Davidson Gallery is pleased to announce that five works by Sam Messenger are now in the permanent collection of the British Museum. The works on paper, spanning from 2013 to 2017, include one of Messenger's iconic large-scale Veil drawings, as well as one of a limited number of silverpoint works that the artist has made over the course of his career.
Additionally, Messenger's work is currently on view at the Museum of Fine Arts Houston as part of the inaugural exhibition Line into Space in the new Kinder Building dedicated to the museum's permanent collection of contemporary and modern art.
Pedro S. de Movellán has been a sculptor his whole life, whether he always knew it or not. His earliest interest in fixing, building, and tinkering evolved from simple balancing acts to single handedly creating complex freestanding kinetic sculptures able to captivate viewers with their elegance. As an artist, de Movellán has always had an innate ability to create harmony between the mathematical, physics-based components of his practice and the more lyrical and poetic elements that seem effortless.
Moments of connection with others and the natural world are what I have been treasuring most these past weeks. Last year I moved from Berlin to a small village high in the French Pyrenees Mountains on the border with Spain, it is here that I find myself in these strange and uncertain times.
Events can seem overwhelming as we follow the news and get swept into the chaos of all that is taking place. So if you are willing, I would like to take you just for a moment into the quiet mountains of my studio. Here, in normal times one knows that the world exists by the crisscross of white vapor trails that reach across the sky – a highway of airplanes crossing the great expanse of blue. But now the blue is still with only the grass and peaks to pierce it.
Artist Angela Heisch relishes the physical effort involved in making work—the repetitive motions and hours spent in the studio that distort her sense of time and transform her ideas. Standing before the eight paintings and six sketches that comprise “Trapeze,” her current exhibition at Davidson Gallery in New York, she told me “how important that process still is” for her lively abstractions.
By Claire Selvin
I Can Drink the Distance, a solo exhibition by artist Torkwase Dyson, the Spring 2019 Robert Gwathmey Chair in Architecture and Art at The Cooper Union, considers how the body unifies, balances, and arranges itself to move through built environments. Attuned to the shape patterns of industry—from the history of global trade to contemporary colonization and extraction—Dyson thinks through the various ways humans oppose the violence of these synergistic systems with methods of improvisation and spatial planning.
In 2018, artists and curators across the United States have been crafting brilliant exhibitions across the US, exploring themes of identity and community in innovative ways. Ebony G. Patterson made a maximalist tribute to victims of violence in her home country of Jamaica, while Joel Otterson crafted work recalling his parents’ professions as a seamstress and plumber. Indigenous artists took the stage at the Anchorage Museum’s Unsettled and Jeffrey Gibson’s This is the Day at the Wellin Museum. The enthralling official Obama portraits, painted by Kehinde Wiley and Amy Sherald, were revealed at the National Gallery in DC, putting Black fine artists into the national consciousness. This list is an insight into the tastes of our US writers and the shows that moved them.
6. Scalar, A Solo Exhibition by Torkwase Dyson at the Usdan Gallery
Torkwase Dyson’s paintings in Scalar crash like waves in the dark, as seismic as they are surreptitious, creating intimate frameworks for rethinking materiality, form, and spatial and environmental politics in the process. Two onyx-black panels, one mounted and the other leaning on a tiny chrome balance beam, make up “I Can Feel You Now (Accumulation/Distribution)” (2018), a 12 by 20-foot diptych painted on site at Bennington College. It both commands the room and draws viewers close with blips of white paint suggesting some code or measurement of scale. The works in Scalar, which was curated by Anne Thompson, question how forms in our landscape become subconscious and serialized, and either help or hinder Black bodies moving through it. Dyson’s tondos in Scalar can also be seen as pipelines through the earth cleaved open, runnels of paint revealing the hand as gesture — but more importantly, the hand as conscious and considerate of what it touches and builds, or destroys and leaves behind. —Alex Jen
It can be difficult for artists to express stories of magic and personal memories through their practice, while most of us tend to believe fictional narratives when they are served on a silver plate. Nicky Broekhuysen, who works and lives in Berlin, translates one of these highly personal and perhaps even non-logical stories into the artistic project "The Channeling" that she will be presenting at Davidson Gallery in New York. The project is based on a story involving Nicky's grandmother Marge Hugo and her relationship to the impressionist painter Claude Monet. Merging painting and binary code, while referencing her grandmother's practice of channeling and spiritual awareness, Nicky's various artistic techniques accompany her through a journey from the past into the future. Her practice is a reminder of how art is still the most powerful tool for magical narratives and ways of remembering inspiring people.
Text courtesy of Artfridge.de
A Solo Exhibition by Torkwase Dyson
Colby College Museum of Art
October 4 2018 - January 6 2019
Davidson Gallery is proud to announce the acquisition of a painting by Torkwase Dyson for the Smithsonian National Museum of African American History & Culture's permanent collection.
