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Evan Halter

@evan_halter

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𝐄𝐯𝐚𝐧 𝐇𝐚𝐥𝐭𝐞𝐫
𝘚𝘱𝘦𝘤𝘪𝘧𝘪𝘤𝘪𝘵𝘪𝘦𝘴
September 14–October 27, 2024
Reception, September 14, 3–5pm 🥂

Turley is delighted to present 𝘚𝘱𝘦𝘤𝘪𝘧𝘪𝘤𝘪𝘵𝘪𝘦𝘴, an exhibition of Evan Halter’s newest body of work.
Often referencing historical works, he selects mundane objects—an insect, an architectural niche, florals, or a billow of fabric and emphasizes them in a voyeuristic way, leaving the viewer to fill in for themselves the gaps he creates. Devoted to his practice, Halter’s slow and layered approach to painting mimics the content of his work, navigating the realities of our mortal coils and pleasures.

Image: Evan Halter, 𝘊𝘶𝘵/𝘛𝘩𝘳𝘰𝘶𝘨𝘩 (𝘈𝘧𝘵𝘦𝘳 𝘈𝘮𝘣𝘳𝘰𝘴𝘪𝘶𝘴 𝘉𝘰𝘴𝘴𝘤𝘩𝘢𝘦𝘳𝘵), 2024, Oil and gesso on canvas over wood panel, 48 x 42.5 in
Photography: @artdocnyc 📸

Inquiries: info@turley.gallery taken in turleygallery by @evan_halter

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2 years ago

Still Life with Moth Wings (After Pieter Claesz)
2025
Oil and gesso on canvas over wood panel
24 x 18 in

On view at the Dallas Art Fair 2025 with @turleygallery Booth B4

DALLAS ART FAIR
April 10-April 13, 2025
FASHION INDUSTRY GALLERY
1807 Ross Avenue, Dallas, Texas 75201

VIP PREVIEW
Thursday, April 10, 2025

PUBLIC DAYS
Friday, April 11, 2025
Saturday, April 12, 2025
Sunday, April 13, 2025

For sales or press inquiries email: info@turley.gallery

@rubypalmerstudio
@pichael_
@danapiazza
@liukinche by @evan_halter

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a year ago

Boundaries (Mirrored)
2026
Oil and gesso on canvas
30 x 24 in

Figured I’d share my most recent painting before I take a lil hiatus from art (both making and looking at it).

I’m feeling a lot of things about giving up my studio because I can’t afford it anymore, but I mostly feel angry. The arts feel like just another playground for the wealthy which is really giving me the ick and I find the artworld to be lame and deeply uncool at the moment.

With the exception of some of my friends (you know who you are) I feel like I’m watching artists make work for advisors to easily move instead of making things that are real or beautiful or weird or moving. Unfortunately making good work isn’t enough to sustain career financially, and that leads to people making work that is really boring.

None of this is new, it just feels like it’s at a fever pitch, and I can feel the artworld bubble will pop soon. Anyway, I’ll be angry for a bit and then I’ll get over it and will start making stuff again but probably won’t share it on here cause I need to make stuff for myself and remember why I fell in love with painting in the first place. by @evan_halter

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5 months ago

Evan Halter (b. 1990; lives and works in New York) traces his engagement with art-historical quotation to the still lifes, or bodegones, of Spanish painter Juan Sánchez Cotán (1560–1627), an early innovator of the genre. Cotán’s precise geometries and restrained compositions sparked Halter’s interest in contemplative looking and shaped his practice of excerpting, cropping, and reconfiguring fragments of Renaissance and early modern paintings. In Nitch/Niche No. 1 and Nitch/Niche No. 2 (both 2021), Halter draws directly from Cotán’s still lifes, isolating the artist’s distinctive void-like recessed backdrops and transforming them into meditations on geometry, illusion, and perception.

