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Bultman Advisory Services, 522 West 21st Street, New York, NY (2026)

03/19/2024

On view until April 13, ‘Richard Prince: Early Photography, 1977-87’ features the photographer’s recognizable portraits, cowboy, and advertisement images. Archival writings by Prince while he worked magazine convey his questioning of commercial photography and representation of gender identity in the media.

A uniquely American photographer who commonly documented stylized figures and scenes, Richard Prince’s images toss archetypical representations of identity back to the viewer. The prints and ektacolor photographs on display feature women stylized in high fashion settings or cowboys riding horses in an American West landscape.

Other tightly shot photographs of necklines adorned with jewelry, women on motorcycles, or the monumental prints from the complete series “The Entertainers” (1982-83) subvert the authority of commercial photography. Many of Prince’s images capture the humor and theatricality of portraiture, especially in his portraits of a woman’s head or sunglass-clad section of her face. By playing with the obtrusive nature of photography, Prince centered his subjects as models and characters. These figures took on lives of their own, both representing American society’s arc into mass advertisement and recontextualizing the meanings of the people and objects in frame.

12/14/2023

Last chance to see “Arms and the Sea”, Katherine Bradford’s () fifth solo exhibition with .nyc.

As a zeitgeist of figurative abstraction since the 1960s, Katherine Bradford’s work has bravely moved between representation of figures and their inner worlds. Paintings that Bradford created from 2022-2023 vary in scale, form, and color, while emitting tones of celestial scenery. Gestural bands that sweep across her paintings recall the swimmers in Bradford’s earlier works. However, the artist constructs her ebullient color fields and dreamlike landscapes with originality.

Motifs in these paintings, such as 18th century Georgian-style houses, are informed by Bradford’s strokes and bright undertones. The luminous blues and purples in the painting ‘Under My House’ (2022) burst from the canvas, recalling Impressionist flecks of color. A white house sits atop a floating figure, who lies face down yet gazes toward the structure. There’s an eeriness and familiarity to these works.

Bradford’s scenes ask us to question our organization of reality and ‘dark’ obsessions. By experimenting with modular aspects of abstract expressionism and depictions of the subconscious, Bradford paints with humour and tenacity.

Katherine Bradford is an New-York based artist whose work has pushed forth a language of figuration and abstraction that combines the surreal with a shifting sense of figure & ground. The characters in her paintings interact with their surroundings and are often layered atop each other, scenes she creates with transparent shades of acrylic. These figures push beyond the surreal, existing in liminal spaces that can speak to the strangeness and chaos of everyday life. Bradford’s paintings and works on paper are present in collections and , and the artist is represented by .nyc gallery in Manhattan’s Tribeca neighborhood.

12/14/2023

Last chance to see “Arms and the Sea”, Katherine Bradford’s () fifth solo exhibition with .nyc.

As a zeitgeist of figurative abstraction since the 1960s, Bradford’s work has bravely moved between representation of figures and their inner worlds. Paintings that Bradford created from 2022-2023 vary in scale, form, and color, while emitting tones of celestial scenery. Gestural bands that sweep across her paintings recall the swimmers in Bradford’s earlier works. However, the artist constructs her ebullient color fields and dreamlike landscapes with originality.

Motifs in these paintings, such as 18th century Georgian-style houses, are informed by Bradford’s strokes and bright undertones. The luminous blues and purples in the painting ‘Under My House’ (2022) burst from the canvas, recalling Impressionist flecks of color. A white house sits atop a floating figure, who lies face down yet gazes toward the structure. There’s an eeriness and familiarity to these works.

Bradford’s scenes ask us to question our organization of reality and ‘dark’ obsessions. By experimenting with modular aspects of abstract expressionism and depictions of the subconscious, Bradford paints with humour and tenacity.

