Alteronce Gumby - Frieze Week London

Who: The Bronx-based artist, born in 1985, is showing new abstract works that transform fragments of colored glass into terrazzo panels that explore identity and how people rebuild their lives after traumatic events. Named after jazz compositions, Gumby’s iridescent wall pieces pack plenty of what auctioneers call wall power. The young artist brings something new to the party thrown by similar artists, such as Jack Whitten, Sam Gilliam, and Robert Rauschenberg.

On View: False Flag at the Sunday Art Fair 

Based in: New York

Why You Should Pay Attention: Trained as a painter, Gumby found his voice in glass. Like Rauschenberg when he spotted the potential of rubber tires, Gumby’s turning point came after he saw a smashed bus shelter near his studio in the Bronx. After earning his MFA at Yale, Gumby undertook a year-long residency at the Fondation des États-Unis in Paris via a summer residency at the the Camden Arts Centre in London. He has also hung out at Captiva in Florida on a Rauschenberg fellowship. The artist Rashid Johnson included Gumby’s work in the 2017 group show “For Color” and other recent group shows include “Abstract, Representational, and so forth,” at Gladstone Gallery in New York this past summer. 

What to Look Out For: The New York-based False Flag gallery is showing a series of square terrazzo panels in two sizes. All have romantic titles, many inspired by classic jazz tracks. The artist’s blue-note piece Soul Searching (2019) is one of three works that have sold or are on reserve.

NADA Miami 2019 Exhibitors Announced

The 17th edition of NADA Miami, to be held December 5–8, 2019 at Ice Palace Studios, is dedicated to showcasing new art and to celebrating the rising talents from around the globe.

NADA holds a renowned art fair to vigorously pursue our goals of exploring new or underexposed art that is not typical of the “art establishment.” NADA Miami is the one of the only major American art fairs to be produced by a non-profit organization, and is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with contemporary art.

NADA Miami
December 5–8, 2019

Ice Palace Studios
1400 North Miami Avenue
Miami, FL 33136

Sunday Art Fair — Alteronce Gumby | London — October 3-6

Coinciding with Frieze, Sunday Art Fair is London’s international contemporary art fair for new art, focusing on young and emerging galleries from all around the world.

Sunday features 30 international galleries exhibiting solo projects or curated group presentations.


Thursday 3rd October, 6 – 10 pm (VIP preview, 12-6pm)

Friday 4th October to Saturday 5th October,  12 – 8 pm 

Sunday 6th October,  12 – 6 pm


Ambika P3

35 Marylebone Road, London


More information about Sunday

Asif Mian Awarded Jerome Foundation Fellowship

The Queens Museum is thrilled to announce the artists selected for the 2019-2020 Queens Museum-Jerome Foundation Fellowship, Sydney Shen and Asif Mian! The QM-Jerome Foundation Fellowship for Emerging Artists was established to help emerging visual artists in New York City. Two artists are selected to receive stipends of 20,000 USD each; the opportunity to develop and exhibit a project at Queens Museum; and professional development support from Queens Museum curators and other programming staff members.

Camille Hoffman in Art in America

Camille Hoffman:  Las Américas (en el hogar) / Americas (in the hearth) , detail, 2019, at Wave Hill. Photo Stefan Hagen.

Camille Hoffman: Las Américas (en el hogar) / Americas (in the hearth), detail, 2019, at Wave Hill. Photo Stefan Hagen.

Landings and Landscapes: Contested Geographies at Wave Hill

by Lou Cornum

In the nineteenth century, Wave Hill, a twenty-eight–acre estate situated on the bank of the Hudson River in the North Bronx, was home to publishing scion William Henry Appleton, admirer of the famed natural scientists he often invited as guests. Wave Hill was gifted to New York City in 1965 and turned into a public garden, but an aura of affluence still surrounds its grounds, which you reach by taking a shuttle from the last stop on the 1 train past the mansions of Riverdale. Inside the gates there is a mix of well-manicured herb and flower gardens and greenhouses stocked with succulents; beyond that, you’ll find more overgrown woodland areas, winding paths, and grassy nooks for sitting (but not picnicking). This historic estate with a botanic garden is perhaps not a place one expects to view contemporary art addressing the geographies of American empire, but that is what is currently on view at Glyndor Gallery, Wave Hill’s venue for cultural programming. The exhibition Here We Land,” on view through July 14, takes up three rooms, each one with an installation offering a small portal to three distinct but interconnected colonial spaces that are violently affixed to the United States. In works commissioned for the show, Camille Hoffman, Sara Jimenez, and Maria Hupfield invoke in turn the US-Mexico border, the Philippines, and Indigenous territories of the Anishinaabe, while also incorporating in some way aspects of the land of Wave Hill itself. There are separate entrances to each room, and no directions given for how to move between them. Like the gardens, the gallery is not organized in a linear fashion, prompting visitors to wander through while making associative connections between histories and places.

