ArtMuse, New York, NY (2026)

05/12/2026

Monumental in scale, sensuously fluid, with poetic rhythm and movement built into the emotive process, Helen Frankenthaler’s paintings, on view now at are moving immersive experience to behold.
“Helen Frankenthaler: The Moment and the Distance”, is an exhibition organized in collaboration with the Helen Frankenthaler Foundation. Surveying four decades of paintings from 1960 to 1992, the exhibition features more than twenty of Frankenthaler’s largest, most ambitious works. Arranged by decade, these canvases—with their monumental scale, sensuous color, and innovative compositions—offer new perspectives on the artist’s continual reinvention of her practice.
“Embodying Frankenthaler’s exploratory, lyrical approach to abstraction, the canvases on view benefit from an expansive scale that enhances the exceptional visual impact of their brilliant colors and varied gestures.

Created with diluted oil paint applied directly to untreated canvas, Provincetown I (1961) features compelling contrasts between line and color, bound and unbound form. In the late 1960s and 1970s, following her move from oil to acrylic paint, Frankenthaler shifted to composing with large, flat slabs of color. …Throughout her career, Frankenthaler engaged in a conversation with the history of art. Auguste (1977) was inspired by Auguste Renoir, reconfiguring the Impressionist’s fleshy palette and varied application into a field of loosely rectilinear brushstrokes. Allusions to landscape are also a constant in Frankenthaler’s oeuvre.…Frankenthaler once described her painting as “inner amorphous worlds or depths exploding on the surface and in perspective…Together, these paintings epitomize Frankenthaler’s continuous introduction of new painting techniques and imagery as well as her stalwart commitment to abstraction.”

05/11/2026

Languorous figures with velvety shadows enveloping the quiet, intimate interiors of these small scale paintings by in her newest show titled “Forest for the Trees”It takes the eyes a few minutes to adjust to and discern. But the reward of recognition and partaking in these private moments is great.
“In pensive, cinematic portraits, Mckinney captures solitary female protagonists in moments of leisure and respite. Set in dream-like domestic interiors, the figures in Forest for the Trees sprawl across unmade beds, recline atop sleek, modernist furniture, and bask in afternoon sunlight. Unaware of—or perhaps unconcerned with—the viewer, Mckinney’s women smoke, read, and nap, lost completely in the curated comfort of their sacred private spaces.

Figures have always been the focal point of Mckinney’s work—expressions, posture, and gestures always carrying more meaning than the particulars of their domestic spaces. With Forest for the Trees, the artist loosens her brushwork, rendering her figures with less definition—allowing bodies to melt into surroundings, limbs to dissolve into abstraction. Yet, the environments these figures occupy are more realized than ever before. The brushwork, like that of the figures, is loose and painterly—evoking the intimate, impressionistic domesticity of Édouard Vuillard, the specificity of the imagery only taking form with distance.
This subtle shift in the figure-ground relationship throughout the works of Forest for the Trees reflects, perhaps, the environment of their creation. Mckinney made these paintings during a period of particular turmoil, both personally and collectively.
With Forest for the Trees, Mckinney turns inward, searching not for resolve—but for a place where it is safe to sit with this palpable sense of uncertainty. Nothing here is sure—but nothing needs to be sure. In this place—amidst these conditions—Mckinney’s women become trees, free to lay down roots, their growing wisdom pushing deeper and deeper into the earth. And—like the mythic Daphne, transformed into a tree—from these roots, they will grow and blossom.“ On view at

05/10/2026

A superb selection of art works on view now at for its upcoming that include outstanding art from the collections of as well as evening sales of Impressionist, Modern and a contemporary art with works featured here by: Mark Rothko, Henri Matisse, Joane Mitchell, , Mondrian, Jackson Pollack, Pablo Picasso, Amadeus Modigliani, Alice Neel, Lee Krasner, Salvatore Dali, George Condo, Helen Frankenthaler, Sam Gilliam, Gerhard Richter, Olga De Amaral , Fred Eversly, and Carl Andre. With modeling assistance by and

05/09/2026

Where flowers are a chorus bursting forth with all the emotional resonance that is packed into the artist ‘s color-saturated paintbrush.
“Maria Calandra’s paintings begin with specific places (coastal paths, gardens, mountain ranges), often planted or cultivated by others, but are built in the studio from memory rather than direct observation. Referencing sites across Maine, Northern California, and Brooklyn, what emerges is not a fixed view, but a reconstruction of experience: fragments of landscape are compressed, scaled, and reorganized into a continuous field where foreground and distance no longer hold.

