Anton Kern Gallery

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Aaron Fowler⁠RELEASE⁠July 9 - August 15, 2025⁠Opening Reception: July 9 from 6-8pm⁠⁠Anton Kern Gallery is pleased to ann...
07/01/2025

Aaron Fowler⁠
RELEASE⁠
July 9 - August 15, 2025⁠
Opening Reception: July 9 from 6-8pm⁠

Anton Kern Gallery is pleased to announce RELEASE, the second exhibition by Aaron Fowler at the gallery, and his first at 16 East 55th Street in New York. The exhibition features five large-scale paintings, two sculptural works, and a suite of works on paper. ⁠

RELEASE is both a mirror of Fowler’s transfiguration, and an invitation for audiences to let go of what no longer serves them, so they too may be transformed. ⁠

The exhibition takes its title from a family ritual: the release of balloons to honor the passing of loved ones. The largest work in the show, Family Release, a thirty-six foot long painting, depicts a large group during this act, anchoring the exhibition in a gesture that becomes a structure through which Fowler explores mourning, remembrance, and transformation⁠

Text by Monique Mitchell ⁠

Photo of Artist’s Studio, St. Louis, MO.⁠

  : Now on view in The Campus’s second annual exhibition  through October 26. Open every Saturday and Sunday, 12-5pm!・・・...
06/30/2025

: Now on view in The Campus’s second annual exhibition through October 26. Open every Saturday and Sunday, 12-5pm!
・・・
Had a lot of fun working on this installation thanks to every one who were apart of making this a reality and to the admirers for coming up and celebrating the opening!

Last Chance: Kamrooz Aram: The Turquoise Agenda at WINDOW (91 Walker Street). ⁠⁠The exhibition carefully considers the s...
06/26/2025

Last Chance: Kamrooz Aram: The Turquoise Agenda at WINDOW (91 Walker Street). ⁠

The exhibition carefully considers the storefront space’s function as display. Drawing on his interest in museum design, the artist approaches the window as a public vitrine. Combining painting, sculpture and collage, he creates an interdependence between object, display and architecture, demonstrating the significance of design in affecting the interpretation of art.⁠

Aram’s work disrupts the false opposition between ornament and abstraction, renegotiating art historical hierarchies that have relegated ornamental forms to the category of minor arts. While the artist’s practice is rooted in a commitment to painting, his exhibitions employ a variety of approaches and media, often unified by wall-painting as exhibition design.⁠

Visit 24/7 through Friday, June 27.⁠

Alessandro Pessoli at Art Basel 2025 ⁠On view at Booth L12 through tomorrow, Sunday, June 22 ⁠⁠Pictured:⁠Alessandro Pess...
06/21/2025

Alessandro Pessoli at Art Basel 2025 ⁠
On view at Booth L12 through tomorrow, Sunday, June 22 ⁠

Pictured:⁠
Alessandro Pessoli⁠
Girls on the Field, 2025⁠
Oil, spray paint, colored pencils on canvas⁠
35 x 23 5/8 inches⁠
(89 x 60 cm)⁠

Alessandro Pessoli⁠
Martian Spring, 2025⁠
Oil, spray paint, colored pencils on canvas⁠
35 x 23 5/8 inches⁠
(89 x 60 cm)⁠

Lothar Hempel at Art Basel Kabinett 2025 ⁠Booth L12 ⁠On view through Sunday, June 22⁠⁠“I dreamed of images that could be...
06/19/2025

Lothar Hempel at Art Basel Kabinett 2025 ⁠
Booth L12 ⁠
On view through Sunday, June 22⁠

“I dreamed of images that could be read like a text, that are as clear as stars in a polar night,” Lothar Hempel said in an interview with Emma Stern in March 2025. ⁠

Lothar: “These pictures are all about presence; I’ve omitted all narrative. What remains are archetypes, figures of monumental simplicity. These images could have been painted 10,000 years ago.” ⁠