“Scalar” features new paintings, drawings, and sculptures by artist Torkwase Dyson, known for her use of abstraction and modes of inquiry from art, architecture, and geography to explore the production of form within contemporary economic and political climates.
The technique of photomontage entered the vernacular of modern art in 1916, at the hands of the German Dadaists George Grosz and John Heartfield. Over the years, artists in every era and region, from Hannah Höch to Aleksandr Rodchenko to Wangechi Mutu, have adopted the practice of splicing old images into new meanings. Among the most recent of these is Joe Rudko, a young Seattle-based artist who brings elegant, trippy nuances to the twentieth-century form.
‘True Colours’, brings together three emerging artists – Helen Beard (b.1971, Birmingham), Sadie Laska (b.1974, West Virginia) and Boo Saville (b.1980, Norwich) – that, despite using paint in very different ways, all share an interest in exploring the possibilities of colour. Featuring over fifty works, the show is the largest exhibition to date for each artist.
The Graham Foundation for Advanced Studies in the Fine Arts has named the five creative professionals who were selected to take part in its inaugural fellowship program. Torkwase Dyson, Brendan Fernandes, David Hartt, Martine Syms, and Mark Wasiuta will each receive financial support for the development and production of new works that will be presented in a series of exhibitions at the organization’s historic Madlener House galleries in Chicago.
The group exhibition, Meow! (or 貓), which is currently on display at LeRoy Neiman Center for Print Studies, features the work of eight artists, including Visual Arts Adjunct Assistant Professor Kiki Smith and Mentor Mark Dion. It is curated by Alumnus and Visual Arts Adjunct Assistant Professor Nathan Catlin ‘12, who is the Master Printer and Studio and Project Manager at LeRoy Neiman Center. Catlin has assisted and collaborated with the artists in the exhibit for seven years, since he was a Visual Arts MFA student in 2011.
This exhibition brings together artists from across the United States—Carolina Caycedo, Demian DinéYazhi´ with Ginger Dunnill, Torkwase Dyson, Cy Gavin, Lena Henke, and Erin Jane Nelson—whose work responds to the precarious state of the environment through a personal lens. Experimenting with form and narrative in painting, video, and sculpture, these artists address how ideology—as much as technology, industry, and architecture—impacts all living things.
Though each contends with facts or histories that are real and observable, none takes a documentary approach. Rather, these artists adopt a highly subjective position, embracing emotion, intuition, spirituality, and myth to help understand our intrinsic place within the “natural” world. They share the sense that scientific, or “rational,” thought can reinforce a limited view of our planet and its inhabitants—one that assumes they can and should be controlled.
The works present a wide range of subjects, from communities affected by hydroelectric-dam construction in South America to those displaced during the controversial transformation of New York in the mid-twentieth century by city official Robert Moses. They draw from distinct visual traditions, including Southern handcraft, sixteenth-century architecture, history painting, and hard-edge abstraction. Through their varied interests and formal approaches, all of these artists assert the relevance of individual experience and perspective to address concerns that are global in scale and effect. In the words of artist Torkwase Dyson, this exhibition is not just about “the way we connect...but understanding also the waters that are between us.”
The exhibition is organized by Elisabeth Sherman, assistant curator, and Margaret Kross, curatorial assistant.
Text taken from whitney.org
An aluminum sculpture by the late artist Mary Ann Unger is now on view at the NYC Parks Greenstreet on Jackson Avenue and 46th Avenue in Long Island City, Queens. Created in 1986, Unfurling is Unger’s first artwork to be displayed with Parks and will be on view through October 24, 2016. Unger exhibited her work at both MoMA PS 1 and SculptureCenter during her lifetime, bringing her work full circle as it is installed adjacent to these Long Island City institutions.
The Director of the RGR + ART Gallery , Ricardo Gonzalez Ramos spoke on the Kaleidoscope Titina on this project with the scenario of " Cromoconsferencia " Master Carlos Cruz Diez and artist Liu Bolin. He explained that the development of this work had been carried out for three years and lasted about 16 hours to complete the recreation of the work and to photograph. Cromointerferencia artists recreated on a wall, and then proceed to paint and it gave the illusion of " camouflage " between the lines that intertwine in this renowned work. This collaboration is a job for RGR + ART Gallery Gallery Marion and Panama.
Translated by Google
"Approximately 10 percent of the sales made by the Maxwell Davidson Gallery in New York occur after works have left the gallery “on approval,” said Maxwell Davidson IV, and the majority of those items are the more expensive pieces (“in the six and seven figures”)—and especially sculpture. “You need to walk around sculpture, see the scale of it in a room, see if you are going to bump into it,” he said. Paintings, on the other hand, “are for flat walls. It either fits or it doesn’t.
