Artists Exhibitions Hannah Hoffman News Fairs

Now on view

Lavinia

03.30.24–05.04.24

Sam Falls
09.05.14 – 10.25.14

Images, Information, Inquire, Related

Installation view: Sam Falls. 09.05.14 – 10.25.14

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Sam Falls, Untitled (Hudson, NY, Sumac Tree 1), 2014. Pigment on canvas. 138 x 162 1/4 inches (350.5 x 412.1 cm)

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Installation view: Sam Falls. 09.05.14 – 10.25.14

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Sam Falls, Untitled (Venice, CA, Birds of Paradise 2), 2014. Pigment on canvas. 101 x 73 inches (256.5 x 185.4 cm)

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Installation view: Sam Falls. 09.05.14 – 10.25.14

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Sam Falls, Untitled (Venice, CA, Palm 6), 2014. Pigment on canvas. 87 x 63 inches (220.9 x 160 cm)

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Sam Falls, Untitled (Venice, CA, Palm 18), 2014. Pigment on canvas. 97 x 73 inches (246.4 x 185.4 cm)

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Sam Falls, Untitled (Venice, CA, Palm 11), 2014. Pigment on canvas. 97 x 76 inches (246.4 x 193 cm)

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Installation view: Sam Falls. 09.05.14 – 10.25.14

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Sam Falls, Untitled (Venice, CA, Palm 2), 2014. Pigment on canvas. 94 x 65 inches (238.8 x 165.1 cm)

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Sam Falls, Untitled (Venice, CA, Palm 3), 2014. Pigment on canvas. 94 x 65 inches (238.8 x 165.1 cm)

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Installation view: Sam Falls. 09.05.14 – 10.25.14

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Sam Falls, Untitled (Hudson, NY, 3 Baby Maple Trees), 2014. Pigment on canvas. 93 x 132 inches (236.2 x 335.3 cm)

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Sam Falls, Untitled (Hudson, NY, 3 Baby Ash Trees), 2014. Pigment on canvas. 93 x 132 inches (236.2 x 335.3 cm)

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Installation view: Sam Falls. 09.05.14 – 10.25.14

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Sam Falls, Untitled (Venice, CA, Palm 9), 2014. Pigment on canvas. 98 x 74 inches (249 x 188 cm)

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Installation view: Sam Falls.
09.05.14 – 10.25.14

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Sam Falls, Untitled (Venice, CA, Palm drawing 9, triptych), 2014. Pigment on paper. 54 x 24 inches (137.2 x 61 cm)

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Installation view: Sam Falls.
09.05.14 – 10.25.14

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Sam Falls, Untitled (Hartland, VT, Ferns 10V), 2013. Pigment on canvas. 132 x 93 inches (335.3 x 236.2 cm)

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Exhibition information

These rain and plant works come out of my continued interest in the duality between representation and abstraction while also employing universal means to bridge the gap between artist and viewer, as well as the gaps between photography, painting, and sculpture. In a time when mechanical reproduction and technology constantly loom over visual art, I want to reinforce the natural elements as constructive tools not in opposition, but more as reciprocation, undermining the alienating means of production that technology continues to offer within art. What I mean is that the camera and darkroom, or computer and printer, when employed as an artistic tool can create a material distance between production and reception that looses both conceptual integrity and legibility. Like the sun works I’ve made, the rain can function as a descriptive artistic tool while also being a universal state of shared experience. As I move around the canvas outside, the viewer walks to work in the rain, drives home to dinner in the rain, and eventually comes in from the rain to the gallery.

 

These rain and plant works come out of my continued interest in the duality between representation and abstraction while also employing universal means to bridge the gap between artist and viewer, as well as the gaps between photography, painting, and sculpture. In a time when mechanical reproduction and technology constantly loom over visual art, I want to reinforce the natural elements as constructive tools not in opposition, but more as reciprocation, undermining the alienating means of production that technology continues to offer within art. What I mean is that the camera and darkroom, or computer and printer, when employed as an artistic tool can create a material distance between production and reception that looses both conceptual integrity and legibility. Like the sun works I’ve made, the rain can function as a descriptive artistic tool while also being a universal state of shared experience. As I move around the canvas outside, the viewer walks to work in the rain, drives home to dinner in the rain, and eventually comes in from the rain to the gallery.