Hoffman uses the root systems of the North American aspen tree as a metaphor for the separation of families at the southern border. It is perhaps a misnomer to use the singular in saying “tree,” as such individuality is not natural to the aspen. In Utah’s Fishlake Forest lives Pando, the world’s largest organism. It appears to be 47,000 individual aspen trees, but each one is a genetically identical clone sprouted from a single root system that extends for miles.

Hoffman’s Las Americas (en el hogar)/ Americas (in the hearth) is a set of photographic prints of aspen trees on vinyl. Vibrant like stock photos, the prints have been cut into silhouettes taken from images of families held in detention or crossing the US-Mexico border, as well as from snapshots of the artist’s own family. Hoffman brings the boundary-busting ways of the aspen into the carefully proportioned and ornamented interior of the Glyndor house: these families spill over the moldings, out of the window frames, and across the fireplace. In the defunct fireplace, the artist has stuffed both aspen logs and thick noodle-like bundles of root material, making the hearth the center from which these diffuse family collectives grow. Outside the windows of this house that nobody lives in, grow trees with yellow leaves that echo the ones in Hoffman’s piece. The installation finds the openings where the boundary between inside and outside breaks down, marking in its crossings the exclusions enforced by such borders.

Art in America - June 10, 2019

Emilie Gossiaux — Yale MFA & Wynn Newhouse Award

Congratulations to Emilie Gossiaux for earning her MFA in sculpture from the Yale University School of Art last week. Three of her works are currently on display in the Wynn Newhouse Awards Exhibition at the Palitz Gallery — reception Wednesday, May 29 at 6pm — in the Joseph I. Lubin House, 11 East 61st Street.

Nominees and winners of the Wynn Newhouse Awards are chosen by a committee, composed of persons respected in the arts and disabilities communities. Sponsored by the Samuel I. Newhouse Foundation, the Awards provide grants to artists of excellence who happen to have disabilities. Recipients share an annual award totaling $60,000, allocated by the judges.

The 2018 awards selection committee was comprised of: Sara Felice, Point of Contact Gallery; Carrie Moyer, artist and faculty Hunter College; Jane Kaplowicz Rosenblum, artist; and Alice Sheppard, artist and 2015 awardee.

The 2018 grant winners include Rachel Fein-Smolinski, Emilie Gossiaux, Kazumi Kamae, Alma Leiva, jes sachse, and Sandie Yi. The work of these artists encompasses drawings, paintings, ceramics, video, and site-specific installations.

Previous recipients include Marlon Mullen, Carolyn Lazard, Christopher Knowles, Park McArthur, Dawoud Bey, and Katya Tepper, among others.

Works by winning artists will be on exhibition at the Palitz Gallery, at the Joseph I. Lubin House at 11 East 61st Street in New York — on display from April 22 to June 6, 2019.

Virginia Lee Montgomery at Museum Folkwang

Virginia Lee Montgomery will present PONY HOTEL, 2018 at the Museum Folkwang in Essen, Germany - marking her first solo exhibition at a European institution.

Still from  PONY HOTEL , 2018

Still from PONY HOTEL, 2018

6 ½ Weeks

Virginia Lee Montgomery


9 May – 23 June 2019

In the series 6 ½ Weeks Museum Folkwang presents the first institutional solo show by Virginia Lee Montgomery (born 1986) to be held in Europe. Her video piece PONY HOTEL (2018) brings together symbolically charged elements in various combinations and interactions that open up a multitude of associations: a hand with manicured finger Danish pastry, white syrup drops onto a watch, braids in several variations – sometimes made of blond or coloured strands, other times suspended as if bodiless – develop a life of their own. The pony tail is the key protagonist in PONY HOTEL and simultaneously visualizes an actual aspect of Montgomery’s own work. Aside from her work as an artist Montgomery freelances as a graphic facilitator and travels throughout the United States to conferences where she provides the live visualization. She often uses the hotel room she stays in as the setting for her videos. Then in the studio in a fast edit she combines the sequences with an unusual soundtrack that consists of a mixture of background noises and sounds from nature. The resulting interplay of audio and visual elements produces an enigmatic, surreal atmosphere.

