Damien Hirst (B. 1965)
Yes, but how do you really feel
stainless steel, glass and six plastic skeletons
79 x 168 x 18 1/4 in. (200.7 x 426.7 x 46.35 cm.)
Executed in 1996.
PROVENANCE
White Cube Gallery, London
Mark Manders, Dry Figure on Chair, 2011-15
Collection of Museum of Contemporary Art Tokyo
Courtesy: Zeno X Gallery, Antwerp, Tanya Bonakdar Gallery, New York and Gallery Koyanagi, Tokyo
“What Remains, What Rises” is currently on view @nicellebeauchene project space until May 3rd, 2025. Opening reception is this Saturday April 5th 6-8PM At 7 Franklin Place New York, NY 10013
“What Remains, What Rises introduces a series of new paintings which meditate on memory, history, and transformation. Prompted by Cosbert’s examination of the African diaspora and resulting legacies, she reflects on the stories, traditions, and culture that have endured through the subjugation and oppression of Black communities.
Scaffolding swaths of color, the artist explores the material properties of paint— pigmentation, viscosity, and mark— in a balanced interplay of control and chance. Through accumulated layers of pigment, Cosbert creates dense compositions teeming with visceral tactility and symbolism, unfolding deeply personal narratives while forging a sociopolitical consciousness in abstraction.”
*Photos courtesy of @nicellebeauchene
Ryan Cosbert, 'An Ode to Annie Easley', 2025, Acrylic on canvas, 36 x 24 inches @bcosryan
“Viewer vs. Subject: Projection + Boundaries” by @allengolder
The installation for the group exhibition consists of multiple parts, a curtain with a life size print of a security fence and interlaid with photographs of windows, that the viewer must pass through to enter the installation, a photo installation on the back most wall, and an iPhone sculpture playing a video that cycles through all the images in the installation, with audio of an original poem performed by my self.
Comprised of images from an ongoing “open source” photo series, where I have been personally documenting, as well as receiving submitted examples of the phenomenon of what I call “walls of shame”. Photo displays at establishments such as gas stations, convenience stores etc. that are made of security images of individuals caught stealing, put at the front of the store in an attempt to shame them. These “walls of shame” are pictured on the curtain, with the faces of individuals cut out. For the installation, the faces from these images are taken and translated to a mosaic of 4x6 inch images, with versions of each image including a clear image and other incorperating various forms of censorship.
These images will comprise half the photo installation, the other half will consist of images captured over the course of the exhibition, on a security camera in the gallery of visitors that enter the installation, when they “breach” the security fence curtain.
This body of work deals with the viewer / subject relationship, particularly as it relates to boundaries, transgression, and projection. When you see a picture of someone caught stealing, there’s an idea, a preconceived notion, that we are meant to project onto that image. And by placing the viewer on equal ground as the person in the image I ask people to investigate in themselves, the ideas we project onto others. Alongside the boundaries of individuals being dissolved in an act of public shame.
The question at the heart of this body of work is, How do we betray others as well as ourselves in order to participate in society and keep it functioning in its current state?
Martha Jungwirth
Ohne Titel, 2021
Oil on cardboard on canvas
62.5 x 48.2 cm (24.61 x 18.98 in)
Overview
‘My pictorial reality is charged with passion, a language tied to the body, to dynamic movement. Painting is a matter of form, and then it receives a soul – through me.’
Over the past six decades, Martha Jungwirth has forged a singular approach to abstraction that is grounded in the body and closely observed perceptions of the world around her. With an idiosyncratic, non-conformist approach to painting, her works occupy an intuitive space that exists beyond the formation of recognisable images, ‘before spoken language’, ‘before memory’ and ‘before the obtrusiveness of objects’. The compositions reveal themselves to her during the painting process, which she describes as an ‘adventure’, creating in concert with her materials to produce works that are poised between chance and calculation.
