July 27, 2015

Summer Hours

Carrie Secrist Gallery is open by appointment only from July 28 – September 11, 2015. If you would like to make an appointment please contact us on 312.491.0917.


July 22, 2015

Liliana Porter, Whitney Museum of American Art

Liliana Porter’s work is included in Amercia is Hard to See, the inaugural exhibition at the new Whitney Museum of American Art. The exhibition is on view from May 1 – September 27, 2015.

Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present. Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.


The title, America Is Hard to See, comes from a poem by Robert Frost and a political documentary by Emile de Antonio. Metaphorically, the title seeks to celebrate the ever-changing perspectives of artists and their capacity to develop visual forms that respond to the culture of the United States. It also underscores the difficulty of neatly defining the country’s ethos and inhabitants, a challenge that lies at the heart of the Museum’s commitment to and continually evolving understanding of American art.

Organized chronologically, the exhibition’s narrative is divided into twenty- three thematic “chapters” installed throughout the building. These sections revisit and revise established tropes while forging new categories and even expanding the definition of who counts as an American artist. Indeed, each chapter takes its name not from a movement or style but from the title of a work that evokes the section’s animating impulse. Works of art across all mediums are displayed together, acknowledging the ways in which artists have engaged various modes of production and broken the boundaries between them.

More information

July 11, 2015

Alex Bradley Cohen: SWIM 1 at New Image Art, Los Angeles

Alex Bradley Cohen participates in SWIM 1, a group exhibition at New Image Art on view from July 11 – August 1, 2015.

Cohen exhibits alongside Alicia McCarthy, Jenny Sharaf, Barry McGee, Teen Witch, Chris Johanson, and Mario Ayala, among many others.

New Image Art is located at 7920 Santa Monica Blvd. in Los Angeles, California.

June 26, 2015

Holiday Hours

Carrie Secrist Gallery will be closed Friday, July 3 and Saturday, July 4, 2015 in observance of Independence Day.

Please visit our current exhibition with work by Alex Bradley Cohen and Kelly Lloyd on view through July 25, 2015. Regular gallery hours are Tuesday to Friday 10:30-6 and Saturday 11-5.

June 26, 2015

Carson Fisk-Vittori: Data-Scent at Johannes Vogt, New York

Carson Fisk-Vittori exhibits alongside Derek Frech and Alex Ito in Data-Scent on view at Johannes Vogt in New York through July 16, 2015.

Fisk-Vittori, Frech and Ito’s work explore the discrete quality of information embedded in contemporary visual culture. Locations, emotive energy and power are belied by the comforts displayed in everyday life.

June 17, 2015

Paul Anthony Smith exhibits at Seattle Art Museum

Paul Anthony Smith exhibits in Disguise: Masks & Global African Art on view at the Seattle Art Museum from June 18 to September 7, 2015.

The exhibit will travel to the Fowler Museum at UCLA from October 18, 2015 to March 13, 2016 and to the Brooklyn Museum from April 22 to September 11, 2016.

Disguise provides an updated look at 21st-century evolutions of the mask and explores contemporary forms of disguise. These masks reflect our time, when digital culture is constantly changing the visual framework. Older forms of masks in wood and fiber are now joined by masks that stream with video glitches, take a role in immersive environments or launch into space in virtual reality. Masks act as a catalyst for these artists, as they present fresh visions of masquerade and the shared instinct to hide from ourselves and from each other.

Paul Anthony Smith exhibits alongside Nick Cave, Ebony G. Patterson, Sondra R. Perry, Edson Chagas, Steven Cohen, Hasan and Husain Essop, Alejandro Guzman, Gerald Machona, Jean-Claude Moschetti, Toyin Odutola, Ike Ude, and William Villalongo.

Disguise is accompanied by an illustrated catalog. The catalog is co-published by the Seattle Art Museum and Yale University Press.

May 11, 2015

Anne Lindberg at Mattress Factory, Pittsburgh

Anne Lindberg installs site-specific thread installation at the Mattress Factory, Pittsburgh as part of Factory Installed on view from May 15, 2015 to March 27, 2016.

Lindberg participates in Factory Installed alongside Jacob Douenias + Ethan Frier, John Morris, and Julie Schenkelberg.

Mattress Factory
500 Sampsonia Way
Pittsburgh, PA

May 6, 2015

Carson Fisk-Vittori, You will find me if you want me in the garden, Galerie Valentin, Paris

Carson Fisk-Vittori exhibits in You will find me if you want me in the garden, a group show curated by Domenico de Chirico on view at Galerie Valentin, Paris through 16 May 2015.

Epicureanism is a philosophy based on the teachings of Epicurus. The school of Epicurus, founded in 306 B.C. is also called “The Garden” in reference to the philosopher’s home and garden near Athens where he held his teachings.

Epicurus’ philosophy, inspired by Democritus’ atomism, is centered on the understanding that philosophy’s main goal lies in achieving a state of tranquillity.

Hence the thoughts of Epicurus are based on three principles: First, the value of our senses and feelings as criteria of truth and happiness (pleasure); secondly the principle of atomism according to which objects are formed and modified by atoms constantly uniting and separating, whereas feelings are formed by layers of atoms that radiate from those objects and thereby affect the atoms of the soul; thirdly, his semi-atheism which accepts the existence of gods but denies them any form of interference on the making and governance of the world.

In short, Epicurus believes that the highest good is pleasure (ἡδονή) and, at the same time, that the criterion of truth is sensitive knowledge, or rather that only the senses are true and infallible and should therefore be cared for constantly.

