James Cohan

James Cohan

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James Cohan

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Congratulations to Yinka Shonibare CBE on the opening of End of Empire, on view at the Museum der Moderne Salzburg from May 22 through September 12, 2021. Curated by Thorsten Sadowsky and Marijana Schneider, the show will present around sixty works from the past three decades including major large-scale sculpture, and will be accompanied by a publication in German and English. . One of the most prominent and versatile artists working in the UK today, Yinka Shonibare CBE makes work that scrutinizes the legacy of Western colonialism and its lingering traces. The British-Nigerian artist rose to renown with installations featuring headless life-sized figures in historic costumes tailored out of colorful batik-dyed fabrics. A self-described “postcolonial hybrid,” Shonibare zooms in on episodes from art and history, primarily from eighteenth- and nineteenth-century Europe, employing subversive creative strategies to visualize them in tragicomic scenes of human activity. Shonibare’s multimedia oeuvre probes constructions of race, class, and national and cultural identities through a sustained study of the historic interdependencies between Africa and Europe. . . ?: YINKA SHONIBARE, CBE,

Congratulations to Yinka Shonibare CBE on the opening of End of E Read More

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In his series of paintings entitled Infinite Regress (2015–ongoing), Eamon Ore-Giron’s totemic visual language is subject to an ongoing process of reformulation. In philosophy, infinite regress is a sequence of reasoning which never ends, a paradox of limitless regeneration that disproves the concept of fixed knowledge—in connecting one element to another, a third one is generated and so on, endlessly. . Ore-Giron's latest paintings from this ongoing body of work are on view now in The Symmetry of Tears, on view at 48 Walker Street through June 5. Plan your visit to see the exhibition in person or explore the exhibition in our online viewing room via link in bio. . . ?: EAMON ORE-GIRON,
In his series of paintings entitled Infinite Regress (2015–ongoing), Eamon Ore-Giron’s totemic visual language is subject to an ongoing process of reformulation. In philosophy, infinite regress is a sequence of reasoning which never ends, a paradox of limitless regeneration that disproves the concept of fixed knowledge—in connecting one element to another, a third one is generated and so on, endlessly. . Ore-Giron's latest paintings from this ongoing body of work are on view now in The Symmetry of Tears, on view at 48 Walker Street through June 5. Plan your visit to see the exhibition in person or explore the exhibition in our online viewing room via link in bio. . . ?: EAMON ORE-GIRON,
In his series of paintings entitled Infinite Regress (2015–ongoing), Eamon Ore-Giron’s totemic visual language is subject to an ongoing process of reformulation. In philosophy, infinite regress is a sequence of reasoning which never ends, a paradox of limitless regeneration that disproves the concept of fixed knowledge—in connecting one element to another, a third one is generated and so on, endlessly. . Ore-Giron's latest paintings from this ongoing body of work are on view now in The Symmetry of Tears, on view at 48 Walker Street through June 5. Plan your visit to see the exhibition in person or explore the exhibition in our online viewing room via link in bio. . . ?: EAMON ORE-GIRON,