And he continues: “I call this series ‘Floating Pictures.’ Thanks to a special frame on the back, the images appear to float in front of the wall. They are objects in space, but they also have an immaterial quality. They come from the floating world.” ⁠

Lothar Hempel to Emma Stern: “I wish I could swap places with the figures in my paintings. They would then be in my reality, and I in theirs. Their reality is richer and full of silent gazes.”⁠

Eberhard Havekost⁠Art Basel Unlimited ⁠, curated by Giovanni Carmine, the director of the Kunst Halle Sankt Gallen⁠U64⁠⁠...
06/18/2025

Eberhard Havekost⁠
Art Basel Unlimited ⁠, curated by Giovanni Carmine, the director of the Kunst Halle Sankt Gallen⁠
U64⁠

Now on view through Sunday, June 22, 2025⁠

Eberhard Havekost⁠
Triptychon II, 2007⁠
Oil on canvas⁠
Each: 86 5/8 x 63 inches⁠
(220 x 160 cm)⁠
Overall: 86 5/8 x 189 inches⁠
(220 x 480 cm)⁠

Hello from Switzerland🇨🇭⁠We’re at  Hall 2.1, Booth L12⁠ through Sunday, June 22, 2025⁠⁠Pictured:  ,      ,   ,   ,  ,   ...
06/18/2025

Hello from Switzerland🇨🇭⁠
We’re at Hall 2.1, Booth L12⁠ through Sunday, June 22, 2025⁠

Pictured: , , , , , , , , , , , , , , and ⁠

Art Basel () countdown with works by Francis Upritchard, on view at Booth L12 starting tomorrow. Looking forward to seei...
06/16/2025

Art Basel () countdown with works by Francis Upritchard, on view at Booth L12 starting tomorrow. Looking forward to seeing you soon! 🦕⁠

Pictured:⁠
1. Francis Upritchard, The Olden Days, Fourteen Different Ways, 2023⁠
2. Francis Upritchard, Today the Rock is Small, 2021⁠
3. Francis Upritchard, Generations of Brutes, 2023⁠
4. Francis Upritchard, Hereditary Pile, 2023⁠

Opening Thursday, July 10 at WINDOW: Florian Meisenberg: Reading the Bible at the Beach⁠⁠Florian Meisenberg (b. 1980, Be...
06/15/2025

Opening Thursday, July 10 at WINDOW: Florian Meisenberg: Reading the Bible at the Beach⁠

Florian Meisenberg (b. 1980, Berlin) is a German-born artist based in New York whose practice is rooted in painting and extends into video, installation, and digital media. His work explores the porous boundary between virtual and physical space, often engaging themes of perception, intimacy, and the role of technology in contemporary existence.⁠

After initially studying media design, Meisenberg attended the Kunstakademie Düsseldorf, where he graduated in 2010 as a Meisterschüler under Peter Doig. In 2009, he participated in the Skowhegan School of Painting & Sculpture. Since relocating to New York in 2010, he has developed a distinctive visual language often incorporating marble dust, raw canvas, translucent overlays and oil stains, his paintings operate simultaneously as windows, mirrors, and membranes - thresholds between sensation and simulation, presence and disappearance. ⁠

Mark your calendars and join us for the opening reception at (91 Walker Street) from 6-8pm on July 10 🌞⁠

📷: ⁠

Andy Warhol: Fashion, curated by Vincent Fremont⁠Opening July 9:5pm: Panel conversation with Vincent Fremont, Dianne Bri...
06/12/2025

Andy Warhol: Fashion, curated by Vincent Fremont⁠
Opening July 9:
5pm: Panel conversation with Vincent Fremont, Dianne Brill, and Jack Pierson⁠
6-8pm: Opening Reception⁠

