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Potter's paintings at Roche Court were created between 1944 and 1979, showcasing over three decades of the artist’s work, and allowing for an observation of the development of her vision. In 1918, one month before the end of the First World War, Potter began her career at The Slade, where she studied under Philip Wilson Steer and Henry Tonks, who were both members of the New English Art Club. The influence of Steer, particularly his use of colour and more Impressionist style, can be detected throughout Mary Potter’s work. Steer taught Potter alongside the Professor of Fine Art, Henry Tonks, who favoured realism, ‘demanding that students should look hard at the object before them and depict exactly what they saw' (Julian Potter, 1998). As a result, Potter’s early works, painted in the wake of her time at The Slade, have a more representational focus than her later pieces, which steadily moved towards increasingly abstract compositions. Mary Potter's paintings rarely depict a direct light source, rather the light seems to glow through her pale shades. This was achieved by mixing chalk dust with her colours, bringing the quintessential illumination to her work. When it came to her still lifes, she did not intentionally place objects to be painted, rather she embraced the casualness of these gatherings, which were not unified thematically. The objects depicted were instead made a related group through the act of painting and titling.

A continuation of Jarvis’ ongoing Fire and Ice series, Elsewhere explores polarity and the tension between opposing natural forces - extremes of energy, transformation, and elemental power. Jarvis seeks to understand how these forces exist in balance and nature’s ability to shape both material and experience. @mjjstudio @susaninglettgallery #susaninglettgallery #elsewhere

Pentimenti is pleased to present American Interior, marking Dan Gunn’s first solo exhibition at Pentimenti. In conjunction with the city’s 250th anniversary celebration of American independence, this exhibition offers a timely and nuanced meditation on the nation’s evolving self-conception. Link to the exhibition: /where-spring-begins-to-speak-work-from-our-collections-part-2 IMAGES I - II: Lilac, 48 x 36 x 36 inches / 122 x 91 x 91 cm, acrylic, dye and milk paint on poplar and lilac with metal hardware, 2026 @pentimentigallery dangunn7

The inkwell becomes a camera, a pair of bananas become the powerful hind legs of a jumping horse and a man moves cars with simple movements of his finger. With just a few strokes - sometimes with objects, sometimes completely pure - the German graphic designer Christoph Niemann creates surprising, humorous images that get to the heart of reality. His works explore and comment on creative processes and modern life in an astute and versatile way. In cooperation with the Comic Salon Erlangen, the Kunstpalais is presenting a major solo exhibition of the exceptional illustrator and cartoonist. Ausstellungsansichten "Christoph Niemann. Auf den Punkt" im Kunstpalais, 2026, Foto: Ludger Paffrath @kunstpalais @studiochristophniemann @abstractsunday @comicsalon_er

We are excited to announce our media partnership with MutualArt. MutualArt helps art lovers, collectors, and galleries discover artists, follow the art market, access auction results, read editorial insights, and stay informed about exhibitions and opportunities around the world. Together, we look forward to bringing more visibility to contemporary African art and to the galleries and artists shaping the conversation today. We are happy to welcome MutualArt as part of the Africa Basel network. #AfricaBasel #MutualArt #MediaPartnership #ContemporaryAfricanArt #AfricanArt #ArtMarket #ArtCollectors #ArtGalleries #ContemporaryArt #BaselArtWeek #ArtFair

New York, NY — C24 Gallery presents Palimpsest, a two-person exhibition bringing together oil and acrylic canvases by Fidelis Joseph and Juan Manuel Salas. Grounded in the material logic of accumulation and erasure, this exhibition examines how images outlive their original context, taking into consideration quiet moments of daily life and collapsing the temporality of the canon. @c24gallery @fidelis_studio @juanmasalasv

Locks Gallery is pleased to present 'American Classic,' an exhibition of historical works by Jennifer Bartlett (1941-2022) created between 1985-1987. Central to the exhibition are two monumental paintings with sculptural objects, alongside two rarely shown series titled 'At Sands Point' and 'Old House Lane,' all featuring houses, boats, and white-picket fences, quintessential symbols of Americana. Highlighting Bartlett’s iterative and multi-part approach to painting, American Classic traces the artist’s turn to cinematic figurative art and the literary influences that underscored her creative process. @locksgallery @jenniferbartlettart #jenniferbartlett #americanclassic #locksgallery