Katherine Bradford is an New-York based artist whose work has pushed forth a language of figuration and abstraction that combines the surreal with a shifting sense of figure & ground. The characters in her paintings interact with their surroundings and are often layered atop each other, scenes she creates with transparent shades of acrylic. These figures push beyond the surreal, existing in liminal spaces that can speak to the strangeness and chaos of everyday life. Bradford’s paintings and works on paper are present in collections and , and the artist is represented by .nyc gallery in Manhattan’s Tribeca neighborhood.

11/09/2023

Tracey Emin’s first solo exhibition with , ‘Lovers Grave’, opened on 11/4. Paintings and works on paper by occupy two floors of the gallery.

In this exhibition, Emin’s interest in the afterlife and imagery of archaeological burial sites bursts into vivid reds and yellows on her canvases. The contemporary British artist has explored the concept of buried love, passion, and life through her paintings. Works such as “There was blood” (2022) depict an embrace between two people that emanates the rapture of desire. While desire and longing are prevalent motifs throughout this suite of paintings and works on paper, Emin conveys how the impermanence of life is wrapped up in expressions of loving.

Tracey Emin has played with the idea of how birth, and new life, arises from death in several of her recent works. The artist, born in London in 1963, and has enjoyed numerous solo exhibitions around the globe. Emin’s work spans across painting, film, installation, drawing, & sculpture, among other mediums. As a member of , Emin has created revolutionary and provocative contemporary pieces that blur the boundaries of art and painting.

11/08/2023

‘Let the painting make you’ is now on view . The exhibition explores Brice Marden’s drawings and paintings, new works that the contemporary artist created between 2021 and 2023.

From the initial moments of entry, six paintings by the artist stand monumentally on the 2nd floor of . The exhibition allows viewers a meaningful glimpse into the remaining years of Marden’s life and pays homage to his prolific grasp of Minimalism and Abstraction.

Marden created a vibrant world of abstraction, color field painting, and expressionism throughout his career. According to art historian Tiffany Bell, these paintings and works on paper round out the progression of the artist’s visual language of lyrical, abstraction. Marden drew upon mystical and mythical sources, always questioning vocabularies of abstract expressionism through his use of serpentine lines and strokes. His paintings and drawings evoke an otherworldly quality— Marden often used ink on gouache to tie calligraphic elements into his work.

Brice Marden (1938-2023) was an American artist who experimented with minimalist and abstract expressionist ideas in his works. Throughout his remarkable 60 year career, Marden’s paintings, works on paper, and drawings were accepted into museum collections around the world (, , ). The artist passed away on August 10, 2023.

10/31/2023

From September 21–January 7, the exhibition “Barkley L. Hendricks: Portraits at the Frick” () embraces the singular vision of the American painter and photographer Barkley Hendricks.
The painting “Lawdy Mama” (1969) stands proudly at the exhibition entrance, the subject’s direct gaze arresting the onlooker and gold background.

Barkley L. Hendricks’ painted portraits evoke a distinct feeling of the 1970s and 80s. His work often depicted people within the Black community, subjects that stood, sat, or danced with vibrant individuality. Monochromatic portraits of artists, his partner, friends, and family members command space in three rooms on ’s fourth floor.

Throughout his nearly 45-year career, Hendricks moved seamlessly between photography, painting, and works on paper. The artist’s beginnings with photography during the 70s allowed him to portray the “beauty, grandeur, style” [Hendricks] of Black folks living in American cities. As Hendricks’s magna and acrylic works celebrated the vitality of his subjects, he also disrupted the movement of conceptualism at the time. At the Frick, Hendricks continued to study the Western canon of classical and Baroque paintings (Bronzino, Rembrandt, and Velázquez).

Barkley Hendricks (1945-2017) was born in Tioga, PA and earned his Fine Arts degree . He graduated from with a Bachelor’s & Master’s degree in just two years. The artist created a unique figurative and conceptual style, one that celebrated the power and charisma of the Black community. Hendricks visited several urban areas in the US during the Black Arts Movement of the 1970s, a period in which his interest in African and Indigenous art became evident in his portraits.

