Follow Friday: The End-of-the-Year Edition
These five galleries from across the globe—spanning San Francisco, D.C., Sydney, Berlin, Singapore, and NY—are seeing 2014 off with strong exhibitions and art fair appearances, and with several shows that will run through to the new year.
Crown Point Press has a long and legendary history—the press was founded in 1962 and has assisted major artists working in an array of media by pairing them with master printmakers. Its influence was celebrated early this year in an exhibit at the National Gallery of Art in Washington, D.C., which will travel to San Antonio’s McNay Art Museum in February 2015. Through January, the gallery is showing 10 new etchings by Charline von Heyl in its San Francisco gallery space. The works anchored Crown Point’s presentations at IFPDA Print Fair in New York and Art Basel in Miami Beach, alongside print pieces by other art-world powerhouses, including Chris Ofili, Peter Doig, Wayne Thiebaud, Ed Ruscha, and Joan Jonas, among others.
As co-founders of (e)merge art fair, the annual Washington, D.C. event that foregrounds emerging artists and connects them to collectors and curators, CONNERSMITH has contributed much to the local art scene since its first appearance in 2007. The gallery’s roster highlights a diverse cast of international artists, from those with established practices like Janet Biggs, Lincoln Schatz, Maria Friberg, and Kenny Hunter, to emerging artists such as Ali Miller. Unsurprisingly, the gallery has made a strong showing at art fairs across the country this year, bringing new works by Barry X Ball, Erik Thor Sandberg, Patricia Cronin, and Leo Villareal to Art Miami in December, new paintings by Katie Miller to its booth at (e)merge in October, and pieces by Zoe Charlton and Wilmer Wilson IV to Volta NY in March.
Through its space in Sydney, Dominik Mersch Gallery focuses on bringing significant European artists to a Australian audience while promoting national artists, established icons, and up-and-comers alike. The gallery recently wrapped up “I’ll Be Your Mirror,” a show of Jon Cattapan’s dense, pale abstract paintings and his works on paper, which probe figuration and space through a mix of oil paint and ink—the Melbourne-based artist made these two series after living in Rome and Venice, respectively. The gallery is currently showing “The Accidental Primate,” a series of photographic explorations of bats in flight by Sydney-based artist Helen Pynor. This month, the gallery launched its Curator Award, giving emerging curators the chance to propose and execute an exhibition in Dominik Mersch’s space. The prize joins the Dominik Mersch Gallery Award, which gives an annual exhibition for an artist attending Sydney College of the Arts; works by the 2013 winner, Jenny Ihn, are on view at the gallery now.
With their anchor space in Berlin and an outpost in Singapore, ARNDT has one foot in each of two vibrant international art scenes. Their Singapore space is currently filled with Beijing artist Qui Zhijie’s ink-on-paper works, some hanging on the gallery’s walls and many others mounted to standing globes. The artist’s playful interrogation of geography extends to the installation that surrounds these works, with wooden, steel, and glass balls peppering the floor and inviting visitors to alter the gallery landscape. Also on view at ARNDT Singapore are figurative paintings by Filipino artist Kaloy Sanchez. Back in Berlin, five Tibetan artists take the stage—Kesang Lamdark, Tenzing Rigdol, Tsherin Sherpa, Gade, and NORTSE. In January, the gallery will present “Utopian Pictures,” 26 works by Gilbert & George in their first Singapore exhibition.
The New York-based Judith Charles Gallery brings a roster of early and mid-career artists to the Bowery. Its current exhibition, “weightless,” presents Henry Mandell’s astonishing, digitally constructed works that resemble intricate paintings. Mandell was trained as a painter and printmaker, and channels that background into his work with computers, using a highly honed process to turn individual letters into singular colored strings, which are then woven into the dense abstraction that results. The show follows up works by George Horner, whose “I Gave You a Retrospective at the City Dump!” probes art-world seriousness through letterpress posters and neon signs. In January, Judith Charles mounts “Immediate Female,” a group show that will highlight artists working in New York City.