“Foundry” by Marshall Brown (2026, collage on prepared panel, 72h x 87w x 2d in) is from his “Palaces of Industry” series, large-scale collages on panel that return to Brown’s earliest influences: the floating geometries and dynamic equilibrium of Suprematism, Constructivism's photomontage tradition and layering, Giacometti's surrealist structures, Duchamp's readymades. He appropriates images from contemporary artists who make architecture their subject, reconstructing them as monumental collages. These are imagined futures inspired by great industrial palaces built at the birth of modernism: the Crystal Palace, factories that housed new collective labor, the production sites that promised transformation. White space floods the compositions. Fragments hover. The scale creates immersive worlds you can step inside—flatness expands into depth. Building utopian space from contemporary art's fascination with architecture, Brown turns art's gaze at architecture back on itself. These are not pictures. They are visions. Marshall Brown is an artist and architect whose collages appropriate and reconstruct images of the built world. His work is held in the permanent collections of the San Francisco Museum of Modern Art, the Art Institute of Chicago, Crystal Bridges Museum of American Art, the Santa Barbara Museum of Art, and the Museum of Contemporary Photography Chicago. Solo museum exhibitions include SFMOMA (2023–24) and the Santa Barbara Museum of Art (The Architecture of Collage, 2022–23). Brown has exhibited at the 2016 Venice Architecture Biennale, the 2017 Chicago Architecture Biennial, the Museum of Contemporary Art Detroit, The Arts Club of Chicago, and the Architecture and Design Museum Los Angeles. He has published two monographs: Recurrent Visions: The Architecture of Marshall Brown Projects (Princeton Architectural Press, 2022) and The Architecture of Collage (Park Books, 2022). @westernexhibitions #marshallbrown #artaboutarchitecture

Jealous presents ‘Rare Grooves’, a solo exhibition celebrat- ing over a decade of collaboration between Magda Archer and Jealous. The exhibition showcases pieces from our shared archive, including sought after print editions published in the Jealous Print Studio and never-seen-before original artworks. From 2014’s knowing print ‘Lose Weight Now’ to the wonderfully kitsch 2025 release ‘Boing!’, follow the evolution of the artist’s sig- nature nostalgia and raw commentary in over 50 works, on display in the same room for the very first time. Wit meets whimsy as Archer, who has previously collaborated with Comme des Garçons and Marc Jacobs, lends her distinctive nar- rative to the modern condition including memes, retail therapy and “sexist twatism”. All works are available to purchase, including rare and sold-out prints, sourced from the artist’s archive. Continuing the artist’s longstanding commitment to charitable caus- es, Archer is raffling off her sculpture, ‘Wishing Well’, as seen in the 2024 Jealous show #notquitedisney, with the proceeds donated to Tottenham Foodbank. ‘Rare Grooves’ will run from 7th May to 30th May at Jealous, 53 Curtain Road, EC2A 3PT, London. @jealous_london @magdaarcher #jealouslondon #jealous #magdaaracher #raregrooves

The Salt Lake Art Show debuts, redefining what an art fair can be. From indigenous voices to international galleries, from fine art to collectible design, this is where community meets global vision. - 200+ exhibitors - Artists from 20 states & 5 countries - Sculpture walks, bespoke design, masterworks - Talks, performances, and immersive experiences More than an event, it’s a platform for connection, discovery, and the future of art in the region. 📍 May 14–17, 2026 📍 Mountain America Expo Center, Utah Tap the link in our bio for the full article. #SaltLakeArtShow #ArtFair #ContemporaryArt #ArtCollectors #MutualArt

In Arabic the word for universe, 'alam', and the word for knowledge, 'ilm', share their origin in the word, 'alamah', meaning 'a mark'. To make a mark, to draw a line, is a way of knowing the world. Unlike the colonial approach of drawing lines to divide and enclose, Rajani explores how traditions of mark-making enable us to tether ourselves to each other, our communities and sacred landscapes. Through her long-term project, Rajani centres practices and lineages of drawing and painting through which coastal communities in Pakistan remain connected to sacred ecologies of rivers and sea amidst the violence and erasure of infrastructure. For fisher communities, the meeting of the river and sea is a sacred union giving birth to all life and land. As rivers are barraged, mined and ravaged, elders explain that the sea is coming forward in search of its beloved, the river. In the midst of this ongoing catastrophe, new practices of visual expression and devotion emerge, through which communities return the river to the sea, land to water, and art to the promise of survival. Images: 1. River talismans, 2026 paper and thread ¾ x 4 x 6 in. (2 x 10 x 15 cm) Lines that world a river, 2026 ink on paper 11 ½ x 8 in. (29 x 20 cm) A charmbook for shifting landscapes, 2025 publication 3 x 4 x 6 in. (7.5 x 10 x 15 cm) Lines that world a river, 2026 ink on paper 11 ½ x 8 in. (29 x 20 cm) 2. Installation view 3. Lines that world a river, 2026 ink on paper 11 ½ x 8 in. (29 x 20 cm) Lines that world a river, 2026 ink on paper 11 ½ x 8 in. (29 x 20 cm) Lines that world a river, 2026 ink on paper 11 ½ x 8 in. (29 x 20 cm) Lines that world a river, 2026 ink on paper 11 ½ x 8 in. (29 x 20 cm) @shanzroll @susanhobbsgallery #ShahanaRajani

We are pleased to present A place after a place, American artist Abigail Dudley’s (b.1996, New Jersey) first solo exhibition with the gallery. The exhibition is accompanied by a newly commissioned essay by London-based writer and academic Matthew James Holman. @abidudley @aliceamati_ #aliceamati #contemporaryart #painting #artgallery