11 inch painting, which will be sold during the 23rd Annual Recognition Dinner on July 18th. 🏔 🏔 🏔 Lily Stockman Top Pasture, 2019 Oil on linen 14 x 11 inches
When I was first introduced to Sean Donnola's photography one of the most striking aspects of his work was the way in which he presents a moment in time that feels like an open-ended narrative. His images often transport you to the time and the place his 35mm film began a story, but it is the viewer who is ultimately tasked with completing it. . . . Sean Donnola Untitled, 2012 Archival Pigment Print Framed: 39 x 55 1/2 inches (99.1 x 141 cm)
“My process for inventing narratives involves rigorous, and sometimes painful, reflection. Through the lens of my evolving relationship to fear, love, death, intimacy, violence, power, and aloneness, my work addresses themes of Dominican-American identity, socio-geographic solidarity, cultural and familial expectations, race, and masculinity.” - Kenny Rivero . . . Kenny Rivero The Church is Empty, 2014 Oil on canvas 30 x 30 in (76.2 x 76.2 cm)
Although childhood was a constant battle to leave the poverty and hive mentality of Loganville, Georgia, Maggie now returns––not quite prodigal–– to give voices, names, and faces to her hometown figures. Rosebud features a deeply intimate examination of tribalistic life in the United States. . . . Maggie Ellis Clubhouse 2, 2019 Acrylic on canvas 41 1/4 x 55 1/2 in (104.8 x 141 cm)
📷 . . . Sean Donnola Untitled, 2014 Archival Pigment Print Framed: 55 1/2 x 39 inches (141 x 99.1 cm)
Empathy is Maggie Ellis' primary philosophy. This does not emerge from an overdose of optimism, but from her deep seated belief in the value and uniqueness of each individual’s lived experience. Her paintings draw on old family photos, drawings of childhood neighbors and friends, and murky memories of emotions and experiences. These provide a deeply personal insight into insular groups that, from the outside, it might be easy to dismissively read as a monolithic totality. Instead, Ellis' work gives her audience the opportunity to consider the network of connections between individuals and groups. . . . Maggie Ellis Little Bobby, 2019 Acrylic on canvas 43 1/4 x 40 in (109.9 x 101.6 cm)
Maggie investigates quiet moments of pain and humor, presenting othered subjects in everyday instances, perhaps hoping these works will help her audience to rethink the connection between North and South. . . . Maggie Ellis Sutter Home, 2018 Graphite on paper Framed: 16 1/4 x 19 1/2 in (41.3 x 49.5 cm)
It feels like just yesterday we opened our first exhibition of 2019, “Patterns of Propaganda,” Bari Ziperstein’s first solo show with the gallery and our fifth in the space. In the immortal words of Janet Jackson “Funny how time flies.”
Yesterday I caught up with Sam Bornstein who is in the middle of finishing up a few paintings for summer shows (don’t miss them). Here’s a look back at his first solo exhibition with the gallery: “Daydream Workshop.”
A woman, and a painting, that need no introduction. . . . Maggie Ellis Dolly Parton Guarding the Door, 2018 Acrylic on canvas 16 x 12 inches
☝️🔥Another day, another stroll down memory lane from the first year. Kenny Rivero’s “i see you with my eyes closed” was on view from September 7 through October 27, 2018.☝️🔥
With summer on the way it’s the perfect time to look back on “Alleviators”, curated by Christopher Rivera. It was our second exhibition at the gallery. We’re very excited to announce Kenny Rivero will be curating our summer show, “Hold On, Hold Me.” Stay tuned for more details!
One year ago today we opened our first exhibition, “Loquats”, a solo presentation of new paintings by Lily Stockman. 5 solo shows, 1 group exhibition and 1 art fair later, we’re just getting started. Thank you to everyone who helped make this dream become a reality, particularly the artists who have trusted me with their work, without you this space would not exist.
I was immediately drawn to Maggie Ellis’ works on paper and their relationship to her paintings. Often inclusive of collaged elements they speak volumes about the paintings they evolve into and the way in which she approaches depth and perspective.