As art historian Norman Bryson observes in Looking at the Overlooked (1990), Cotán’s paintings reverse the “scale of values,” directing attention away from what is conventionally deemed significant toward what might otherwise go unnoticed. Halter similarly sees this mode of looking as an alternative to “the clamor and spectacle of contemporary culture,” privileging sustained attention over visual excess. His quotations trace the afterlives of historical images, using fragments of the past not as replicas or pastiche, but as sites for reconsidering how images are constructed, perceived, and remembered.

Evan Halter
Nitch/Niche No. 1 (After Juan Sánchez Cotán), 2021
Oil on canvas | Óleo sobre lienzo
48.26 x 43.18 cm (19 x 17 in.)

Courtesy of the artist
@evan_halter

Juan Sánchez Cotán
Bodegón con membrillo, repollo, melón y pepino (Still Life with Quince, Cabbage, Melon, and Cucumber), c. 1602
Oil on canvas | Óleo sobre lienzo
68.9 x 84.5 cm (27 1/8 x 33 1/4 in.)
San Diego Museum of Art

Nitch/Niche No. 2 (After Juan Sánchez Cotán), 2021
Oil on canvas | Óleo sobre lienzo
48.26 x 43.18 cm (19 x 17 in.)

Courtesy of the artist

Juan Sánchez Cotán
Bodegón con flores, hortalizas y un cesto de cerezas (Still Life with Flowers, Vegetables, and a Basket of Cherries), c. 1600’s
Oil on canvas | Óleo sobre lienzo
89.8 x 90 cm (35 3/8 x 35 3/8 in.)
Private Collection

Installation view of “Present in a Lonely Image”

at Alexander Gray Associates, Germantown taken in New York City by @evan_halter

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16 days ago

Evan Halter (b. 1990; lives and works in New York, NY) draws on imagery from Renaissance, Baroque, and early modern painting, excerpting and reconfiguring art-historical fragments through the visual languages of Minimalism and geometric abstraction. In Untitled (After Francisco de Zurbarán) (2021), he isolates a delicately rendered rose from one of the Baroque painter’s austere arrangements, translating its devotional presence into a study of form, surface, and symbolism. In Behind the Drapes (After Hans Baldung Grien) (2021), he focuses on another sumptuously rendered detail: the Virgin Mary’s robe. Drapery becomes both pictorial device and subject, heightening the tension between asceticism and opulence. With Untitled (After Hans Memling) (2020), based on one of the earliest known independent still lifes, Halter invokes a floral arrangement and the Eastern-style patterned rug depicted in this and other of Memling’s works, later known as “Memling rugs.” The rug emphasizes the devices of compositional symmetry and ornamentation while also revealing the global trade networks available to elite fifteenth-century European patrons. Across these works, Halter collapses distinctions between past and present, image and object, source and interpretation, bringing the past into the present and drawing attention to what endures and what evolves.

Evan Halter
Behind the Drapes (After Hans Baldung Grien), 2021
Oil on canvas | Óleo sobre lienzo
111.76 x 101.6 cm (44 x 40 in.)

Courtesy of the artist
@evan_halter

Workshop of Albrecht Dürer with Hans Baldung Grien
The Virgin and Child (‘The Madonna with the Iris’), possibly 1503–8
Oil on wood | Óleo sobre madera
149.2 × 117.2 cm (58 ¾ x 46 ⅛ in.)
The National Gallery, London

Detail of:

Evan Halter
Behind the Drapes (After Hans Baldung Grien), 2021
Oil on canvas | Óleo sobre lienzo
111.76 x 101.6 cm (44 x 40 in.)

Courtesy of the artist

Evan Halter
Untitled (After Francisco de Zurbarán), 2021
Oil on canvas | Óleo sobre lienzo
63.5 x 55.88 cm (25 x 22 in.)