In these works, sky, water, and vegetation do not sit in separate zones but circulate across the surface. Calandra’s handling of paint reinforces this instability. Her surfaces appear dense and saturated, but are built through thin, fluid applications that allow color to pool, spread, and merge. This produces a tension between weight and liquidity. The movement of the brush feels continuous rather than fixed, built through repetition and rhythm rather than isolated gesture.
Pleasure is central to these paintings. Their color, movement, and abundance draw the viewer in, but not passively. What first reads as lush and immersive gradually reveals itself to resist orientation, as the eye moves continuously without settling and no single element holds.

Calandra approaches landscape not as a site to be described, but as something internalized and reconfigured. “ on view at

05/08/2026

Landscape has been the subject of ‘s practice for more than 50 years now and the oscillation between the representational and the abstract is a vertiginous and enthralling experience to behold. It is now the main focus of a superb exhibition at on west 20 th street that includes historic works by the artist as well as institutional loans.
“In the late 1960s, Richter began to engage the subject of landscape in his Photo Paintings following a formative visit to the French island of Corsica. Using snapshots from his trip as a compositional basis, he created a series of atmospheric landscapes and seascapes that evoke art-historical precedents while eschewing traditional notions of the aesthetic sublime.
Over the following decades, Richter continued to paint landscapes from photographic sources, manipulating his brushwork into an energetic tangle or a sfumato haze to test the malleable boundary between representation and abstraction. After Richter formalized his Abstract Paintings in 1976, the two series developed in tandem, each informing the underlying pictorial concerns of the other. In some cases, abstractions began as landscapes, only to be overpainted with gestural marks; in others, abstract works conjure landscapes through evocative titles alone.

Displayed in dialogue through a chronological progression of rooms, these two aspects of Richter’s oeuvre together illustrate his investigation into the nature of images and the perception of reality—how it is personally interpreted, mediated by the external world, and visually portrayed through painting.“

05/07/2026

The shimmer of the rising sun on the water, the constant movement of the shallow waves, the flickering light of the setting sun. These often hypnotizing and sublime daily visions of nature become the subject matter that fascinates the artist and are the fleeting moments he captures in his textured paintings with their unique process. “Wayfinder” is Merrick Adams’ new solo exhibition opening today at
“Throughout history, various religions and spiritualities have turned to water as a source of purification, surrender, and rebirth. Adams looks to explore that unique spiritual charge. In Wayfinder, he expands his meditation on the ocean as both subject and symbol. Three arched canvases—shaped to echo the lancet windows of a chapel or temple—anchor the exhibition, framing each painting as a portal rather than a picture.

By its nature, the sea resists containment. It is vast, unknowable, a persistent reminder of forces greater than oneself. Adams’s paintings function as microcosms of the uncontainable, presenting a pause for reflection. Drawing from the techniques of woodcut and silkscreen, his surfaces are built and stripped back across countless layers, yielding a luminous web of rippling line and color that rises and falls in hypnotic, almost breathing motion.
Wayfinder takes its title from an ancient navigational practice: crossing open water by reading stars, currents, wind, and memory rather than fixed instruments. It is a mode of travel that requires trust. In invoking it, Adams speaks to a contemporary spiritual condition of searching for direction in a fragmented world.“ .studio

05/06/2026

Where the circle is part of a macro and microcosmic universe. Lenses, planets, cells and atoms, for the artist the circular form is both intimate and grand, a shape that defines existence and invites inquiry.
“Deep Field”, is a solo exhibition by Alyson Shotz featuring new work using plated steel, glass, paper and wood.
“Shotz is known for experiential, large-scale sculptures inspired by natural and scientific phenomena that subvert their physicality in order to explore the phenomenological experience of space, gravity and light.

