On the occasion of our exhibition Freya Douglas-Morris, Tom Howse, Talia Levitt (July 20-August 31, 2022), we spoke with the artists about their work.
On the occasion of Alexander Berggruen’s two-part exhibition The Natural World, we are delighted to share a new editorial feature in which Kirsten Cave connects the works in both exhibitions and discusses the emergent themes. Driven by statements from the artists about their work, Cave acknowledges the historical condition of climate change and explores how “attitudes and approaches to The Natural World range from studies of subject matter, line, color, and form, to meditations on symbolism, history, and projection.”
On the occasion of our exhibition Sholto Blissett, Emma Fineman, Madeline Peckenpaugh (December 10, 2021-January 22, 2022), we spoke with the artists about their work.
We are pleased to share with you a new essay, “Anna Kunz: With Rays,” written by Nell Andrew. Following the artist’s gesture and her inspirations from modernism, Andrew dives into the life Kunz imbues into her paintings via color.
Narration of the catalogue essay “You Cannot Stand in the Middle of This” by Chris Rurik for the exhibition Emma Webster: Green Iscariot is available on Apple Podcasts and YouTube.
Essay and narration by Chris Rurik. Sound by Jonathan Apgar.
Angie Jennings explores the limits and structures of our visible spectrums in relation to identity and the unknown through her emanant drawings on black paper and her sculptures. On the occasion of our exhibition Angie Jennings: Guides from the night fields (July 21–August 31, 2021), we spoke with the artist about her work.
Yuri Yuan’s paintings capture fleeting illuminations of loneliness, rendered in enigmatic abstracted elements and environments of disconnect. On the occasion of our exhibition Yuri Yuan: River Flows in You (July 21–August 31, 2021), we spoke with New York-based artist Yuri Yuan about her work.
On the occasion of our exhibition Elana Bowsher, Vicente Matte, Gabriel Mills (June 2–July 14, 2021), we spoke with the artists about their work.
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.
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.”