In his series of paintings entitled Infinite Regress (2015–ongo Read More

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Each Josiah McElheny work within the series entitled From the Library of… is a depiction of an imaginary library housing a multitude of containers or repositories for knowledge, represented by hand-blown mirrored objects. These archives propose to contain knowledge within unique, material objects “as mysterious as the knowledge itself,” suggesting that knowledge is “potentially beyond words or books.” Viewers look within each frame to a vista of endlessly-refracted hexagonal architecture, implying that each library is in itself vast, and also just one of many possible libraries. . The set of forms in this library is loosely based on 18th–century seed containers, in which seeds were held in by a stopper at the bottom that was opened to allow their dispersal from below. The shapes of the volumes in this library are based on the five elemental shapes of seeds: oblong, elliptic, ovate, obovate, oval. McElheny explains, “this work relates both to this idea of a literal seed library—like the one in Norway—but also the metaphorical concept of seeds. What are the seeds of ideas, the seeds of knowledge?” . Libraries, an exhibition of new work by Josiah McElheny, featured alongside a collaborative film by the artist and filmmaker Jeff Preiss, is on view at 291 Grand Street through June 12. Plan your IRL visit or explore the exhibition online in our viewing room via link in bio. . . JOSIAH MCELHENY, From the Library of Seeds, 2021, hand-blown, cut, polished, and mirrored glass; low-iron mirror and two-way mirror; electric light; walnut frame, 25 3/4 x 40 3/4 x 19 3/4 in, 65.4 x 103.5 x 50.2 cm . . . . . #JosiahMcElheny #Borges #JamesCohan #JamesCohanGallery #Reflection #Infinity #ContemporaryArt #ContemporaryGlass #ContemporarySculpture #NYCGalleriesLive
Each Josiah McElheny work within the series entitled From the Library of… is a depiction of an imaginary library housing a multitude of containers or repositories for knowledge, represented by hand-blown mirrored objects. These archives propose to contain knowledge within unique, material objects “as mysterious as the knowledge itself,” suggesting that knowledge is “potentially beyond words or books.” Viewers look within each frame to a vista of endlessly-refracted hexagonal architecture, implying that each library is in itself vast, and also just one of many possible libraries. . The set of forms in this library is loosely based on 18th–century seed containers, in which seeds were held in by a stopper at the bottom that was opened to allow their dispersal from below. The shapes of the volumes in this library are based on the five elemental shapes of seeds: oblong, elliptic, ovate, obovate, oval. McElheny explains, “this work relates both to this idea of a literal seed library—like the one in Norway—but also the metaphorical concept of seeds. What are the seeds of ideas, the seeds of knowledge?” . Libraries, an exhibition of new work by Josiah McElheny, featured alongside a collaborative film by the artist and filmmaker Jeff Preiss, is on view at 291 Grand Street through June 12. Plan your IRL visit or explore the exhibition online in our viewing room via link in bio. . . JOSIAH MCELHENY, From the Library of Seeds, 2021, hand-blown, cut, polished, and mirrored glass; low-iron mirror and two-way mirror; electric light; walnut frame, 25 3/4 x 40 3/4 x 19 3/4 in, 65.4 x 103.5 x 50.2 cm . . . . . #JosiahMcElheny #Borges #JamesCohan #JamesCohanGallery #Reflection #Infinity #ContemporaryArt #ContemporaryGlass #ContemporarySculpture #NYCGalleriesLive
Each Josiah McElheny work within the series entitled From the Library of… is a depiction of an imaginary library housing a multitude of containers or repositories for knowledge, represented by hand-blown mirrored objects. These archives propose to contain knowledge within unique, material objects “as mysterious as the knowledge itself,” suggesting that knowledge is “potentially beyond words or books.” Viewers look within each frame to a vista of endlessly-refracted hexagonal architecture, implying that each library is in itself vast, and also just one of many possible libraries. . The set of forms in this library is loosely based on 18th–century seed containers, in which seeds were held in by a stopper at the bottom that was opened to allow their dispersal from below. The shapes of the volumes in this library are based on the five elemental shapes of seeds: oblong, elliptic, ovate, obovate, oval. McElheny explains, “this work relates both to this idea of a literal seed library—like the one in Norway—but also the metaphorical concept of seeds. What are the seeds of ideas, the seeds of knowledge?” . Libraries, an exhibition of new work by Josiah McElheny, featured alongside a collaborative film by the artist and filmmaker Jeff Preiss, is on view at 291 Grand Street through June 12. Plan your IRL visit or explore the exhibition online in our viewing room via link in bio. . . JOSIAH MCELHENY, From the Library of Seeds, 2021, hand-blown, cut, polished, and mirrored glass; low-iron mirror and two-way mirror; electric light; walnut frame, 25 3/4 x 40 3/4 x 19 3/4 in, 65.4 x 103.5 x 50.2 cm . . . . . #JosiahMcElheny #Borges #JamesCohan #JamesCohanGallery #Reflection #Infinity #ContemporaryArt #ContemporaryGlass #ContemporarySculpture #NYCGalleriesLive
Each Josiah McElheny work within the series entitled From the Library of… is a depiction of an imaginary library housing a multitude of containers or repositories for knowledge, represented by hand-blown mirrored objects. These archives propose to contain knowledge within unique, material objects “as mysterious as the knowledge itself,” suggesting that knowledge is “potentially beyond words or books.” Viewers look within each frame to a vista of endlessly-refracted hexagonal architecture, implying that each library is in itself vast, and also just one of many possible libraries. . The set of forms in this library is loosely based on 18th–century seed containers, in which seeds were held in by a stopper at the bottom that was opened to allow their dispersal from below. The shapes of the volumes in this library are based on the five elemental shapes of seeds: oblong, elliptic, ovate, obovate, oval. McElheny explains, “this work relates both to this idea of a literal seed library—like the one in Norway—but also the metaphorical concept of seeds. What are the seeds of ideas, the seeds of knowledge?” . Libraries, an exhibition of new work by Josiah McElheny, featured alongside a collaborative film by the artist and filmmaker Jeff Preiss, is on view at 291 Grand Street through June 12. Plan your IRL visit or explore the exhibition online in our viewing room via link in bio. . . JOSIAH MCELHENY, From the Library of Seeds, 2021, hand-blown, cut, polished, and mirrored glass; low-iron mirror and two-way mirror; electric light; walnut frame, 25 3/4 x 40 3/4 x 19 3/4 in, 65.4 x 103.5 x 50.2 cm . . . . . #JosiahMcElheny #Borges #JamesCohan #JamesCohanGallery #Reflection #Infinity #ContemporaryArt #ContemporaryGlass #ContemporarySculpture #NYCGalleriesLive

