Tag Archives: Deborah Roberts

ARTISTS FOR NEW YORK

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Fourteen at-risk non-profit visual arts organizations in New York City—Artists Space, the Bronx Museum of the Arts, Dia Art Foundation, the The Drawing Center, El Museo del Barrio, High Line Art, MoMA PS1, New Museum, Public Art Fund, Queens Museum, Sculpture Center, the The Studio Museum in Harlem, Swiss Institute, and White Columns—will benefit from the sale of artwork made available as part of the Hauser & Wirth initiative ARTISTS FOR NEW YORK.

Two non-profit charitable partners are also supported: The Mayor’s Fund to Advance New York City and the Foundation for Contemporary Arts (FCA).

Located at the gallery’s two New York locations and online, more than 100 artists are participating in the project, including Rita Ackermann, Kelly Akashi, Ida Applebroog, Genesis Belanger, Lynda Benglis, Katherine Bernhardt, Huma Bhabha, Carol Bove, Katherine Bradford, Sam Falls, Charles Gaines, Maureen Gallace, Joanne Greenbaum, Mona Hatoum, Mary Heilmann, Camille Henrot, Jenny Holzer, Roni Horn, Shara Hughes, Rashid Johnson, Joan Jonas, Sanya Kantarovsky, June Leaf, Simone Leigh, Zoe Leonard, Glenn Ligon, Sam McKinniss, Marilyn Minter, Sarah Morris, Angel Otero, Adam Pendleton, Elizabeth Peyton, Jack Pierson, R.H. Quaytman, Deborah Roberts, Ugo Rondinone, Mika Rottenberg, Tschabalala Self, Amy Sherald, Cindy Sherman, Amy Sillman, Laurie Simmons, Taryn Simon, Lorna Simpson, Avery Singer, Sarah Sze, Kara Walker, Mary Weatherford, and the estate of Anne Truitt.

See link below for details.

ARTISTS FOR NEW YORK

Through October 22.

Hauser & Wirth

548 West 22nd Street, New York City.

32 East 69th Street, New York City.

From top: Lorna Simpson, Haze, 2019, ink and screenprint on gessoed fiberglass, photograph by James Wang, image courtesy and © the artist and Hauser & Wirth; Kelly Akashi, Feel Me (Flesh), 2020, hand-blown glass and bronze, image courtesy and © the artist, Tanya Bonakdar Gallery, New York, and François Ghebaly Gallery, Los Angeles; Mary Weatherford, Meeting in the Forest, 2019, flashe and neon on linen, photograph by Fredrik Nilsen Studio, image courtesy and © the artist, David Kordansky Gallery, and Gagosian; Rashid Johnson, Standing Broken Men, 2020, ceramic tile, mirror tile, spray enamel, oil soap, black stick, wax, photograph by Martin Parsekian, image courtesy and © the artist; Jack Pierson, Inquire Within, 2020, metal and wood, image courtesy and © the artist and Regen Projects; Angel Otero, Sleepy Fire, 2020, oil paint and fabric collaged on canvas, image courtesy and © Lehmann Maupin; Jenny Holzer, from Survival (1983–85), 2020, photograph by Graham Kelman, image courtesy and © the artist and Artist Rights Society (ARS).


VIELMETTER LOS ANGELES — TWENTY YEARS

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In January 2000, when I opened the doors of the gallery for the first time, the work that was being highlighted by the most prominent galleries in Los Angeles reflected the discourse of an astoundingly narrow cultural group. I felt this was starkly at odds with the incredibly rich and culturally layered reality that I experienced here. It seemed to be a strangely inaccurate representation of the city’s vibrant art community and a missed opportunity to bring attention to the wide range of powerful voices from the different cultural contexts Los Angeles had to offer. As a result, the gallery’s main goal at that time was not to find the best or most successful artists, because I didn’t trust the parameters according to which those categories were defined. Rather, the goal was to invite artists from diverse and underrepresented backgrounds to bring their practices and viewpoints to the gallery. The hope was that this would lead not only to a much richer and more complex cultural experience, but that this approach would disturb the ingrained hierarchies prevalent in the Los Angeles art world and beyond. What has remained at the heart of the gallery until today is this need to question the metrics by which artists are valuated and to challenge the hierarchies we bring to art and to most other areas of cultural life.

We acknowledge that we have a lot of work still to do, that in fact this work will never be finished. This year, we invite you to celebrate what the gallery has accomplished so far. — Susanne Vielmetter

Vielmetter Los Angeles celebrates twenty years with the first iteration of a remarkable group show, up through the end of the month.

The exhibition includes works by Laura Aguilar, Nick Aguayo, Edgar Arceneaux, Math Bass, Whitney Bedford, Andrea Bowers, Sarah Cain, Patty Chang, Kim Dingle, Sean Duffy, Genevieve Gaignard, Liz Glynn, Karl Haendel, Stanya Kahn, Hayv Kahraman, Raffi Kalenderian, Mary Kelly, Dave McKenzie, Rodney McMillian, Shana Lutker, Wangechi Mutu, Ruben Ochoa, Pope.L, Deborah Roberts, Steve Roden, Arlene Shechet, John Sonsini, Amy Sillman, Stephanie Schneider, Monique Van Genderen, Tam Van Tran, Esther Pearl Watson, and Patrick Wilson.

VIELMETTER LOS ANGELES—20 YEAR ANNIVERSARY EXHIBITION

Through August 29, by appointment only.

Vielmetter Los Angeles

1700 S Santa Fe Ave #101, Los Angeles.

Vielmetter Los Angeles, 20 Year Anniversary Exhibition, July 18, 2020–August 29, 2020, from top: Kim Dingle, for the occasion should the current president drop dead, 2019, oil on canvas; Monique Van Genderen, Untitled, 2020, oil on linen; Deborah Roberts, Stinney (Nessun Dorma Series), 2019, mixed media collage on paper; Pope.L, Trophy (Hedgehog), 2007, wood, stuffed animal, oil paint, acrylic paint, acrylic medium, peanut butter, screws; Arlene Shechet, Cure, 2020, glazed ceramic, steel, photograph by Eva Deitch; Wangechi Mutu, I am Speaking, Can you hear me?, 2020, paper pulp, wood glue, soil, charcoal, bone, feathers, shells, wood, metal stands; Edgar Arceneaux, In Between The Steps, #1, 2020, shoes, grass, weeds, sticks, acrylic paint, oil paint and resin on canvas; Esther Pearl Watson, The Strangeness Zone, 2020, acrylic, glitter and foil paper on panel; Stanya Kahn, Dusk Falls Fast on the Eve of the End, 2018, Ink and gesso on canvas; Andrea Bowers, The Tyranny Over Women Is Interlinked to the Oppression of Nature (Ecofeminist Sycamore Branch Series), 2020, archival marker on cardboard; Nicole Eisenman, Tea Party, 2012, 2-color lithograph on Saunders-Waterford HP watercolor paper, published by Jungle Press Editions, New York; Karl Haendel, How long will it be until I’m forgotten?, 2020, pencil on paper; Tam Van Tran, Divinations Jar ll, 2019, high fire ceramic; Shana Lutker, Hands(G), 2017, stainless steel; Rodney McMillian, two Suns, 2016, latex on bedsheet, photograph by Jeff McLane. Photographs, unless otherwise credited, by Robert Wedemeyer. Images courtesy and © the artists and Vielmetter Los Angeles.