Sam Contis’ 2022 book and 2023 solo show Overpass were reviewed by Josh Lustig for the Financial Times Magazine. Lustig explores the concept of walking in relation to the photographs, among other things. Read the interview here.
Glen Baldridge talks to Kelly Beall for Design Milk about his artistic process, influences, and parenthood. Read the full article here.
Graham Anderson’s 2023 solo show The Mirror Grove, was reviewed by Will Heinrich for The New York Times. Heinrich considers Anderson’s use of oranges as suitable subject matter for the artist’s ongoing project on perception.
Kemar Keanu Wynter’s solo show Heralds was reviewed by Isabella Rafky for Hyperallergic. Rafky considers the harmony Wynter has found mixing technique and heritage. Heralds is on view through Saturday June 17.
The Klaus von Nichtssagend Gallery presentation at the Independent 2023 featuring Tamara Gonzales and Kemar Keanu Wynter was mentioned in the New York Times’ review of the art fair.
Erika Ranee’s 2023 solo exhibition, All Natural, was reviewed in Artforum by Greg Lindquist. Lindquist discusses Ranee’s studio techniques as well as the larger tenor of her oeuvre. All Natural is on view at Klaus von Nichtssagend Gallery through March 25, 2023.
Erika Ranee’s 2023 solo show All Natural is listed as part of Artforum’s “Must-See Shows,” the editors’ selection of essential exhibitions worldwide. The exhibition is on view February 17 – March 25, 2023.
Glen Baldridge was interviewed by David Graver for Cool Hunting, an online arts and culture publication. Baldridge discusses his use of the owl, a frequent motif in his more recent paintings, as well as the hidden phrases he includes in many works.
Joy Curtis has several of her sculptures from her Skeleton Woman series reproduced in december, volume 33.2. A concise overview of the series written by december art editor Buzz Spector is included in the introduction to the current issue.
Lost Pines, Barry Stone’s recent solo show at Lora Reynolds Gallery in Austin, TX., was reviewed in Glasstire, a Texas-based arts publication. Barbara Purcell explores the dual nature of this body of work; along with images of the burnt wreckage of the Lost Pines Forest, Stone includes images from a fire that took the life of his grandfather in 2002, thus weaving together the narratives of personal and communal wounds.
An extensive interview with Erika Ranee by artist Cordy Ryman was recently published in Bomb Magazine.
Duet, Sam Contis’ 2022 solo show, was reviewed in Musée Magazine by Lia Jung. Jung finds similarities between vocalist Inbal Hever’s body movements and the camera itself.
Jennifer J. Lee, whose artworks were presented at the Independent 2022, was discussed in Artsy’s article “The Best Booths at New York Art Week.” The author touches on Lee’s practice, her use of jute, and the works presented.
The Board of Trustees of the John Simon Guggenheim Memorial Foundation awarded Sam Contis a 2022 Guggenheim Fellowship for her achievement and promise in the field of photography.
“Eyes and Yous” was reveiwed by Mina Juhn for Whitewall.
Pamela Jorden’s practice is discussed in “Why Artists Are Turning to Tondo Paintings,” an article written by Rahel Aima for Artsy.net.
The Nancy Graves Foundation has named Sam Contis this year’s recipient of its annual Grants for Visual Artists program. Artnews
Pamela Jorden’s new monograph spans 10 years of work, with an essay by Sarah Lehrer-Graiwer and a conversation between Jorden, Alice Konitz, and Kaveri Nair. Books are available through the gallery.
The Secret Garden exhibition catalog is now available. Contact the gallery to order a copy.