Each Josiah McElheny work within the series entitled From the Lib Read More

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✨UPCOMING ✨James Cohan is pleased to present Un/Common Proximity, a group exhibition featuring the works of the 2020-2021 NXTHVN Studio Fellowship artists: Allana Clarke, Alisa Sikelianos-Carter, Daniel T. Gaitor-Lomack, Esteban Ramón Pérez, Jeffrey Meris, Ilana Savdie, and Vincent Valdez. The exhibition will be on view at the gallery’s Tribeca location, 48 Walker St, from June 12 through August 13. Un/Common Proximity is curated by 2020-2021 NXTHVN Curatorial Fellow, Claire Kim. . The title of this exhibition, Un/Common Proximity, refers to the artists’ unprecedented experience of living and working in close proximity with one another during a year punctuated by a landmark U.S. election, global pandemic, and national reckoning of systemic racial injustice. . It also points to the ways in which all seven studio Fellows continued their practices under NXTHVN’s roof, creating work which purposefully and/or inadvertently responded to challenges that mark this tumultuous year. This exhibition highlights both individual discoveries as well as communal responses tackling themes of protection, healing, redemption, and intuitive processing that permeated throughout the studio walls. . . ?Mark your calendars for June 12, and learn more via link in bio. . . . . . #AllanaClarke #AlisaSikelianosCarter #DanielTGaitorLomack #EstebanRamónPérez #JeffreyMeris #IlanaSavdie #VincentValdez #ClaireKim #NXTHVN #UnCommonProximity #NXTHVNFellows #NXTHVNStudioFellowship #TitusKaphar #JasonPrice #ContemporaryArt #ContemporaryPainting #ContemporarySculpture #JamesCohan #JamesCohanGallery #NYCGalleriesLive

