chelsea gallery


Ketchum Kids

I made this post eons ago, but seeing the full family pics from @pkmn-downtheline inspired me to pull together some of my updated designs (no parents for me though yet). I’ll get to the others as I fix them up more. I think sometimes people (including me) forget that there are bigger age differences between some characters than their main designs make it look like there is. 

Featured in Pic 1: Aurora (16), Luke (12), Rose (6), Chelsea (Orange - 3) & Marissa (Green - 3)

Pic 2: Aurora (23), Luke (19), Rose (13), Chelsea (10) & Marissa (10)

Katharina Grosse at Gagosian Gallery

From the depths of Katharina Grosse’s huge abstractions, shapes materialize and invite interpretation. The Berlin-based artist describes her new works as “portals to a small room, where all the color has been crammed into a tiny space.” Peering into these openings is an intense optical experience. (At Gagosian Gallery’s 24th Street Chelsea location through March 11th). Katharina Grosse, Untitled, acrylic on canvas, 117 11/16 x 79 ½ inches, 2016.

Vija Celmins at Matthew Marks Gallery

One stone is real, the other is a replica. Vija Celmins entices viewers to ponder which one came from the earth and which from the artist’s hand in this pairing at Matthew Marks Gallery’s 22nd Street space in Chelsea. In other works, Celmins turns her hand to the skies and the seas with meticulous realist paintings that celebrate the creative powers of the artist. (On view through April 15th). Vija Celmins, Two Stones, one found stone and one made stone: bronze and alkyd oil, 2 ¼ x 8 x 5 ½ inches, 1977/2014-16.

Adrian Ghenie at Pace Gallery

‘Rest During The Flight Into Egypt’ broaches the subject of migration in Romanian artist Adrian Ghenie’s latest solo show at Pace Gallery in Chelsea. Here, two kids wait on a railroad track in front of a heaving, blood-red landscape wearing masks that disguise their faces but not the damage inflicted upon them. (On view through Feb 18th). Adrian Ghenie, Rest During the Flight Into Egypt, oil on canvas, 7’ 10 ½ inches x 9’ 6 ¼ inches x 2 inches, 2016.

“Brian Jones in car on the way to Palazzo Dello Sport Stadium in Milan during the ‘Stones European tour for two sell out concerts that day. Wyman captured this through the driver’s rear view mirror. Milan, 8th April 1967.”
[via Proud Gallery]

There’s an exhibition of Bill Wyman’s photography, ‘Around The World in 80 Years’ at the Proud Chelsea Gallery (161 Kings Road, London) from 19th October - 27th November 2016.

Photo by Bill Wyman.

Portia Munson at PPOW Gallery

From the pervasive, musty scent of perfume to the claustrophobic, tented ceiling of PPOW’s transformed back gallery, Portia Munson’s installation ‘The Garden’ assaults the senses and may induce panic in the clutter-adverse. The overload of frilly and feminine things is oppressive – calculated to send visitors gasping for more gender-neutral territory. (In Chelsea through Feb 11th). Portia Munson, installation view of The Garden, mixed media installation, 1996-98 at PPOW Gallery, Jan ’17

Mark Ryden


Paul Kasmin Gallery

Amazing show of Mark Ryden’s latest work. Amazing amount of detail to his process from painting on a lift with rollers to manufacturing the frames overseas to exacting specifications. There is no other world like his. Even the Fan Mom and Daughter dressed up and brought their favorite Mark Ryden dolls. It’s a macabre world where innocence and the gruesome comingal in an ethereal world. Check it out through January 23, 2016.


Christopher Wool

Luhring Augustine Gallery NYC

Wow, what can you say after having an amazing retrospective at the Guggenheim which showcased an amazing body of work and then there’s this. I like when an artist stretches out and tries new forms (sculpture) but the paintings are shit. they look like exact rip offs of 1990′s David Carson type designs. Boo. Lame. Boring.


I wanted to share some work in progress shots from one of my paintings (sorry for terrible cell phone quality). This is  ‘View from the High Line - 26th Street’, completed late last year. 

The painting is based on photos I took from the High Line park, which is a repurposed elevated railroad track that runs through parts of the Meatpacking District and Chelsea on the west side of Manhattan. I love the High Line because it is covered in lots of interesting plants, but the views are pretty great as well. From this vantage point, you can see the Hudson River and Jersey City at the end of the street in the far distance. The large building at the end of the street with the horizontal bands of windows is the Starrett-Lehigh Building. Built 1930-31, it is an interesting early example of International-Style Modern architecture in an industrial building. This was historically a very industrial area, but it is now the heart of the Chelsea gallery district. The buildings on the left and right foreground, along with most of this block, are home to several high-end galleries. 

For the painting, I worked on Arches Hot Press 300lb watercolor paper. The size of the art is roughly 18 x 26 inches. I start with a detailed perspective drawing of the entire scene in pencil. As you can see from the progress photos, I worked from left to right, nearly finishing each section of the painting as I go - but always going back and polishing previous sections as needed. This strategy of moving across the painting helps me keep track of how much progress I have made, but i do not focus in on each little section and mechanically copy inch by inch from the photo. As with all watercolor, the painting generally starts light and the darkest colors and finest details are added last by necessity. I use a mix of watercolor tubes, most of which are Winsor Newton brand. I didn’t use any gouache or opaque white. I usually use a small amount of masking fluid and masking tape but I don’t think I needed much for this painting.   From start of the drawing to finish, this painting took about one month to complete - working on average a few hours a day.

I approach the overall process of a painting like this as if it were a traditional landscape painting. I am most concerned with balancing lights and darks, color vibrancy, warm/cool, etc. throughout the whole painting so that the final product is harmonious and compostionally pleasing. Balance was incredibly important in a composition like this one, which is so dramatically split down the middle. 

Sorry for rambling on, hopefully someone finds this interesting!