Tag Archives: Shara Hughes

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).


LOIS DODD AND SHARA HUGHES

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A cross-generational exhibition in upstate New York brings together work from the 1960s, ’70s, and ’80s by Lois Dodd—a founding member of the Tanager Gallery artists cooperative—with new and recent paintings by Shara Hughes.

LOIS DODD and SHARA HUGHES

Through October 25, by appointment.

Saturday and Sunday, noon to 6 pm.

Parts & Labor Beacon

1154 North Avenue, Beacon.

Lois Dodd and Shara Hughes, Parts & Labor Beacon, August 15, 2020–October 25, 2020, from top: Shara Hughes, Ready to March, 2020, oil and acrylic on canvas; Shara Hughes, Subtle Signals, 2020, oil and acrylic on canvas; Lois Dodd, Skowhegan Woods, 1979, oil on linen; Lois Dodd, Blue Quarry, 1988, oil on linen; Lois Dodd, Forsythia, April, 1976, oil on masonite; Lois Dodd, Skylight in Barn, 1971, oil on masonite; Shara Hughes, Alone Again, 2020, oil and acrylic on canvas; Shara Hughes, Clearing, 2018, oil and acrylic on canvas. Images courtesy and © the artists and Parts & Labor Beacon.

SHARA HUGHES — DAY BY DAY BY DAY

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What artworks never fail to make us feel is their author’s idea of us—how the artist considers the one watching the result, what he or she imagines this watcher is capable of… By using this common language that the painting and the spectator have in common—shapes—the ideas of Shara Hughes give dignity to the spectator. She trusts our capacity to understand this language: we fabricate these landscapes with her, these interiors, these flower bouquets, we are ready for this alternative reality that does not address our reason but our senses and knowledge. — Éric Troncy*

A selection of new works by Shara Hughes—drawings, monoprint drawings**, and paintings—is on view now in Zürich. A comprehensive catalogue depicting these “psychological or invented landscapes,” with an essay by Andrew Russeth, will accompany the exhibition.

SHARA HUGHES—DAY BY DAY BY DAY

Through September 19.

Galerie Eva Presenhuber

Rämistrasse 33, Zürich.

*Éric Troncy, “Shara Hughes,” in Shara Hughes: At Arm’s Length (Los Angeles: DoPe Press; Zürich: Galerie Eva Presenhuber, 2019), 51.

**The term monoprint drawing refers to a technique Hughes has developed, which consists of using the discarded sheets of former prints. In these prints, the artist removed most of the paint applied on the printing plate using a sheet of paper, thus creating a pale ghost of the motif made up of the diluted colors. This then served as the basis for the actual work, while the original, much more defined print constitutes the discarded remnants of the work. In her monoprint drawings, Hughes returns to these stark forms, which were initially used to create the ghost to serve as a subtle structure with colors that only can be produced in the printing process. Therefore, the monoprint drawings are neither a copy nor a different version of another print but rather a literal déjà-vu, a landscape one may have already seen before, or might be a mere effect of one’s imagination. — Galerie Eva Presenhuber

Shara Hughes, Day by Day by Day, Galerie Eva Presenhuber, June 2, 2020–September 19, 2020, from top: Full Moon Cove 2, 2020, printed ink and mixed media on paper; Shelter, 2020, mixed media on paper; Truth In Your Shadows 4, 2019, printed ink and mixed media on paper; The Slightest Mistake 3, 2019, printed ink and mixed media on paper; Trying To Seem Clean Cut 2, 2019, printed ink and mixed media on paper; Outsider 2, 2019, printed ink and mixed media on paper; Hopeful Self Portrait, 2020, mixed media on paper; Making It Work, 2019, oil and acrylic on canvas; Sun Shower, 2019, oil and acrylic on canvas; More Boundaries, 2020, mixed media on paper; Fiery Grounds, 2020, printed ink and mixed media on paper; Proud To Be Here, 2020, mixed media on paper. Images courtesy and © the artist and Galerie Eva Presenhuber.