Surely, the garden, seen as an eco system, is an ideal place for everyone to move freely and to express their opinions. Besides, it can favor debates with a historical perspective – an undisputed and valid tool for the knowledge and understanding of religious, artistic, poetic and literary expressions – deeply satisfying, despite their peripatetic appearance.

Fisk-Vittori exhibits alongside Alessandro Agudio, Stefania Batoeva, Sol Calero. Simon Dybbroe Møller , Ditte Gantriis, Pakui Hardware (in collaboration with Jeannine Han), Daniel Keller, Spencer Longo, Matthew Smith, Anna Virnich, and Andrew Norman Wilson.

May 6, 2015

Liliana Porter in Dandilands, Cyprus

Liliana Porter exhibits Dialogue with Blue Mug in Dandilands, a standing sign found in the high forest of Troodos mountains where there is a circular trail walk through a rocky path overlooking wild trees with a view beyond the forest and over the island. Dialogue with Blue Mug  observes the possibility of connections between dissimilar objects located in odd situations. Subjects, that is, which don’t seem to mind their differences as communication among both characters is effortless and fluid.

The project is on view in Cyprus through 5 June 2015.

For more details please visit www.picknickworks.org


April 28, 2015

Paul Anthony Smith at Miriam and Ira D. Wallach Art Gallery, New York

Paul Anthony Smith exhibits new work in a curious blindness, on view at Miriam and Ira D. Wallach Gallery at Columbia University, New York. The exhibit is on view through June 13, 2015.

Curated by Vivian Chui, Tara Kuruvilla and Doris Zhao, a curious blindness reflects a moment captured by eighteen early- to mid-career artists who engage with the complex climate of race and identity politics. Despite their varied backgrounds and influences, there is a shared consciousness of how people of color are treated and represented in a purportedly post–racial era. The selection of works within the exhibition responds and reacts to the institutionalized racism that permeates the quotidian through media, consumer capitalism, and the art-historical canon. The artists are influenced by ideas of portraiture, seriality, and the consumable that evoke the ways in which the body of color has been objectified and abbreviated through time.

Miriam and Ira D. Wallach Art Gallery
Columbia University
926 Schermerhorn Hall
1190 Amsterdam Ave. MC 5202
New York, NY 10027


April 24, 2015

Derek Chan at Center for Contemporary Arts, Santa Fe

Derek Chan presents Mending the World Through a Dream, a narrative installation of painting and video at the Center for Contemporary Arts, Santa Fe, NM. Referencing mythological explanations of natural phenomenon, Chan focuses on the relationships of dreams, celestial cycles, and the movement of tectonic plates in his paintings.

The exhibition is on view in the Cinematheque gallery from April 30 – July 5, 2015.

Center for Contemporary Arts
1050 Old Pecos Trail
Santa Fe, New Mexico 87505


March 12, 2015

Anne Lindberg at Contemporary Arts Center, Cincinnati through March 22

Carrie Secrist Gallery is pleased to announce a two-person exhibition featuring gallery artist Anne Lindberg. Unmade: Anne Lindberg & Saskia Olde Wolbers will be on view at Contemporary Arts Center Cincinnati through 22 March 2015.

Lindberg presents new graphite drawings alongside a site-specific installation titled cadence, 2014. The artist stated, “I am thrilled to have opportunity to create a new site-specific work in Zaha Hadid’s architecture.”

Contemporary Arts Center is located at 44 E. 6th Street in Cincinnati, Ohio.

More information on Unmade at CAC

March 7, 2015

Review: Ryan Fenchel at Carrie Secrist Gallery

By Alan Pocaro for Newcity Chicago

It’s hard to believe that just over seventy years ago Henri Matisse was something of a has-been. Considered by many to be little more than a thoughtful, polite decorator of bourgeoisie interiors, his radical stature long eclipsed by that other giant of twentieth century art. While in 2015 one might plausibly forget that Picasso ever existed, so little is his impact seen and felt in contemporary painting, the influence of Matisse is now inescapable. From massively attended retrospectives of his late work, to artists (like John McAllister) who have made whole careers out of unabashedly aping his look, Matisse might well be regarded as the single most prominent influence of our time.

Enter LA-based artist Ryan Fenchel whose new exhibition titled “Fases and Vaces I’ve Been” at Carrie Secrist treads comfortably, but not always predictably, within the circumscribed limits of the French master’s shadow.

Rich with saturated colors, flat shapes and harmonious compositions, one never gets the sensation that the bold arrangements in “Fases” were much struggled over. Aside from some errant pentimenti on the awkward “Edo, Khem” and what might be a covered-over image in “Profe Loop,” most of these works seem to have come about with relative ease.

It’s the pieces that “shouldn’t work” like the visually top-heavy “Hand Snakes, Tray” whose brilliant orange square hovers menacingly atop a navy blue field, or the vessels’ strange gyrations in “Edo, Khem,” that try to stake out unfamiliar visual territory and inspire the most sustained interest.

Owing to the preponderance of soft pastel, there’s an almost universally matte, near velvet, quality to these nineteen works that is seductive and intimate. Unlike paint which is so frequently mediated by brush, the directness of pastel’s touch allows the viewer rare access to the artist’s hand.

“Fases and Vaces I’ve Been” is a thoroughly likable exhibition that demands very little from the viewer in return for its good-natured visual gratification. I was left wondering, however, at what point the legacy of Matisse, whose influence is so productive to so many artists, will seem more like a burden, from whose weight we struggle to escape.