“Rosebud” opens April 26th with a reception from 6-9pm. The Gallery (Studio?) is open by appointment until then. Here’s a little teaser of what’s to come. 👀
Gallery preparations for “Rosebud” are officially underway. We’re just 11 days from the opening. 💪
Maggie Ellis. Rosebud. Opening April 26th. Beyond thrilled to share the complete body of work with everyone. The hits just keep on coming... . . . (Detail) Little Bobby, 2019 Acrylic on canvas 39 1/4 x 44 1/4 inches
April 26th and the opening of “Rosebud” is fast approaching. @maggie___ellis has been on an absolute tear and we may have more paintings than we do space, which will make for some very, very, very difficult decisions. Here is a detail of “Basement Scene.” . . . Maggie Ellis Basement Scene, 2019 Acrylic on canvas 49 x 56 1/2 inches
🏠 ☀️🌳 . . . Sean Donnola Untitled, 2007 Archival Pigment Print 39 x 55 1/2 inches (Framed)
Mark your 🗓 Maggie Ellis’ solo show “Rosebud” is opening April 26th.
⚡️ @robbreport featuring one of the many great works included in “Patterns of Propaganda,” which closed March 23. Thank you for including “Women Harvesting” in the California Issue!
We’re very excited to be opening Maggie Ellis’ first solo exhibition on April 26th @charlesmoffettgallery. “Study for Brother Lloyd and The Biker Saints” was the starting point for Maggie as she worked up to an unbelievably impressive 72 x 96 inch acrylic on canvas work that we cannot wait to present at the gallery.
One of my favorite works in the “Black Refractions Highlights from the Studio Museum in Harlem” show is this Adia Millett, which is titled “Inventing Truth.” It’s one of those pieces that has stayed with me and I’ve thought about it often ever since. If you have not been to @moadsf it’s a must-see exhibition on view through April 14.
Between now and June 1st I strongly urge everyone in the Bay Area, and those just passing through, to see “Amulet or He calls it chaos” @500cappstreet Visiting the David Ireland house is a truly unique experience and one that should not be missed. . . . The exhibition includes works by Mathis Altmann, Tony Cokes, Moyra Davey, Michel Houellebecq, Hans Haacke, Katharina Grosse, Rashid Johnson, Sherrie Levine, Mark McCloud, Cady Noland, Will Rogan, Jorge Satorre, Cindy Sherman, Gabriel Sierra, Oscar Tuazon, and Andra Ursuţa. . . . “I think my worst demon is myself….I don’t like to do the same thing over and over again. I like to search out the new frontier and go past the place where I really understand what I’m doing. That’s excitement, to get out in space where some wires might get crossed and there’s no way back to earth.” -David Ireland
Only three more days to see “Patterns of Propaganda.” Please join us tomorrow evening (3/22) at 6:30pm for what will surely be a great discussion with artist @bariziperstein and curator @essnerd . . . (From Left to Right) Bari Ziperstein Women Bite the Hand That “Feeds” You, 2019 Stoneware, glaze and underglaze 24 ½ x 8 x 8 inches Bari Ziperstein Aquatic Sports, 2019 Stoneware, glaze and underglaze 12 x 14 x 14 inches Bari Ziperstein Capitalism Also Depends on Domestic Labour, 2019 Stoneware, glaze and underglaze 22 x 9 x 9 inches
Lily Stockman, “Bell” (2018), Oil on linen, 62 x 50 inches currently on view @berggruengallery in San Francisco along with Sarah Crowner, Cecily Brown, Paul Kremer and Richard Serra to name a few.
Love this shot of @bariziperstein working on “Capitalism Also Depends on Domestic Labour” which is currently on view in Patterns of Propaganda @charlesmoffettgallery . . . Bari Ziperstein “Capitalism Also Depends on Domestic Labour,” 2019 Stoneware, glaze and underglaze 22 x 9 x 9 in (55.9 x 22.9 x 2
“My rough southern upbringing is constantly at odds with the rarefied art world of New York City. I’ve always believed that having an arsenal of stories is in direct proportion to living a full life: running wild and barefoot comes with its own dose of pain and pleasure, joy and consequence.” Maggie Ellis ♦️ ♦️ ♦️ Maggie Ellis Playing Free Cell, 2019 Acrylic on canvas 43 x 59 inches