 

I took plants as the common subject matter for this body of work not only for their legacy in art history, but their reference to place. The works here were made in three specific and personal climates: the ferns surrounding my childhood home in Hartland, Vermont, the palm fronds in my backyard in Venice, California, and the flowers around our garden and trees in the woods surrounding our house in upstate New York. Beyond the native vegetation delineating geography, these “paintings” represent duration and environment, visible in the scattered heavy rains of Southern California, to the light spring mist in Vermont, and the humid summer showers of New York State. Representation and abstraction are the fundamental elements of western art history and contemporary art, respectively, and the conceptual goal of these works is to address the present relevance of both forms in one work. The works are essentially landscape paintings, where there is a discrete image of the plant, as well as a pure abstraction unique to the precipitation that created it. Like a photogram, the image is a negative of the actual subject, and like an icon, the subject surpasses its image to reference a world outside of the painting. And like the paintings of Pollock or Frankenthaler, they’re made flat, but now on the ground outside by the hand of nature rather than the hand of the artist. And that’s what I think is relevant today, an image that speaks to an empirical place outside the frame, and pure abstraction that returns the viewer to their own references and understanding of process, not the ghost of the artist in the studio with an idiosyncratic impulse and method. Furthermore, the colors function as a serial descriptive agent, they’re chosen at random and used only as an illustrative tool – their mixture and color combinations a virtue of the material and process, not creative or emotional decisions.

 

As Sol Lewitt said, “When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair” (Sol Lewitt, Paragraphs on Conceptual Art). The palm fronds were harvested from the various palm species in my back yard in Venice and placed on the raw canvas, cut to fit the respective palms, then a dry pigment is scattered over the entire piece and left for the rain. It rains short and hard, the canvas is heavily speckled in a short rain and in a longer storm it really blends and runs. As it dries sometimes water from an overhanging palm tree will drop and leave a large heavy drop, or an alley cat will even walk over the painting, further describing the surroundings.

 

After working on the ferns and palms over the course of the year, I was interested in attaining a working structure for experimentation in the rain. Like Los Angeles where we moved to have unrestricted access to sunlight throughout the year for outdoor light works, we moved to upstate New York for the summer where it rains off and on every week. Unlike the temporary visit to my mom’s house or the sporadic and fugitive rainfalls in California, I could use the outdoors here like a studio, working almost everyday with the rain as an available tool. The result was more varied, one day the black eyed susans were in bloom around the garden so I harvested these for a painting, the next I spent time in the woods cutting down trees to begin clearing paths for walking and sitting. The result describes not only a geography with specific species like the ferns and palms, but a domestic space as well as wild surroundings; the paintings from New York illustrate not only a place but a home.

 

 

The scale of these works is an environmental size, they inhabited the outdoors before the indoors. Influenced both by the traditional scale of the studio and massive projects of Land Art, these pieces reside somewhere in between. The relational essence of the artworks also falls between these histories, where the studio could be the equivalent of renting a private apartment and Land Art the assertive erection of a public building, while this method is “leave no trace” camping; going out into nature with only what you can carry, spending time alone and interacting with a shared space, then taking away with you everything you came with, along with an enriched connection to the work. The ideal translation of this is that it mimics the viewer’s interaction with the art in the gallery. I can faithfully say these works not only serve as a conceptual testament to the tools of nature amidst technology, but the value of our mutual experience of the world in which we live.

 

– Sam Falls, August 2014

 

Sam Falls currently has an exhibition at the Public Art Fund in New York, NY, USA. He will also have a solo exhibition at Pomona College, CA, USA, and at the Ballroom Marfa in 2015. Solo and group exhibitions of his work have been held at LAXART, Los Angeles, CA, USA, 2013, Madre Museum, Naples, Italy, 2014.