In Museum Folkwang Virginia Lee Montgomery combines her work with a sculpture from the collection: A superficial interest in flowing, pouring out and spilling liquids provides a link between George Minne’s L’homme à l’outre (Man with Wineskin, 1897) and PONY HOTEL, without detracting from the manifold levels of meaning in the dripping, flowing, spurting liquids. Notwithstanding the different epochs, styles and media involved in the dialogue between the two works an interplay is created that is characterized by our search for the hidden meaning of things.

Kick-off Event:
6:30 p.m. with Virginia Lee Montgomery
Friday, 10 May 2019, 6:30 p.m.
Greeting by curator Antonina Krezdorn
Artist talk with Virginia Lee Montgomery (in English)
Afterwards in the foyer: 
Drinks, snacks and a Vinyl only set by DJ Lvio betwen left-field pop and dreamy electronic music

Participation is free.

Billy Jacobs || NADA House - Governors Island

Billy Jacobs   ||   NADA House - Governors Island

FALSE FLAG is proud to participate in NADA House — presenting new work by Billy Jacobs.

NADA House, the organization’s second off-site exhibition on Governors Island, features 45 artists from NADA Member galleries and non-profits in a new, expanded format across 34 rooms in three historic, turn-of-the-century Colonial Revival houses. The collaborative, public exhibition will be on view every weekend, Friday through Sunday, 11am–5pm from May 2, 2019 to August 4, 2019.

There will be a special opening preview held on Thursday, May 2nd from 1–5pm.

The exhibition will be free and open to the public, with monthly programmatic activations and performances.

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SculptureCenter To Host Annual Spring Benefit Lucky Draw

Spring Benefit: Lucky Draw 2019
Tuesday, Apr 16, 2019


5:00pm Doors Open
7:30pm Auction & Draw Begins

Lucky Draw is a one-of-a-kind art raffle that guarantees that each and every ticket holder goes home with a work of art. This fast-paced one night event offers first-time and seasoned collectors access to works by today’s most innovative talents and raises funds to support SculptureCenter’s programs dedicated to contemporary artists.

Bid on works courtesy of FALSE FLAG:

Sterling Crispin
Emilie Gossiaux
Billy Jacobs
Bradford Kessler
Bonnie Lucas
Asif Mian
Virginia Lee Montgomery
Carol Peligian
Andrew Ross

Bradford Kessler at Marvin Gardens

Bradford Kessler was included in the Marvin Gardens exhibition Flesh and Fantasy, curated by Kenneth Heyne.
Opening Friday, April 5, 7-9 p.m.

Marvin Gardens
1540 Decatur Street
Ridgewood, NY 11385

Joshua Abelow, Melissa Brown, Caroline Wells Chandler, Huey Crowley, Elizabeth Ferry, Billy Grant, Kenneth Heyne, Royal Jarmon, Irena Jurek, Bradford Kessler, Brian Kokoska, Alison Kuo, Zeb Mayer, Cristina de Miguel, Lauren Quin, Sarah Schechter, and Chelsea Seltzer.

Hyperallergic | Virginia Lee Montgomery’s Abject Whimsy

Hyperallergic  |  Virginia Lee Montgomery’s Abject Whimsy

Montgomery toys with the psychic space in which abjection is gendered, playfully prodding erotic hierarchies.

by Eileen G'Sell

A blonde ponytail waits alone on an unmade bed. A drilled hole in a blue box reveals a blinking eye. Pliers snap a wire hanger, the hanger’s corner trembling to the sound of windchimes. A cheese Danish is slowly punctured by a prim pointer finger.

