Opening tonight! The exhibition Romare Bearden: Figure in Collage follows the evolution of Bearden's approach to the figure and his experimentation with collage as a narrative medium.
Bearden's domestic interior scenes use collage to depict recollected and imagined memories from his youth in Mecklenburg County. This is a Morning in Mecklenburg County (1975) exemplifies a meaningful theme in Bearden’s work–– a nude with a protective spirit nearby. In the collage, the young woman bathing is protected by the benevolent spirit of parental figures, who are likenesses of the artist’s own great-grandparents. The image of a woman dressing after her daily morning bath relates to the Biblical story of Susanna and the Elders and Bearden’s idea of bathing as a ritual, a key concept in his work.
Join us tonight, from 5-8 pm, for the ADAA Chelsea Gallery Walk. We'll be hosting an opening reception for Romare Bearden: Figure in Collage and the group exhibition, Solace. @the_adaa
Image: Romare Bearden, This is a Morning in Mecklenburg County, 1975. Collage of various papers with fabric, pencil, and paint on fiberboard on board, 15 5/8 x 17 7/8 inches
#romarebearden
Join us in wishing a happy birthday to Alexi Worth! Seen here in his studio working on his series of close-up wine glass views, which are currently on view in the exhibition Vortici at The Gallerie d'Italia, Naples (@gallerieditalia ).
The exhibition pairs Worth's paintings with ancient Greek ceramics from the Caputi Collection. When creating the paintings, Worth thought about the relationship between his depictions of curving forms on a flat canvas and the work of Greek vase painters painting flat forms upon a curved surface.
To learn more about these paintings and the current exhibition in Naples, tune into the @brooklynrail 's New Social Environment on Tuesday, June 2, with Alexi Worth in conversation with art historian Alexander Nagel. Visit @brooklynrail to register.
Image: 1. Alexi Worth in his studio, 2020. 2. Drawing studies
DC Moore Gallery is pleased to present Solace, an exhibition exploring meditative, introspective approaches to making art. Solace invites viewers to look quietly and closely, to enter in a shared space of refuge.
Featuring work by: Eric Aho, Charles Burchfield, Amy Cutler, David Driskell, Mary Frank, Carrie Gundersdorf, Mark Innerst, KK Kozik, Robert Kushner, Whitfield Lovell, Duane Michals, Katia Santibañez, Claire Sherman, George Tooker, Darren Waterston, Mary Royall Wilgis, Jane Wilson, Jimmy Wright
Please join us on Thursday, May 14, for the opening reception from 6 - 8 pm.
Image: Charles Burchfield, Clearing Sky, 1920. Watercolor, gouache, and graphite on paper, mounted on board, 19 1/8 x 26 1/2 inches
#charlesburchfield
DC Moore Gallery is pleased to present Romare Bearden: Figure in Collage, an exhibition that follows the evolution of Romare Bearden’s approach to the figure. The exhibition is on view starting today, and the opening reception will be Thursday, May 14 from 6 - 8 pm.
This selection highlights key moments of innovation across Bearden’s career, including works from his 1946 Iliad series, 1964 Projections, and 1977 Odysseus series. Featuring collage, painting, and drawing, the works on view explore the wide scope of Bearden’s creative methodology, recurring influences, and interweaving of traditions from different eras, geographies, and cultures.
Please join us on May 14 to celebrate the opening!
Image: The Siren’s Song, 1977. Collage of various papers with paint and graphite on fiberboard, 32 x 44 inches
#romarebearden
Last days to see Barbara Takenaga: Parallax, closing Saturday May 2! Join us for the closing reception with the artist on Saturday from 4:30-6 pm.
"For me it leans into a kind of visual tolerance, an openness to ambiguity and choice. Flipping between positive and negative space––is it a cloud or a river? Illusion or a paint mark? The image can be different according the viewer (parallax!). I like it when an image is almost but not. Serious but also absurd." - Barbara Takenaga
Images: Installation views of "Do-Si-Do 2," "Do-Si-Do 1," and "Jive," all 2025
Jane Wilson, born on this day in 1924, is best known for her landscape painting, but her practice also included a deep study of still life. In 1968, Wilson began to teach painting, and while instructing students about still-life painting, she returned to the subject herself. Her groupings of objects often included patterned fabrics, intentionally creating complex relationships between the volumes and the spaces between the objects, to engage the viewer in understanding the composition.