Past exhibitions

Sam Falls
09.05.14 – 10.25.14

Monica Majoli
Space of the Line: Ben, Rameses, Tom
09.12.23 – 10.14.23

Current

Lavinia
03.30.24 – 06.04.24

2024

D’Ette Nogle
MATERIALOUTPOST: IN-COUNTRY
02.23.24 – 02.24.24

Kate Mosher Hall
Never Odd or Even
02.17.24 – 03.23.24

2023

Rosemary Mayer
Noon Has No Shadows
11.12.23 – 12.23.23

Monica Majoli
Space of the Line: Ben, Rameses, Tom
09.12.23 – 10.14.23

Luz Carabaño
encuentros

09.09.23 – 10.21.23

Dominique Knowles
My Beloved
06.03.23 08.05.23

Olga Balema
Loon

04.08.23 05.20.23

Darrel Ellis
01.28.23 03.18.23

2022

Elaine Cameron-Weir
Exploded View / Dressing for Windows
11.12.22 – 01.14.23

Sarah Pucci and Dorothy Iannone
Organized by Scott Portnoy
09.10.22 – 10.22.22

Sweet Days of Discipline
07.16.22 – 08.20.22

Ann Craven
Flowers (Watercolors)
06.04.22 – 07.09.22

Puppies Puppies (Jade Guanaro Kuriki-Olivo)
04.16.22 – 05.21.22

Rochelle Feinstein
You Again
02.12.22 – 03.26.22

2021

Raphaela Simon
Steine
12.11.21 – 01.29.22

Anita Steckel
09.11.21 – 11.13.21

Tony Cokes
Evil.80 Empathy?
06.28.21 – 08.1.21

Talia Chetrit
DICKERING
06.19.21 – 08.14.21

Kate Mosher Hall
Without a body, without Bill
02.20.21 – 04.24.21

2020

Alvin Baltrop
11.21.20 – 01.23.21

Hardy Hill
The Easy Yoke
02.28.20 – 04.11.20

Barbara Kasten
Chroma
02.11.20 – 04.04.20

2019

California Winter
11.08.19 – 12.21.19

Tony Cokes
Della’s House
02.12.19 – 03.22.19

D’Ette Nogle
D’Ette Nogle, 2019
01.29.19 – 04.27.19

2018

Adam Linder
FOOTNOTE SERVICE: SOME TRADE
04.28.18 – 04.29.18

Gallery Share
03.04.18 – 03.31.18

D’Ette Nogle
Wardrobe Selections for Gallery (2013-2018)
03.04.18 – 03.31.18

2017

Andy Robert
LAKOU: One, Two, Fifth
12.15.17 – 02.28.18

Elaine Cameron-Weir
wave form walks the earth
09.17.17 – 11.22.17

Rey Akdogan
07.08.17 – 08.26.17

Joe Zorrilla
Condo New York, hosted by Bortolami Gallery
06.29.17 – 07.28.17

TOUCHPIECE
Curated by Justin Beal
05.21.17 – 06.24.17

Ryan Mrozowski
03.18.17 – 04.29.17

Olga Balema
On The Brink Of My Sexy Apocalypse
01.25.17 – 03.11.17

2016

Paul Thek
11.12.16 – 01.07.17

Sam Falls
09.16.16 – 10.29.16

Barbara Kasten
“I want the eyes to open” – Josef Albers
07.23.16 – 09.10.16

A Change of Heart
Curated by Chris Sharp
06.04.16 – 07.16.16

Ben Schumacher
Motor Earth
04.02.16 – 05.21.16

Raphaela Simon
Tischlein deck dich
04.02.16 – 05.21.16

Isabelle Cornaro
01.23.16 – 03.19.16

2015

Daniel Buren, Sam Lewitt, Wilfredo Prieto, Charles Ray, Pamela Rosenkranz, Joe Zorrilla
11.21.15 – 01.16.16

John Finneran
Dreamers at the Gates of Where Dreamers Are
09.19.15 – 10.31.15

Margaret Lee and Emily Sundblad
You Can Teach an Old Zebra New Tricks
08.07.15 – 09.12.15