10/30/2023

From September 21–January 7, the exhibition “Barkley L. Hendricks: Portraits at the Frick” ( ) embraces the singular vision of the American painter and photographer Barkley Hendricks.
The painting “Lawdy Mama” (1969) stands proudly at the exhibition entrance, the subject’s direct gaze arresting the onlooker and gold background.

Barkley L. Hendricks’ painted portraits in show evoke a distinct feeling of the 1970s and 80s. His work often depicted people within the Black community, subjects that stood, sat, or danced with vibrant individuality. Monochromatic portraits of artists, his partner, friends, and family members command space in three rooms on fourth floor.

Throughout his nearly 45-year career, Hendricks moved between photography, painting, and works on paper. The artist’s beginnings with photography in the 70s allowed him to portray the “beauty, grandeur, style” [Hendricks] of Black folks living in American cities. As Hendricks’ use of magna and acrylic on a canvas celebrated the vitality of his subjects, he also disrupted conceptualism of the late 20th century.

This exhibition showcases how the artist created an unique figurative and conceptual style, one that celebrated the power and charisma of the Black community. Hendricks visited several urban areas in the US during the Black Arts Movement of the 1970s, a period in which his interest in African and Indigenous art became evident in his portraits.

Barkley Hendricks (1945-2017) was born in Tioga, Philadelphia and earned his fine art degree at . He graduated from with a Bachelor’s & Master’s degree in two years. Hendricks often studied the Western canon of classical and Baroque paintings (Bronzino, Rembrandt, and Velázquez) at the Frick.

10/27/2023

Until January 7, 2024, the exhibition Manet/Degas is on view . The show focuses on the Impressionist and Modernist painters as they both navigated a period of creative flourishment, rejection, and intense collaboration.

Art historians have long been fascinated by the relationship between Manet and Degas. As wall text in this exhibition conveys, the artists harbored envy and admiration toward one another. Manet and Degas both spent their early creative years as copyists . While they learned how to compose form and color on a canvas from the Old Masters (Velázquez, Goya), each pioneered distinct compositional techniques during their careers.

Revolutionary paintings such as Manet’s “Olympia” (1863) were considered blasphemous and unfit for public consumption. Manet, like Degas, took inspiration from Titian’s “Venus of Urbino” (1538). The s*x worker Olympia’s confrontational gaze challenged norms of female positionality in fine art. Partons at the Paris Salon were also aghast by the presence of a Black woman in a 19th cent. painting, her gaze and bouquet angled toward Olympia.

A viewer is initially met with a portrait of Édouard Manet hanging beside Edgar Degas’s portrait, the names of each artist emblazoned above their frames. Manet joined the “Salon des Refusés” in 1863, where he exhibited paintings that received major controversy or were rejected from the prestigious Paris Salons.
As Degas’ career bloomed into the mid 1860s, several of his paintings— depictions of horse races, milliners, and working people— took on a Realist quality. He was inspired by Manet’s use of color and texture, and often used drawing as a foundation for his scenes of bull fighters or Spanish dancers.

Édouard Manet (1832-1883) and Edgar Degas (1834-1917) were born in Paris to upper-middle class families. Manet was encouraged by his uncle to pursue his artistic talents. At age 12, Degas dove head first into painting and drawing, skills that he developed at art schools like École nationale des Beaux-Arts in Paris.

10/27/2023

Until January 7, 2024, the exhibition Manet/Degas is on view . The show focuses on the Impressionist and Modernist painters as they both navigated a period of creative flourishment, rejection, and intense collaboration.

Art historians have long been fascinated by the relationship between Manet and Degas. As wall text in this exhibition conveys, the artists harbored envy and admiration toward one another. Manet and Degas both spent their early creative years as copyists . While they learned how to compose form and color on a canvas from the Old Masters (Velázquez, Goya), each pioneered distinct compositional techniques during their careers.