The show’s title, Deep Field, references the epic composite Hubble Deep Field photograph. Over a period of 10 days in 1995, the Hubble Telescope recorded this seemingly black and empty patch of sky, a size the equivalent of holding a pinhead at arm’s length. The exposures revealed thousands of hitherto unknown galaxies, providing what NASA has termed a “Core Sample of the Universe.” This notion of looking longer, slowing down to contemplate and thereby seeing more, is an apt metaphor for Shotz’s work…
The imagery of the circle resonates throughout the exhibition. It takes the form of telescopic lenses in a series of sculptures called Star Takers. These works contain highly reflective layered materials – surveillance glass, polished stainless steel and anodized aluminum – which are stacked in multiple planes and enclosed in wood paneled frames. The pieces look both futuristic: a Kubrick-like eye, and at the same time, historical – like a medieval telescope from the Jantar Mantar in Jaipur, India.…
The circle also forms the basis of a series of target-like blue cyanotypes wherein multiple exposures echo out from a bright center like imprints recording the variable radiance of the sun….
This notion of looking into the “deep field of time,” both future and distant past, encapsulates Shotz’s practice“
On view at

05/06/2026

The Spring auctions are upon us and previews have begun. Here are a few highlights from in New York that feature major collections such as that of Robert Mnuchin artists here:
1
2. Alma Thomas
3. John Chamberlain
4. Alice Neel
5.
6.
7.
8. John Chamberlain and Richard Diebenkorn
9. David Hammond
10. Wayne Thibaud
11.
12. Yu Nishimura
13. Lisa Yuskavage
14. George Condo
15. Sarah Sze
16. Lucio Fontana
17. Ed Ruscha
18. Elizabeth Peyton
19. Andy Warho”
20. Joan Mitchell

05/05/2026

Humor is a powerful tool to engage the audience and reflect on our culture. The Austrian artist has spent his career working in sculpture to highlight the absurdity and paradoxes of our existence.
In a new exhibition titled “Double Dream” the artist “debuts two new sculptures from Wurm’s Dreamer series. Both works, Nurse and Double Dreamer(2026), feature figures whose entire upper bodies have been replaced by massive pillows, squashed as if pulled off an unmade bed. The absence of identifying features gives these pieces a sense of both anonymity and universality, yet despite lacking faces, arms, and torsos the sculptures still manage to express their distinct personalities.
The exhibition also features a number of new and recent Substitutes, ranging from the petite to the towering. In this series Wurm continues his decades-long exploration of clothing as a sculptural medium, and in these works he absents the body entirely, leaving empty garments cast in aluminum or bronze.
Double Dream showcases the breadth of Wurm’s experiments with the figure—at turns present, absent, supplanted, or distorted. Where the artist’s Dreamers visualize psychological weight, his Substitutes examine how clothing can function as a stand-in for the individual. “

05/02/2026

What a remarkably moving experience it is to walk into and through the new immersive three-gallery spaces exhibition of the iconic contemporary Italian artist titled “Reflection of Bronze” and curated by Adam Weinberg, the director emeritus of the Whitney Museum, at
The show “is rooted in Penone’s late-1960s exploration of trees, which led to his celebrated carved tree works and now culminates in sculptures that render the same subject permanent in metal.

Throughout his career, Penone, a protagonist of radical Italian movement Arte Povera, has used a range of materials and forms to explore connections between human life and the natural world at large. In The Reflection of Bronze, he employs the titular alloy to trace the passage of time and the perpetuity of change.

“The veins of water that pour from the earth flow in trickles that merge, like the branches in the trunk, like the fingers in the palm of a hand, like the bronze in the matrix of a tree.” —Giuseppe Penone
Bronze partially surrendered its former prominence as an artistic material following the Second World War, but regained some currency through radical new approaches to its use—often involving its juxtaposition with other materials—pioneered by Penone and his contemporaries. The works on view in New York also derive from his early realization that, by excising the rings surrounding the knots in a wood beam, he could reveal the form of a tree at an earlier stage of its life.“

05/01/2026

Where time is the past, the present and the future and the color white is everything and a blank, where material nature of art is both questioned and emphasized. In his sixth solo exhibition at the Dutcb artist presents new work ranging from monumental bronze busts to abstract sculptural landscapes and discrete paintings and works on paper.
“Dreamlike and fragmented, these new pieces populate the gallery like a series of thoughts to which the artist gave form and then froze in time. Experienced together, the works form a kind of scenography of the mind for the visitor to move through and inhabit.

Over the course of his thirty-year career, Manders has centered his practice on the creation of poetic and paradoxical fictional worlds. In Manders’ installations past, present, and future exist simultaneously, gravity is at once emphasized and defied, the boundaries between painting and sculpture are permeable, and language is simultaneously all-powerful and insufficient. In his work, experiences that are universal and yet indescribable like melancholy, are given powerful form. Serving less as evidence of his own life, thoughts, and existence, Manders sees the scenes, environments, and individual works he creates more as tools to explore the idea of subjectivity itself. ” .manders

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