Joe Zorrilla
05.02.15 – 07.03.15

Gerhard Richter
Overpainted Photographs
03.21.15 – 04.18.15

Ryan Foerster
03.21.15 – 04.18.15

Various Artist
IMAGE SEARCH
01.01.15 – 02.28.15

2014

Ann Craven
11.15.14 – 12.20.14

Sam Falls
09.05.14 – 10.25.14

Matt Sheridan Smith
07.12.14 – 08.23.14

Joe Zorrilla
06.06.14

Isabelle Cornaro
03.04.14 – 04.19.14

Rey Akdogan
05.03.14 – 06.21.14

The Body Issue
01.11.14 – 02.15.14

2013

Jörg Immendorff
10.04.23 – 12.07.13

Sam Falls, Jacob Kassay, Matt Sheridan Smith, Joe Zorrilla
07.23.13 – 09.21.13

Mira Schendel
Mira Schendel
05.21.13 – 07.13.13

2024

Dominique Knowles at Klima Biennale Wien
04.06.2024 – 07.14.2024
Elaine Cameron-Weir in Frieze
04.03.2024
Monica Majoli in Contemporary Art Quarterly Archive
04.03.2024
Elaine Cameron-Weir in The Brooklyn Rail
04.01.2024
Kate Mosher Hall, Juliana Halpert and Olivia Mole in Conversation
03.23.24
Kate Mosher Hall in Mousse
03.18.24
Tony Cokes and Rochelle Feinstein at Kunsthaus Baselland
04.13.2024 – 08.18.2024
Olga Balema at Hessel Museum of Art
04.06.2024 – 06.26.2024
Kate Mosher Hall in Autre
03.15.2024
Olga Balema at Cooper Brovenick
03.15.2024 – 03.23.2024
Dominique Knowles at David Peter Francis
03.14.2024 – 04.20.2024
Kate Mosher Hall in Carla
03.13.2024
Ann Craven at Phillida Reid
03.09.2024 – 04.13.2024
Maren Karlson in Flaunt
03.09.2024
Elaine Cameron-Weir in Ocula
03.07.2024
D'Ette Nogle in Interview Magazine
03.07.2024
Elaine Cameron-Weir at Lisson gallery
03.07.2024 – 04.13.2024
Ann Craven in Artlyst
03.04.204
Kate Mosher Hall in Frieze Magazine
02.29.2024
Olga Balema at Woonhuis de Ateliers
02.29.2024 – 04.20.2024
Hannah Hoffman in ARTnews
02.27.2024
Tony Cokes at Mildred Lane Kemper Art Museum
02.23.2024 – 07.29.2024
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Family Style
02.22.2024
Hannah Hoffman in ARTnews
02.22.2024
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Frieze
02.16.2024
Elaine Cameron-Weir in artnet
02.14.2024
Tony Cokes at MUDAM
02.09.2024 – 09.08.2024
Ann Craven in Santa Barbara Independent
02.05.2024
Tony Cokes in Hyperallergic
01.31.2024
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in MOMUS
01.19.2024
Tony Cokes in e-Flux
01.17.2024
Olga Balema in the New York Times
01.04.2024
Kate Mosher Hall in Frieze
01.03.2024
Rosemary Mayer in Artillery Magazine
01.02.2024