Welcome to the dreamscape of Virginia Lee Montgomery, whose recent videos charm — and alarm — in the New Museum’s Screens Series. A sculpture, video, and performance artist who has described her work as “a meta-structural argument for what it means for spirit to pass through form,” Montgomery marries an interest in the uncanny with a raptness toward the material. Error coins, dripping paint, Xeroxed cutouts of a smiling sphinx — the artist investigates each for its sensory properties, often referencing her professional history of diagramming ideas for corporate clientele.

Upon this rather sterile stage of inorganic matter, the bodily and visceral make cheeky cameos. Disembodied hair, colorfully woven or tied with humble strings, becomes a metonym for a roving female subject. Honey — which can sometimes look like urine — slides over a cardboard surface. Danish frosting (or lonely semen?) dribbles down from a rainbow braid.

What results is an intermittent and very whimsical sense of the abject, less horrifying than it is subtly unnerving — a poke in the proverbial id, a pinky in the ear of consciousness. A concept explored by Julia Kristeva in her seminal study Powers of Horror: An Essay on Abjection(1980), the “abject” is typically linked to excretions and waste, what the body leaves behind to remain intact. “[A]s in true theater, without makeup or masks, refuse and corpses show me what I permanently thrust aside in order to live,” the French-Bulgarian philosopher writes. “These body fluids, this defilement, this shit are what life withstands, hardly and with difficulty, on the part of death. There, I am at the border of my condition as a living being.”

Whereas artists such as Cindy Sherman, Louise Bourgeois, and Sarah Lucas have explored the abject from an overtly feminist angle (as, after all, female bodily functions have always been more stigmatized than male), Montgomery toys with the psychic space in which abjection is gendered, playfully prodding erotic hierarchies in which men and women have been historically fixed. Power tools take on an unexpected feminine zest, leaving perfect circles wherever they go, everything a potential orifice to peek and reach through, often to the tune of birdsong.

Montgomery is a woman who knows how to drill — literally, a Dewalt power tool in her pale, French-manicured hand. In Deep See (2017), the drill ruptures a 2-D seascape, a black-sleeved forearm entering to grasp at a human ponytail. In Pony Hotel (2018) shots of a sunny business suite are ruptured by close-ups of a silver bit suddenly entering a void. Cut Copy Sphinx (2018) montages one drill shot after another — each hole a possible frame for the artist’s own curious face. In Beyond Means(2017), pennies spin across a white surface, the sound of a drill whirring in the background. As a portal forms in a wall, a clear, gelatinous substance oozes from its edges, the artist’s by-now familiar hand invading to the sound of dripping water.

“Formally, I make work about circles — psychic or material ones, and what unexpectedly excretes out of open holes,” said Montgomery in a 2017 interview with She/Folk. “I can survey relationships between bodies, hierarchies between objects, genders, sounds, or forms, and thus allow forth a message to emerge from these intersecting realms of cognitive awareness and sensorial participation.”

Water Witching (2017), the longest video on display, invests these relationships with more conspicuously political significance. The spinning drill cuts to a corresponding graphic of a fearsome tornado, which segues into shots of melting glaciers, then to a montage of archival footage of women’s marches for reproductive rights. The hand-drawn hanger on a protest sign becomes an actual hanger relentlessly severed, then reshaped, by the artist’s fingers — as though carefully constructing some industrial talisman.

Whether bodies of water or bodies of women, cheese Danishes or a Dewalt drill, Montgomery perpetually tests the border between subject and object, matter and mind. “What is thing and what is theory?” her work seems to ask. What must we thrust aside to survive the tangible world?

Screens Series: Virginia Lee Montgomery, organized by Kate Wiener, continues at the New Museum (235 Bowery, Manhattan) through March 3.

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Hyperallergic | Asif Mian | Queens International Speaks Volumes About a Borough that Welcomes the World

“Evoking tools of non-diplomatic relations, Asif Mian’s installation, “Nothingness & Specter” investigates the technological limits of thermal infrared cameras used in drone targeting. Plastic bags from local Queens businesses are fused together to form multi-patterned polypropylene smocks, which hang on steel stands like wispy scarecrows. Nearby, oscillating fans circulate hot and cool air, as ghostly figures appear and disappear on a closed circuit monitor fed by a thermal camera. This use of cameras associated with drones reminds viewers of the United States’ forever wars abroad, opening a searing critique of the domestic surveillance of Queens’s diverse population, by staging this elaborate decoy diverting state violence.