✨UPCOMING ✨James Cohan is pleased to present Un/Common Proxim Read More

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Volatile Landscapes, a new series of videos by The Propeller Group made in collaboration with MAG Vietnam, is now up on Sunset Spectacular (8775 Sunset Boulevard), West Hollywood’s new media platform and public plaza. The cornerstone of the Sunset Spectacular is “Arts on Sunset,” an ongoing public project curated by Diana Nawi, designed to showcase the unique works of emerging and internationally-recognized artists. . 13 videos, each running 30 seconds, unearth the magnitude of unexploded ordnance (UXO) left in Vietnam. The Mines Advisory Group (MAG) is a global humanitarian and advocacy organization that finds, removes and destroys landmines, cluster munitions and unexploded bombs from places affected by conflict. Thank you MAG Vietnam for your relentless work searching and disposing of the tons and tons of unexploded bombs and mines in Vietnam. . “Volatile Landscapes” by The Propeller Group is commissioned by Orange Barrel Media for Sunset Spectacular and made possible by the City of West Hollywood. . . ?: courtesy Orange Barrel Media . @Orange_barrel_media @wehocity @wehoarts . . . . . #ThePropellerGroup #Orangebarrelmedia #DianaNawi #UXO #MinesAdvisoryGroup #Vietnam #Southeastasia #SecretWar #ArtsOnSunset #OBMArts #PublicArt #Sunset #SunsetBoulevard #WestHollywood #WeHo #MOCA

Volatile Landscapes, a new series of videos by The Propeller Grou Read More

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?New Edition Alert ? Eamon Ore-Giron has created a new limited-edition print, Infinite Regress CXLVII (variation I), 2021, on the occasion of his exhibition The Symmetry of Tears, on view at 48 Walker Street through June 5. . In his body of work entitled Infinite Regress (2015–ongoing), Ore-Giron’s totemic visual language is subject to an ongoing process of reformulation. In philosophy, infinite regress is a sequence of reasoning which never ends, a paradox of limitless regeneration that disproves the concept of fixed knowledge—in connecting one element to another, a third one is generated and so on, endlessly. . . EAMON ORE-GIRON Infinite Regress CXLVII (variation I), 2021 24 color print on Colorplan, Harvest 270 gsm paper sheet: 27 x 22 1/2 in 68.6 x 57.1 cm Edition of 50 + 10 AP + 3 PP (JCG12341) $3,000 UNFRAMED $3,410 FRAMED . . Learn more about the edition and purchase your print via link in bio. . . . . . #EamonOreGiron #TheSymmetryOfTears #InfiniteRegress #JamesCohan #JamesCohanGallery #ContemporaryArt #ContemporaryPrintingmaking #ArtistEdition #ArtistPrint #ArtCollectors #Abstraction #NYCGalleriesLive