2023

Puppies Puppies (Jade Guanaro Kuriki-Olivo) in CURA
12.23.2023
Elaine Cameron-Weir in Artnet
12.22.2023
Rosemary Mayer in LA Review of Book
12.18.2023
Ann Craven in the Brooklyn Rail
12.14.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in BOMB Magazine
12.14.2023
Olga Balema in the New York Times
12.13.2023
Barbara Kasten in Artnews
12.13.2023
Darrel Ellis in the New York Times
12.13.2023
Rosemary Mayer in Frieze
12.07.2023
Rosemary Mayer in Mousse
12.06.2023
Monica Majoli in Artforum
11.30.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in FAD Magazine
11.28.2023
Dominique Knowles in Cultured
11.27.2023
Tony Cokes at the Louisiana Museum of Modern Art
11.23.2024 – 04.01.2024
Rosemary Mayer in LA Downtown News
11.20.2023
Rosemary Mayer in Insider
11.20.2023
Tony Cokes in E-Flux
11.20.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Cultured
11.17.2023
Rosemary Mayer in Hyperallergic
11.02.2023
Tony Cokes in The Brooklyn Rail
11.01.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Numero
10.20.2023
Darrel Ellis in OnMilwaukee
10.19.2023
Luz Carabaño in Hyperallergic
10.09.2023
Kate Mosher Hall in Artforum
10.05.2023
Tony Cokes at Moderna Museet
09.30.2023 – 09.22.2024
Tony Cokes at Museion Foundation
09.30.2023 – 02.25.2024
Luz Carabaño in Flaunt
09.22.2023
Rochelle Feinstein at Mehdi Chouakri
09.12.2023 – 11.04.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in NY Times
09.17.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in Latina
09.09.2023
Anita Steckel at Wonnerth Dejaco
09.08.2023 – 10.14.2023
Barbara Kasten at Bortolami
09.08.2023 – 10.28.2023
Kate Mosher Hall at Miguel Abreu
09.08.2023 – 10.21.2023
Puppies Puppies (Jade Guanaro Kuriki-Olivo) in NY Times
09.07.2023
Dominique Knowles in Texte Zur Kunst
09.05.2023
Tony Cokes at DIA Bridgehampton
08.26.2023
Dominique Knowles in Elephant
07.12.2023
Dominique Knowles in LA Times
07.05.2023
Raphaela Simon and Andy Robert at Michael Werner Gallery
06.24.2023 – 09.09.2023
Darrel Ellis in ARTnews.com
23.06.2023
Tony Cokes at DIA Bridgehampton
06.23.2023 – 05.2023

Artists

Rey Akdogan Olga Balema Elaine Cameron-Weir Luz Carabaño Talia Chetrit Tony Cokes Ann Craven Darrel Ellis Rochelle Feinstein Kate Mosher Hall Maren Karlson Barbara Kasten Dominique Knowles Adam Linder D’Ette Nogle Puppies Puppies (Jade Guanaro Kuriki-Olivo) Andy Robert Raphaela Simon Anita Steckel Joe Zorrilla

Works by

Paul Thek Alvin Baltrop

2024


Frieze LA
02.29.24 – 03.03.24

2023

Tony Cokes and Dominique Knowles
Paris + Art Basel
10.18.23 – 10.22.23
Caitlin MacQueen and Puppies Puppies (Jade Guanaro Kuriki-Olivo)
The Dallas Invitational Art Fair
04.22.23 – 04.23.23

Frieze LA
02.16.23 – 02.19.23

2022

Rochelle Feinstein
Art Basel Miami Beach
12.01.22 – 12.03.22
Olga Balema, Ann Craven, Caitlin Macqueen and Anita Steckel
Paris + Art Basel
10.19.22 – 10.23.22
Kate Mosher Hall
Frieze NY
05.18.22 – 05.22.22
Elaine Cameron-Weir
(Shared with LambdaLambdaLambda who presented Nora Turato)
Frieze LA
02.17.22 – 02.20.22

2021

Olga Balema
(with Bridget Donahue Gallery)
Frieze NY
05.05.21 – 05.09.21

2020

Barbara Kasten
(with Bortolami Gallery)
Frieze LA - Projects
02.14.20 – 02.16.20
Andy Robert
Cape Town Art Fair
02.14.20 – 02.16.20

2019

D'Ette Nogle and Marcel Broodthaers
June
06.10.19 – 06.14.19
Andy Robert
Frieze NY
05.02.19 – 05.05.19
Group presentation
Frieze LA
02.15.19 - 02.17.19

2018

Olga Balema and Andy Robert
Paris Avant-Première
10.12.18 – 10.18.18
Olga Balema
Art Basel Hong Kong
03.27.18 – 03.31.18