The gallery allows prospective buyers “between an afternoon and a long weekend” to decide whether or not to buy a piece (“If you can’t make up your mind in two or three days, it’s not likely to happen”), and Mr. Davidson said that those collectors permitted to take works on approval are known to the gallery either as buyers or regular visitors, and others are checked out by contacting other dealers from whom they have purchased artwork. “We don’t send out things willy-nilly.”
#2 - Carlos Cruz-Diez
On April 1, 2015, The Colour Group will present the Turner Medal Award to Carlos Cruz-Diez for his contribution to understandings of Colour through Art.
Auckland-based British sculptor Kevin Osmond creates artwork inspired by the fabric of the universe. He talks to Justine Harvey about his journey from apprentice cabinet maker to international artist.
Included: Sam Messenger, Aegyptus, 2014, Mixed media on canvas, 111 x 82 1/2 inches
"Organized by the Art Dealers Association of America, The Art Show, now in its 27th year, has earned its declarative name for steadfastly maintaining that the quality of art has little to do with hype and headlines, and it's clear that the thoughtfully selected mix of works, which mostly range from the 19th century to the present day, hold up to academic and aesthetic critique. Among the works exhibited by 72 participating galleries are a sculpture by Constantin Brâncuși, a painting by Claude Monet, works from 20th century masters like Pablo Picasso, Nam June Paik, and Chuck Close, and solo booths for contemporary stars like Wade Guyton, Lorna Simpson, and Michelle Grabner. The ADAA prides itself on its roster of esteemed dealers who continue to prove that, in the art market, good business means little without good taste."
In February 1965, The Museum of Modern Art mounted an exhibition titled The Responsive Eye, comprised of works by nearly 100 artists from around the world who were experimenting with Op-art before the term existed. The exhibition was groundbreaking, spanning international borders, yet rooted in established visual and color studies. It encompassed Optic, Kinetic, Conceptual, and Color Field art.
To commemorate this landmark exhibition, and to further examine Op-art’s current imprint on the art world, Maxwell Davidson Gallery presents The Responsive Eye at 50, with works by historical artists featured in the 1965 MoMA show, such as Victor Vasarely, Carlos Cruz-Diez, Bridget Riley, Yaacov Agam, and Luis Tomasello. The far-reaching influence of The Responsive Eye on today’s artists cannot be overlooked. As such, we will also show work by contemporary artists and artists influenced by the Op-art movement including Pedro S. De Movellan, Mary Ann Unger, Sanford Wurmfeld, Kevin Osmond, Ghost of a Dream, and Sam Messenger.
Wednesday- Friday: 12 to 8pm
Saturday: 12 to 7pm
Sunday: 12 to 5pm
PIctured: Victor Vasarely, Méandres-Naissances, 1953, Acrylic on canvas, 70 1/4 x 61 inches
Maxwell Davidson Gallery and Davidson Contemporary artists have been well-represented in museum shows this year (and will continue to be into 2015).Several works by Pedro S. de Movellàn and Tim Prentice are on view in Vero Beach Museum of Art’s exhibition Kinetic Sculpture: The Poetics of Motion, along with sculpture by George Rickey and several contemporary kinetic sculptors. The show closes January 4.As part of the Crystal Bridges Museum of American Art’s State of the Art exhibition, Davidson Contemporary artist collective Ghost of a Dream was selected out of over 1,000 artists to represent the Northeast region. The show opened in September and will be on view until January 19, 2015. The museum also acquired Forever, Almost, the title work and centerpiece of Ghost of a Dream’s first solo show at Davidson Contemporary.Finally, Sam Messenger will be included in Line: Making the Mark, at the Museum of Fine Arts, Houston. MFAH acquired four of Messengers drawings, and asked him to speak at the opening of the exhibition. Alongside Messenger, the show features a cavalcade of Modern and Contemporary artists including Josef Albers, Louise Bourgeois, Willem de Kooning, Sol LeWitt and Agnes Martin, among others. Line: Making the Mark opens today and runs through .
On November 6, Maxwell Davidson Gallery and Davidson Contemporary open their new bi-level Chelsea gallery. Located on the top two floors of 521 West 26th street, the new space - designed by Murdock Solon Architects - boasts features unique to the gallery, and unmatched in New York.
Pedro S. de Movellán
Contour: New Kinetic Sculpture
November 6 - December 23, 2014
Opening Reception: Thursday, November 6, 4 - 9pm
Maxwell Davidson Gallery and Davidson Contemporary are moving.
This fall, we will open in our new location at 521 W 26th St. Please stay tuned as we prepare to announce the official opening date.
Please note that Maxwell Davidson Gallery and Davidson Contemporary will be closed for August while our new Chelsea space is being finished. For any questions or inquiries, please email us at email@example.com.
Our phone number will remain the same.