“Still life is indoor, tactile, and physical, about touch, texture, and weight, substance, and the intimate distances in between.” - Statement by Jane Wilson
Image: Jane Wilson, Borrowed Rug, 1969. Oil on canvas, 60 x 40 inches
#janewilson
DC Moore Gallery is delighted to announce representation of Jim Gaylord, who will have his first solo exhibition with the gallery in Spring 2027.
Jim Gaylord explores the possibilities and boundaries of abstraction, adapting languages of formalism, geometry, ornament, and iconography. He interlayers motifs from both man-made and organic structures, finding connections between engineered and naturally occurring patterns. Recontextualizing symbols from our visual culture, his work resonates in ways that are specific yet enigmatic, inviting multiple readings.
“My reliefs combine details that draw from both the monumental and the sensorial. A fragment of a skyscraper’s crown, the curvatures of a body, the roundness of an egg, geometric ornamentation and quotations of ancient glyphs may all coincide within the same composition,” the artist says.
Images: 1. @jimgaylord in his studio. Photo by Dawson Batchelder. 2. Jim Gaylord, Focal Totem, 2026, Cutout watercolor paper, 52 x 42 x 1 1/4 inches.
Born on this day, George Woodman (1932-2017) explored pattern in his painting, photography, and writing. Woodman often used variation in tone and scale to create a framing device within his compositions, as in the 1976 painting “Beauty is Truth” in the collection of the @risdmuseum The frame both continues the pattern and creates a distinct edge to the central picture plane. This ambiguous relationship between the patterned field and frame also evokes the sense of a portal or doorway, a motif that recurs throughout Woodman’s oeuvre.
Image: George Woodman, Beauty is Truth, 1976. Acrylic on canvas, 52 x 52 inches. Image courtesy RISD Museum and Woodman Family Foundation. @woodmanfoundation
Many of Barbara Takenaga's new paintings feature an exuberant color palette, bringing forth surprising harmonies and juxtapositions. Over celestial or fiery backgrounds, Takenaga articulates bright ribbons of neon green, turquoise, hot pink, and violet. A web of bright red lines contains these bursting forms, imposing a kind of order.
Join us for a closing reception with Barbara Takenaga on May 2, from 4:30-6 PM!
Image: 1. Barbara Takenaga, Red Bey, 2026, Acrylic on linen, 54 x 45 inches. 2. Detail of Red Bey.
In the exhibition Barbara Takenaga: Parallax, several paintings feature atmospheric or explosive backgrounds reined in by a web of bright red lines and graphic shapes. Takenaga derives some of these compositional structures from images of kimonos in Japanese wood block prints, mirroring, cropping, rotating, and distorting them until they become ambiguous. The ribboning forms evoke the design and movement of robes without directly naming the source material, appearing at a cosmic scale.
Barbara Takenaga: Parallax is on view through May 2
Image: Left Then Right, 2026. Acrylic on linen, 24 x 36 inches
Visit Amy Cutler’s studio this weekend at the Sharpe-Walentas Open Studios in Dumbo, and see brand new works and works in progress!
April 18-19, 1-6pm
20 Jay Street #430
We are delighted to share that Claire Sherman is a 2026 recipient of the Guggenheim Fellowship in Fine Arts.
Sherman's work is deeply informed by travel and research, which reveal psychological spaces and histories in the physical environment. "This personal experience within the landscape creates surprises for me in the studio by helping present a more beguiling and demanding notion of what landscape can be," the artist says. Reading the work of William Faulkner, Sherman was inspired to visit Mississippi and Georgia and travel through the swamp landscapes. She plans to continue researching the ecosystems of the American South and Faulkner's writing about landscape in relation to American history.
Congratulations to Claire and all the 2026 Fellows!
Image: Claire Sherman in front of her painting "Swamp" (2025)
#guggfellows2026
