News

Stephen Friedman Gallery is pleased to announce Caroline Walker’s major solo exhibition, Mothering, at The Hepworth Wakefield next year.

Aguélimuseet presents Andreas Eriksson's solo show Light on light.

Kendell Geers’s book ‘Duchamp’s Endgame’, and accompanying exhibition The Oculist Witness (at Wilde, Basel, 10 June – 17 August 2024) reveal the extensive research that Geers conducted during this crucial year in Duchamp’s career.

The first solo institutional exhibition of Anne Rothenstein’s collages and paintings opens at Charleston.

Andreas Eriksson's 'Vars namn är skrivet i färg', 1996 is on view at UKS in Oslo, Norway, as part of the fifth iteration of their 'Young, Dumb and Broke' series.

Previously exhibited at the 59th International Art Exhibition – La Biennale di Venezia, 'Kehinde Wiley: An Archaeology of Silence' is on show at de Young, San Francisco. For this new body of work, Wiley sheds light on the brutalities of American and global colonial pasts using the language of the fallen hero.

The artist, Caroline Coon, was part of the early Punk scene and the author of one of the first books on Punk, '1988: The New Wave Punk Rock Explosion' (1977). Her photographs are an important, intimate record of its heady early days.

In this exhibition, Stephan Balkenhol presents sculptures of selected figures from the Old Masters collection of Museum Wiesbaden.

Kehinde Wiley presents a news series of portraits depicting African heads of state. Begun confidentially in 2012, the project explores the staging of power.

'Jonathan Baldock: Touch Wood' is a joyous, sensory feast of a solo exhibiition that takes inspiration from medieval sculpture, sacred geometry, the seasons and folk motifs. 

Opening on Lund's 'Kultur night', Andreas Eriksson's 'Munkäng' will be on display at Lund Cathedral Crypt. The large scale painting is exhibited free standing in the space, allowing visitors to walk around the work.

'Afterglow in between' showcases a series of new works by Korean artist Yooyun Yang.

'Roots' presents paintings by Andreas Eriksson from the last decade previously kept in the artist's personal collection, alongside publications displaying the artist's photographic works.

This retrospective solo exhibition showcases works from throughout Ilona Keserü's career, spanning nearly seven decades. In the face of political and cultural adversity, the artist's organic style of abstraction developed in defiance of Soviet rule following the Hungarian Revolution of 1956. Her distinctive approach combines modern abstraction with references to Hungarian folk culture and historic European imagery.

'It takes two' is Andreas Eriksson's homage to the night. It displays a new series of paintings painted specifically for the space, exploring the Swedish countryside that Eriksson inhabits. 

Solo presentation ‘Women Observed’ brings together over 40 paintings and oil sketches made since 2016, including several new paintings on display for the first time. The range of subjects depicted include women at work, spaces of leisure and intimate family scenes.

Thomas Hirschhorn's work, 'SAS de contamination', is a site specific installation created for the inauguration of the Lambert Collection. More than two decades later, Hirshhorn's work, conceptualised to explore the role of art in society, returns to Avignon.

Over the course of his nearly 50-year career, Melvin Edwards has explored materiality to confront social injustice. The title of this exhibition, ‘Wire(d) and Chain(ed)’, alludes to two of the artist's signature industrial media. Tracing the breadth of the artist’s life and work, the solo presentation showcases Edwards’ ability to formulate his distinct visual language in both two and three dimensions.

This exhibition presents a group of previously unrealized installations from one of sculptor Melvin Edwards' most dynamic bodies of work.