Revolutionary paintings such as Manet’s “Olympia” (1863) were considered blasphemous and unfit for public consumption. Manet, like Degas, took inspiration from Titian’s “Venus of Urbino” (1538). The s*x worker Olympia’s confrontational gaze challenged norms of female positionality in fine art. Partons at the Paris Salon were also aghast by the presence of a Black woman in a 19th cent. painting, her gaze and bouquet angled toward Olympia.

A viewer is initially met with a portrait of Édouard Manet hanging beside Edgar Degas’s portrait, the names of each artist emblazoned above their frames. Manet joined the “Salon des Refusés” in 1863, where he exhibited paintings that received major controversy or were rejected from the prestigious Paris Salons.
As Degas’ career bloomed into the mid 1860s, several of his paintings— depictions of horse races, milliners, and working people— took on a Realist quality. He was inspired by Manet’s use of color and texture, and often used drawing as a foundation for his scenes of bull fighters or Spanish dancers.

Édouard Manet (1832-1883) and Edgar Degas (1834-1917) were born in Paris to upper-middle class families. Manet was encouraged by his uncle to pursue his artistic talents. At age 12, Degas dove head first into painting and drawing, skills that he developed at art schools like École nationale des Beaux-Arts in Paris.

10/17/2023

Last chance to experience “Swamp”, Nicolas Party’s first solo exhibition with , before it closes on October 21.

“Swamp” surveys oil-on-copper paintings and cabinet compositions, allowing his representational style to come alive from the gallery walls. Throughout his vast career, the Swiss artist has explored figurative painting & multi-media work to test the boundaries of site-specific art. “Swamp”, Party created mural paintings that combine 19th century French painting with contemporary figuration, a facet of his oeuvre visible in the exhibition.

Party’s keen ability to compose immersive environments is seen through murals such as “Swamp” (2023), a monumental work that resembles the style of a triptych. In pastel paintings such as “Portrait with a Goat” (2023), the artist paints a black goat that partly covers a woman’s face, creating an atmosphere in concert to works such as “Swamp”.

Nicolas Party is a visual artist from Lausanne, Switzerland. In 2004, he received his BFA at the Lausanne School of Art. The artist earned his MFA from the Glasgow School of Art in 2009 and has since enjoyed numerous group and selected solo exhibitions.

09/28/2023

Congratulations ! His solo exhibition “Tropical Apex”, which is on view September 9-October 21, explores the artist’s imaginative childhood and memories of the Dominican Republic through the lens of European Renaissance portraiture.

Bony recalls how the bright colors of the Caribbean, materials like coconut, seashells, and horns, and a family-run bodega impacted his upbringing. These motifs come together with black and brown drawn figures that relay Bony’s experience of Dominican personhood and an undertone of European colonialism. Bony initially creates his subjects with colored pencils, acrylic wash, and found objects, later using acrylic and transferring the cut outs to wood panels. The presence of blood and animal horns in “Tropical Apex” seek to disrupt idyllic views of Caribbean cultures and allow Bony to understand the world. Through painting, sculpture, and installation, Bony reveals the intricate cultural life of the Dominican Republic he grew up in and its contemporary complexities.

Bony Ramirez was born in Tenares, Salcedo, Dominican Republic in 1996. The artist’s practice encompasses painting, drawing, and sculpture, as he often renders life size figures onto wood panels. Bony is deeply influenced by Mannerist and Renaissance portraiture. He uses solid color backgrounds and still lives, among other elements, to communicate Caribbean history and contemporary Dominican life.

09/18/2023

Thank you to everyone who attended our event at Pace Gallery on Friday (9/15) evening! We enjoyed mingling with familiar and new faces amidst Pace’s four recently opened exhibitions. Special thanks to Sr. Director Christiana Ine-Kimba Boyle for providing guests with a tour of each exhibition.

Here’s to many more BAS programs and captivating dialogue with our clients. Click the link in bio to read more about our services, core values, and client centric approach to the art market.

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