?New Edition Alert ? Eamon Ore-Giron has created a new limited-ed Read More

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Eamon Ore-Giron’s paintings destabilize aesthetic hierarchies, drawing from a range of sources—such as the stylized geometry of Incan jewelry, Brazilian Neo-Concretism, Italian Futurism, and the spatial arrangements of Russian Suprematism—that reflect diverse systems of knowledge and ways of being. Inserting pictorial and rhythmic structures from the Global South into an expanded history of transnational abstraction, Ore-Giron’s works embody what curator Marcela Guerrero refers to as “the sound and color of mestizo synesthesia.” Operating within these points of intersection allows Ore-Giron to examine his own varied cultural inheritances. He asks, “What are my inherited forms? What is my chromatic lineage? I am always confronted with the question of where my agency begins, and what has been there all along, waiting to be revealed.” . The Symmetry of Tears, our current exhibition of new work by Ore-Giron, is on view at 48 Walker Street through June 5. Appointments are recommended but not required. Book an appointment to visit the exhibition in person or explore the exhibition in our online viewing room via link in bio. . . ?: EAMON ORE-GIRON,
Eamon Ore-Giron’s paintings destabilize aesthetic hierarchies, drawing from a range of sources—such as the stylized geometry of Incan jewelry, Brazilian Neo-Concretism, Italian Futurism, and the spatial arrangements of Russian Suprematism—that reflect diverse systems of knowledge and ways of being. Inserting pictorial and rhythmic structures from the Global South into an expanded history of transnational abstraction, Ore-Giron’s works embody what curator Marcela Guerrero refers to as “the sound and color of mestizo synesthesia.” Operating within these points of intersection allows Ore-Giron to examine his own varied cultural inheritances. He asks, “What are my inherited forms? What is my chromatic lineage? I am always confronted with the question of where my agency begins, and what has been there all along, waiting to be revealed.” . The Symmetry of Tears, our current exhibition of new work by Ore-Giron, is on view at 48 Walker Street through June 5. Appointments are recommended but not required. Book an appointment to visit the exhibition in person or explore the exhibition in our online viewing room via link in bio. . . ?: EAMON ORE-GIRON,
Eamon Ore-Giron’s paintings destabilize aesthetic hierarchies, drawing from a range of sources—such as the stylized geometry of Incan jewelry, Brazilian Neo-Concretism, Italian Futurism, and the spatial arrangements of Russian Suprematism—that reflect diverse systems of knowledge and ways of being. Inserting pictorial and rhythmic structures from the Global South into an expanded history of transnational abstraction, Ore-Giron’s works embody what curator Marcela Guerrero refers to as “the sound and color of mestizo synesthesia.” Operating within these points of intersection allows Ore-Giron to examine his own varied cultural inheritances. He asks, “What are my inherited forms? What is my chromatic lineage? I am always confronted with the question of where my agency begins, and what has been there all along, waiting to be revealed.” . The Symmetry of Tears, our current exhibition of new work by Ore-Giron, is on view at 48 Walker Street through June 5. Appointments are recommended but not required. Book an appointment to visit the exhibition in person or explore the exhibition in our online viewing room via link in bio. . . ?: EAMON ORE-GIRON,

Eamon Ore-Giron’s paintings destabilize aesthetic hierarchies, Read More

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James Cohan is pleased to announce David Norr as an owner of the gallery. Norr, who served as James Cohan’s Senior Director from 2015 to 2018 and was named a Partner in 2018, joins founders James and Jane Cohan in steering the gallery, which operates two spaces in Manhattan: 48 Walker Street in Tribeca and 291 Grand Street on the Lower East Side. . Norr will ensure the gallery’s future by progressing the vision of its founders and focusing on the next generation of artists, building even greater diversity and international scope into the gallery’s program. The announcement comes after six years of remarkable growth at James Cohan spearheaded by Norr; the gallery has announced new additions to its artist roster, including Firelei Báez, Mernet Larsen, Teresa Margolles, Josiah McElheny, Eamon Ore-Giron, Grace Weaver, Monir Shahroudy Farmanfarmaian, and most recently Naudline Pierre. . “David has developed close, meaningful relationships with world-class artists and institutions throughout his career, and over the past six years he has brought dynamic growth to our program. I couldn’t think of a more talented partner to have as we move into our third decade,” says James Cohan. . Read the full story via link in bio. . . ?: H. Marianetti . . . . . #JamesCohan #JamesCohanGallery #ArtNews #ContemporaryArt #NYCGalleriesLive

