Christina Ricci, Andrea Rosen, Drew Droege, Dylan Stephens, Natalie Westling, Grace Bol, Tyg & Jenny Beth Thomas star in the Marc Jacobs Spring/Summer 2016 ad campaign. Photographed by David Sims, styled by Katie Grand, casting by Anita Bitton, hair by Guido Palau, makeup by Diane Kendal, nails by Jin Soon Choi & set design by Stefan Beckman.


David Altmejd’s The Flux and The Puddle (2014) at Andrea Rosen Gallery

Materials: plexiglas, quartz, polystyrene, polyurethane foam, epoxy clay, epoxy gel, resin, synthetic hair, clothing, leather shoes, thread, mirror, plaster, acrylic paint, latex paint, metal wire, glass eyes, sequin, ceramic, synthetic flowers, synthetic branches, glue, gold, feathers, steel, coconuts, aqua resin, burlap, lighting system including fluorescent lights, Sharpie ink, wood

Send in the Clowns:

Some artists spend their career exploring the border between abstraction and figuration, while for many others it is an either/or scenario. Not for Nigel Cooke. In  his feverish show at Andrea Rosen, the nonobjective and the image clash in a preordained showdown. “It’s always a storm,” he says.

He begins by painting giant dreamscapes, populated by hybrid figures, like smoking flowers, playing out dramas that seem rooted in myth, popular culture, nature, art history, and more, though their origins are rarely clear. Then he paints over them, in vast, sweeping gestures, using a huge brush of his own design. Some scenarios are almost entirely obliterated; others endure.

Spring, featuring a figure in a chef’s hat in a Ferrari parked under a clown’s-head waterfall, looks like a carnival funhouse painted by Turner on acid. Nature Loves You (pictured), a beach scene dominated by a spider-plant clown head, smoking towers, and those huge sweeping brushstrokes, has a touch of Dalí, channeled through Harold Rosenberg, Fellini, and Wertmüller.

Though the artist attributes his particular iconography to intuition and formal decisions, it is a calculated approach that recapitulates what he calls “exhausted” genres—heroic abstraction, marine painting—and restores their avant-garde status in a modern-day mash-up. Wonder what Guston would think.

Photo: RG Image/Courtesy Andrea Rosen Gallery.


Yoko Ono, The Riverbed exhibition at Galerie Lelong, New York, December 11, 2015 – January 30, 2016; Photography by Blair Prentice

In December and January, Yoko Ono presented a two-part participatory exhibition titled, The Riverbed at Galerie Lelong and Andrea Rosen Gallery in New York City. Stones, string, glue and shattered ceramic pieces were strew around the space for visitors to use to as they pleased. On the last day of the exhibition at Galerie Lelong, the typically pristine white gallery walls were filled with images, notes and holes; and visitors were forced to crouch below an extensive web of string that supported various creations that dangled from its strings. On a series of white shelves, sat countless numbers of unique sculptures that visitors to the gallery had pieced together from the fragments of broken tea cups. 

Bonded by the communal experience of the exhibition, visitors warmly conversed amongst each other and lingered at the gallery for extended periods of time. Given the disparate backgrounds and experiences of the New Yorkers’ and tourists that visited the gallery, it was refreshing to see that with the right tools and opportunity, they would willingly participate in creative communal work to forge a single voice, which was the exhibition itself. 

THE RIVERBED is over the river in-between life and death.

  • Stone Piece: Choose a Stone and hold it until all your anger and sadness have been let go.
  • Line Piece: Take me to the farthest place in our planet by extending the line.
  • Mend Piece: Mend with wisdom mend with love. It will mend the earth at the same time.

- Yoko Ono

Photography by Blair Prentice of


Yoko Ono: Website
Galerie Lelong: Website
Blair Prentice: Website | Facebook

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They're Grrreat! Borna Sammak’s tiger-centric embroideries with beach towels and t-shirt graphics bring cat art to new level

All these finely rendered felines belong to the same artwork–Borna Sammak’s Untitled, 2014, a tour de force of pop-culture-infused craftsmanship created with embroidery, beach towels and heat-applied t-shirt graphics on canvas. The Brooklyn-based artist is showing alongside Martha Rosler and Michael St. John at Andrea Rosen in Chelsea.