We are pleased to share with you a new essay, “Brittney Leeanne Williams: Black Women at/in the Bend,” written by New York-based curator, producer, and multidisciplinary artist Niama Safia Sandy. Through historical, societal, and spiritual lenses, Sandy explores Williams’s portrayal of the Black female experience and the portals Williams’s paintings open for Black women.
This essay was published on the occasion of Brittney Leeanne Williams: The Arch Is a Portal Is a Belly Is a Back (March 5-April 14, 2021) at Alexander Berggruen, NY.
We are pleased to share with you a new essay, “Danny Fox: Feedback Loop of Visual Reference,” written by Kirsten Cave. This essay explores Fox’s collaboration with photographer Kingsley Ifill, the basis for the paintings included in Danny Fox: The Sweet and Burning Hills (Alexander Berggruen, New York, January 12-February 26, 2021).
From the first group of related photographs and drawings in the 19th century to early pornographic postcards to contemporary pop culture, Fox’s new body of work exists in conversation with the rich history of photography’s influence on drawing and painting.
We are pleased to share with you a recording of the Virtual Panel we held on Thursday, October 1 with the artists in our two concurrent exhibitions Minku Kim: Foundation and Ted Gahl: Paintings (September 1-October 14, 2020), moderated by independent curator Francesca Altamura.
Alexander Berggruen is pleased to share mini-interviews with select artists included in our exhibition Animal Kingdom (June 26-August 29, 2020).
Alexander Berggruen conducted Small-Format Interviews with each of the artists in our exhibition Quarters: Anne Buckwalter, Dustin Hodges, JJ Manford, Brittney Leeanne Williams (March 18-May 27, 2020).
On Saturday, May 2, at 5 pm Eastern, Alexander Berggruen hosted a Live Virtual Panel with the artists in our past exhibition, Quarters: Anne Buckwalter, Dustin Hodges, JJ Manford, Brittney Leeanne Williams, moderated by art writer and curator Osman Can Yerebakan.
In speaking about the present painting, Emily Mae Smith noted: “I see the cherry as a symbol of feminine sexuality, here performing a cartoon of masculine gender. The Studio is meant to conjure all of our historical feelings of who artists are.”