Courtesy of the artist

Francisco de Zurbarán
Taza de agua y rosa en un plato de plata (A Cup of Water and a Rose), c. 1630
Oil on canvas | Óleo sobre lienzo
21.2 taken in New York City by @evan_halter

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18 days ago

Evan Halter (b. 1990; lives and works in New York, NY) draws on imagery from Renaissance and early modern painting while engaging with the visual languages of Minimalism and geometric abstraction. Excerpting and reconfiguring art-historical fragments, Halter encourages contemplative looking, inviting viewers to consider the construction of images and the shifting relationship between illusion, materiality, and perception.

In Release (After Fra Angelico) (2020), Halter extracts and reconfigures a poignant detail from fifteenth-century devotional imagery—the space between two outstretched hands—drawing attention to its expressive force beyond the confines of the original biblical narrative. He adopts a similar approach in A Simple Gesture (After Jan van Eyck) (2020), focusing on a detail from a Madonna and Child composition by the Flemish master to foreground a tender moment of physical connection across generations. In Lemons (After Juan Sánchez Cotán) (2020), Halter isolates a single detail from the original still life, emphasizing Cotán’s naturalistic treatment of light and shadow and the work’s attendant symbolic resonance. Across all three paintings, subtle yet conspicuous brushwork punctuates the otherwise clean negative space surrounding his central images, asserting Halter’s own authorship and revealing how these historical fragments—like their referents—are painstakingly crafted to appear effortless.

Evan Halter
Release (After Fra Angelico), 2020
Oil on canvas | Óleo sobre lienzo
38.1 x 7.62 cm (15 x 13 in.)

Courtesy of the artist
@evan_halter

Fra Angelico
Noli Me Tangere, 1440–41
Fresco, approx. 180 x 146 cm (70 ⅞ x 57 ½ in.)
National Museum of San Marco, Florence

Evan Halter
A simple gesture (after Jan van Eyck), 2020
Oil on canvas | Óleo sobre lienzo
38.1 x 7.62 cm (15 x 13 in.)

Courtesy of the artist
@evan_halter

Jan van Eyck
The Virgin and Child with Canon van der Paele, 1434–1436
Oil on wood | Óleo sobre madera
122 x 157 cm (48 x 61 ¾ in.)
Groeningemuseum, Bruges

Evan Halter
Lemons (After Juan Sánchez Cotán), 2020
Oil on canvas | Óleo sobre lienzo
38.1 x 7.62 cm (15 x 13 in.)

Courtesy of the artist
@evan_halter

Juan Sánchez Cotán taken in New York City by @evan_halter

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20 days ago

Now That’s What I Call June 26 by @evan_halter

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3 months ago

Happy Pride 🏳️‍🌈🏳️‍⚧️
Swipe through to see a cute picture of me as a kid!

📷 @sethhalterr and @lhalter by @evan_halter

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4 months ago

Q1 reports are in by @evan_halter

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6 months ago

Happy accidents from a besties broken camera

📷 @saraheshelton by @evan_halter

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8 months ago

2025, in many respects, was not a very good year (personally, globally), but I did my best to find moments of beauty in it. Grateful to the people (and animals) who speckled it with joy. by @evan_halter

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9 months ago

I’ve been thinking a lot recently about how my interest in Still Life for the last decade has centered around its inherent queerness/otherness. I wouldn’t have used that specific verbiage 10 years ago when I started copying historical work, but since coming out, my understanding has shifted. As a genre, still life has historically always been relegated to the bottom of the genre hierarchy because of its inherent connection to the domestic, the lowly, and the domain of the “feminine”. I’m currently rereading Norman Bryson’s “Looking at the Overlooked,” which was a formative book for me during grad school. In speaking about still life (specifically Juan Sánchez Cotán’s early work) he says that Cotán’s paintings “… exactly reverse the scale of values in which what is unique and powerful in the world is the preordained object of the gaze, while that which lacks importance is overlooked.” This quote has consistently stuck in my mind for a long time now, and I’m only just now understanding why.

This snippet is from a (nearly) finished painting which is doing some interesting things. I’m not ready to share a full image of it yet, but am happy to have you by the studio to look at it with me ✌🏼 by @evan_halter

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a year ago