James Cohan is pleased to announce David Norr as an owner of the Read More

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To coincide with his solo presentation at Frieze New York at The Shed, Trenton Doyle Hancock has created a new suite of four prints entitled Exchanging Variables, published by Flatbed Press in Austin, Texas. . In this quartet of aquatints, Hancock’s superhero alter ego Torpedoboy faces off with Philip Guston’s hooded Klansman, the artist himself, a police patrolman, and a Pinocchio-nosed Christ. Hancock often revisits significant narrative vignettes and characters from his ongoing Moundverse saga—each subsequent iteration allowing for formal experimentation and the development of new layers of meaning and symbolism. . Learn more about Hancock's latest print edition and his new work on view at Frieze New York via link in bio. Exchanging Variables will be on view in Booth B8 until tomorrow, Sunday, May 9, and online in the Frieze New York OVR until May 14. . . ?: TRENTON DOYLE HANCOCK, “Exchanging Variables,” 2021, suite of 4 aquatint prints. Image size: 12 x 12 in. / 30.5 x 30.5 cm. Paper size: 16 x 16 in / 40.65 x 40.65 cm. Edition of 30 + 10 AP . . . . . #TrentonDoyleHancock #FlatbedPress #Torpedoboy #Moundverse #FriezeNewYork #TheShed #FriezeNewYorkAtTheShed #FriezeNY2021 #ContemporaryArt #ArtistEdition #Printmaking #ArtCollectorsofInstagram #PhilipGuston #NYCGalleriesLive
To coincide with his solo presentation at Frieze New York at The Shed, Trenton Doyle Hancock has created a new suite of four prints entitled Exchanging Variables, published by Flatbed Press in Austin, Texas. . In this quartet of aquatints, Hancock’s superhero alter ego Torpedoboy faces off with Philip Guston’s hooded Klansman, the artist himself, a police patrolman, and a Pinocchio-nosed Christ. Hancock often revisits significant narrative vignettes and characters from his ongoing Moundverse saga—each subsequent iteration allowing for formal experimentation and the development of new layers of meaning and symbolism. . Learn more about Hancock's latest print edition and his new work on view at Frieze New York via link in bio. Exchanging Variables will be on view in Booth B8 until tomorrow, Sunday, May 9, and online in the Frieze New York OVR until May 14. . . ?: TRENTON DOYLE HANCOCK, “Exchanging Variables,” 2021, suite of 4 aquatint prints. Image size: 12 x 12 in. / 30.5 x 30.5 cm. Paper size: 16 x 16 in / 40.65 x 40.65 cm. Edition of 30 + 10 AP . . . . . #TrentonDoyleHancock #FlatbedPress #Torpedoboy #Moundverse #FriezeNewYork #TheShed #FriezeNewYorkAtTheShed #FriezeNY2021 #ContemporaryArt #ArtistEdition #Printmaking #ArtCollectorsofInstagram #PhilipGuston #NYCGalleriesLive
To coincide with his solo presentation at Frieze New York at The Shed, Trenton Doyle Hancock has created a new suite of four prints entitled Exchanging Variables, published by Flatbed Press in Austin, Texas. . In this quartet of aquatints, Hancock’s superhero alter ego Torpedoboy faces off with Philip Guston’s hooded Klansman, the artist himself, a police patrolman, and a Pinocchio-nosed Christ. Hancock often revisits significant narrative vignettes and characters from his ongoing Moundverse saga—each subsequent iteration allowing for formal experimentation and the development of new layers of meaning and symbolism. . Learn more about Hancock's latest print edition and his new work on view at Frieze New York via link in bio. Exchanging Variables will be on view in Booth B8 until tomorrow, Sunday, May 9, and online in the Frieze New York OVR until May 14. . . ?: TRENTON DOYLE HANCOCK, “Exchanging Variables,” 2021, suite of 4 aquatint prints. Image size: 12 x 12 in. / 30.5 x 30.5 cm. Paper size: 16 x 16 in / 40.65 x 40.65 cm. Edition of 30 + 10 AP . . . . . #TrentonDoyleHancock #FlatbedPress #Torpedoboy #Moundverse #FriezeNewYork #TheShed #FriezeNewYorkAtTheShed #FriezeNY2021 #ContemporaryArt #ArtistEdition #Printmaking #ArtCollectorsofInstagram #PhilipGuston #NYCGalleriesLive