Andy Warhol: Fashion, curated by Vincent Fremont at Anton Kern Gallery, features a selection of Warhol’s drawings from the 1950s and ’60s. These 48 drawings—of women in corsets, tutus, and furs, of loving couples and reclining male nudes—take his fascination with fashion and the human form well beyond his early commercial assignments. Created in ink, graphite, and colored pencil on tracing paper, many of the drawings use Warhol’s now-signature “blotted line” technique, in which he traced photographs to produce delicate, broken contours with a calligraphic quality. These drawings grew directly out of Warhol’s early commercial practice—refining techniques, subjects, and stylistic choices first developed in the pages of magazines and store ads.⁠

To underscore Warhol’s enduring interest in the body and the world of fashion, Fremont has chosen to include four rarely screened episodes from Fashion, a television series he produced for Warhol in 1979–1980 for Manhattan Cable Channel 10, alongside director Don Munroe. Fashion was Warhol’s concept: a half-hour exposé that would delve into fashion designers’ companies and projects, both on and off the runway. At the start of most episodes, Warhol would appear briefly holding an SX-70 Polaroid camera-–the same one he carried around with him everywhere—saying “Fashion” before snapping a photo of the viewer. As Fremont explains: “Andy was both the executive producer and logo of the series.”⁠

Pictured:⁠
Andy Warhol⁠
Female Fashion Figure, ca. 1957⁠
Ink and graphite on paper⁠
27 x 21 inches (68.6 x 53.3 cm)⁠

Andy Warhol⁠
Male Ge****ls With Bow, ca. 1956⁠
Graphite on tracing paper⁠
21 3/4 x 16 3/4 inches (framed) (55.2 x 42.5 cm)⁠
19 x 13 1/4 inches (paper) (48.3 x 33.7 cm)⁠

Still from Fashion: Male Models, by Andy Warhol T.V. Productions. 1982. U-Matic videotape, duration 27 minutes. (© Andy Warhol Museum, courtesy Andy Warhol Museum).⁠

Thank you  and  for the review of Anne Collier’s Portraits on view at the gallery through Saturday, June 21.⁠⁠“Though th...
06/11/2025

Thank you and for the review of Anne Collier’s Portraits on view at the gallery through Saturday, June 21.⁠

“Though the picture is simple, its array of references is anything but. On a lightly streaked gray floor, a single record album leans against a white wall. Its jacket features a handsome man gazing down at his reflection in a small pool while achingly embracing the sandy edges: a still of Jean Marais as the titular character in Jean Cocteau’s “Orphée” (1950), a surrealist film reinterpreting the Greek myth of Orpheus and Eurydice. In this retelling of epic heartbreak, the pool functions as not only a transfixing mirror, but also a gateway to the underworld. In 1983, The Smiths used this image of longing for their record “This Charming Man”, as if to indicate that one might very well get lost in the vibrations of Morrissey’s velvety voice. ⁠

The photo, “Untitled (This Charming Man)” 2009, appears in Anne Collier: Portraits, the artist’s latest exhibition at Anton Kern Gallery in New York City. But is it a portrait? To include it in an exhibition with this particular focus is to advance a conceptional reframing of the genre of portraiture—one of the artist’s most consistent commitments across her probing practice. Portraiture, Collier seems to suggest, is far more capacious than capturing an individual’s likeness. It is also about processes of remediation, dissemination, and interpretation that produce a sense or feeling of a likeness: the resplendent intertextuality, the layers of signification that accrue around and thereby constitute a body in representation; the subjective affinities that emerge through the photographic act and subsequently. Collier has even suggested that “Untitled (This Charming Man)” and other works are self-portraits by other means...”⁠

Read the full article at the link in bio.⁠

Pictured: ⁠
1. “AURA (JOHN BALDESSARI)” 2003⁠
2. “UNTITLED (THIS CHARMING MAN)”, 2009⁠
3. “AURA (MIKE KELLEY)” 2003⁠
4. “DEVELOPING (DALAD KAMBHU)” 2024⁠
5. “DEVELOPING (VINSON FRALEY)” 2025⁠
6. “STUDIO FLOOR #1 (MARILYN, NORMAN MAILER), 2009⁠

Address

16 E 55th Street
New York, NY
10022

Opening Hours

Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 10am - 6pm

Telephone

+12123679663

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