To coincide with his solo presentation at Frieze New York at The Shed, Trenton Doyle Hancock has created a new suite of four prints entitled Exchanging Variables, published by Flatbed Press in Austin, Texas. . In this quartet of aquatints, Hancock’s superhero alter ego Torpedoboy faces off with Philip Guston’s hooded Klansman, the artist himself, a police patrolman, and a Pinocchio-nosed Christ. Hancock often revisits significant narrative vignettes and characters from his ongoing Moundverse saga—each subsequent iteration allowing for formal experimentation and the development of new layers of meaning and symbolism. . Learn more about Hancock's latest print edition and his new work on view at Frieze New York via link in bio. Exchanging Variables will be on view in Booth B8 until tomorrow, Sunday, May 9, and online in the Frieze New York OVR until May 14. . . ?: TRENTON DOYLE HANCOCK, “Exchanging Variables,” 2021, suite of 4 aquatint prints. Image size: 12 x 12 in. / 30.5 x 30.5 cm. Paper size: 16 x 16 in / 40.65 x 40.65 cm. Edition of 30 + 10 AP . . . . . #TrentonDoyleHancock #FlatbedPress #Torpedoboy #Moundverse #FriezeNewYork #TheShed #FriezeNewYorkAtTheShed #FriezeNY2021 #ContemporaryArt #ArtistEdition #Printmaking #ArtCollectorsofInstagram #PhilipGuston #NYCGalleriesLive
To coincide with his solo presentation at Frieze New York at The Shed, Trenton Doyle Hancock has created a new suite of four prints entitled Exchanging Variables, published by Flatbed Press in Austin, Texas. . In this quartet of aquatints, Hancock’s superhero alter ego Torpedoboy faces off with Philip Guston’s hooded Klansman, the artist himself, a police patrolman, and a Pinocchio-nosed Christ. Hancock often revisits significant narrative vignettes and characters from his ongoing Moundverse saga—each subsequent iteration allowing for formal experimentation and the development of new layers of meaning and symbolism. . Learn more about Hancock's latest print edition and his new work on view at Frieze New York via link in bio. Exchanging Variables will be on view in Booth B8 until tomorrow, Sunday, May 9, and online in the Frieze New York OVR until May 14. . . ?: TRENTON DOYLE HANCOCK, “Exchanging Variables,” 2021, suite of 4 aquatint prints. Image size: 12 x 12 in. / 30.5 x 30.5 cm. Paper size: 16 x 16 in / 40.65 x 40.65 cm. Edition of 30 + 10 AP . . . . . #TrentonDoyleHancock #FlatbedPress #Torpedoboy #Moundverse #FriezeNewYork #TheShed #FriezeNewYorkAtTheShed #FriezeNY2021 #ContemporaryArt #ArtistEdition #Printmaking #ArtCollectorsofInstagram #PhilipGuston #NYCGalleriesLive
To coincide with his solo presentation at Frieze New York at The Shed, Trenton Doyle Hancock has created a new suite of four prints entitled Exchanging Variables, published by Flatbed Press in Austin, Texas. . In this quartet of aquatints, Hancock’s superhero alter ego Torpedoboy faces off with Philip Guston’s hooded Klansman, the artist himself, a police patrolman, and a Pinocchio-nosed Christ. Hancock often revisits significant narrative vignettes and characters from his ongoing Moundverse saga—each subsequent iteration allowing for formal experimentation and the development of new layers of meaning and symbolism. . Learn more about Hancock's latest print edition and his new work on view at Frieze New York via link in bio. Exchanging Variables will be on view in Booth B8 until tomorrow, Sunday, May 9, and online in the Frieze New York OVR until May 14. . . ?: TRENTON DOYLE HANCOCK, “Exchanging Variables,” 2021, suite of 4 aquatint prints. Image size: 12 x 12 in. / 30.5 x 30.5 cm. Paper size: 16 x 16 in / 40.65 x 40.65 cm. Edition of 30 + 10 AP . . . . . #TrentonDoyleHancock #FlatbedPress #Torpedoboy #Moundverse #FriezeNewYork #TheShed #FriezeNewYorkAtTheShed #FriezeNY2021 #ContemporaryArt #ArtistEdition #Printmaking #ArtCollectorsofInstagram #PhilipGuston #NYCGalleriesLive

To coincide with his solo presentation at Frieze New York at The Read More

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