Instagram story viewer> @maxwellgrahamgallery> Posts

Maxwell Graham Gallery

@maxwellgrahamgallery

2018

posts

37.2K

followers

0

following

The times when an artwork is made and the times when it is exhibited is important.

POSTS STORIES REELS TAGGED

Download All

Cameron Rowland, Louise Lawler, Zoe Leonard, Park McArthur, Lawrence Weiner, Adrian Piper, Carolyn Lazard, Allan Sekula at Museum of Modern Art, New York. #InstitutionalCritiques curated by #ThomasLax and #AbbyHermosilla. This is pretty much exactly what I dreamed of when I opened the gallery. This is largely the result of the talent, sacrifice and dedication of my team over the years: Isaac, Alex, Neal many times over, Kendra, Janique, Edouard, Christopher, Claudine, Eli, Brendan, Isaac, Claire, Quinn. And Mackenzie most of all Mackenzie.It has been an honor of a lifetime to serve these artists thus far. by @maxwellgrahamgallery

983

19

9 days ago

#ZoeLeonard at #ArtBasel Closing Today!Pictured:Zoe Leonard Detail (tree + fence), 1998/99 Gelatin silver print 11 ⅞ × 8 ½ inchesZoe Leonard Tree + Fence, S. 3rd st. (close up), 1998 Gelatin silver print 15 × 10 ½ inches“Zoe Leonard’s Tree + Fence photographs brings together trees that attracted her attention because they all fail to fit into the space where they have been planted.They have been variously and singularly deformed by the fences confining them.The project started with a tree outside her apartment window that had grown “up and around the fence:’She had been living there for eighteen years, but her everyday modes of perception were newly attuned to the complexity of her natural environment, she said, because she had just spent a year and a half living alone in a small village on the Yukon River in Alaska.This prepared her to be “amazed at how, over time, [ the tree] has absorbed the fence into its body:’ The tree has wrapped around and absorbed the top pipe of the chain-link fence.Her amazement quickly became a mimetic absorption: “I immediately identify with the tree.”The series is a basic antagonism between trees and private property, which in Leonard’s photographs takes the form of the encounter with the fence.As Leonard notes, the trees respond with two politically suggestive strategies, absorption and bursting out.The trees persist and survive, but they also provide vivid witness to their encounter with the fence…This confrontation, in Leonard’s trees, have deformed each tree in completely singular but also similar ways. In failing to fit into their enclosed spaces, these trees are misfitting together.In becoming similar to each other through their distinct ways of surviving damage, they make an open-ended queer collectivity of marked or stigmatized oddities.And, as viewers of these images, I think we are invited to join this group, since we too can be similar-with each other and with these trees-in our own shared failures to fit and by way of the damage we suffer through our repeated and ongoing confrontations with the regime of private property.”From Jonathan Flatley’s Like TreesThanks @robert.wiesenberger for the reference! by @maxwellgrahamgallery

445

4

a month ago

#SoiLThornton #ArtBasel #BoothL3 Piece Of Cake redacted, 2021 POC Skin GS speed suit on designer garment hanger on plastic acrylic 73 ¾ × 23 × 6 ½ inchesOriginally exhibited in Kyle Dancewicz’ brilliantly curated:An Oral History of Knobkerry at SculptureCenter, New York, New York, 2021alongside works by #DavidHammons and #NiloufarEmamifar with a book on Sara Penn by Svetlana Kitto by @maxwellgrahamgallery

240

3

a month ago

#ArtBasel 2026 #ZoeLeonard#CameronRowland#SerSerpas by @maxwellgrahamgallery

510

2

a month ago

#SerSerpas #ArtBasel Opening Today! Booth L3Pictured:Ser Serpas Untitled, 2026 Oil on panel 30 × 24 inches (76.20 × 60.96 cm)Ser Serpas Untitled, 2026 Oil on wood panel 20 × 24 inches (50.80 × 60.96 cm) by @maxwellgrahamgallery

723

8

a month ago

Art Basel 2026 . Zoe Leonard. Cameron Rowland . Ser Serpas . SoiL Thornton Pictured: Cameron Rowlandexigent circumstances, 2026Hydra-Ram25 × 7.5 × 5 inches (63.5 × 19.05 × 12.7 cm)Law enforcement do not need a warrant to enter any premises.Warrantless, no-knock raids are legally permitted under “exigent circumstances.” 1 Officers may determine any circumstances to be exigent at their discretion.Hydraulic battering rams allow an individual officer to forcibly open any locked door._____________________________ 1 United States v. McConney by @maxwellgrahamgallery

381

2

2 months ago

#JohnMiller at Museum Sztuki, in Lodz, Poland, in Permanent CollectionPictured:John MillerGrapes in a mirror, 2023Inkjet print and acrylic on canvasIn John Miller’s painting, two elements converge: an interest in public space and the brown hue of much of his work, which the artist describes as “fecal.” Photographs of urban spaces serve as the starting point for his paintings, capturing the wanderings of the contemporary flâneur. The pale, geometric composition on the rough facade of a building brings to mind a post-Constructivist painting; were it not for the muted colors, it would be close to Henryk Stazewski’s late reliefs. Covering the print with geometric patches of brown is a painterly gesture that makes Miller’s work akin to Piero Manzoni’s. The scatological motif recurs in the artist’s work as a quasi-humorous, quasi-iconoclastic critique of neoliberal society. Through physiologically repulsive features, Miller both smears contemporary social relations and dialogues with postwar American art—Abstract Expressionism and Land Art.In Gifts of Friendship, curated by Barbara PiwowarskaGifts of Friendship presents nearly 150 works donated to the Muzeum Sztuki in Łódź collection in 2024–26 by eighty artists from dozens of countries. Their gesture allows us to reflect on the significance of artist solidarity in the modern world and the relations between the art scene and the public museum. It emphasizes the role of trust, friendship, and community based on long-term collaboration as forces shaping the institutional collection.Alongside the most extraordinary artists:Pauline Boudry & Renate Lorenz, Isabelle Cornaro, Jakub Czyszczoń, Morgan Fisher, Andrea Fraser, Barbara Hammer, Liam Gillick, Eduardo Kac, Jiří Kovanda, Jumana Manna, Dóra Maurer, Josiah McElheny, Ghislaine Leung, Haroon Mirza, Deimantas Narkevičius, Paulina Ołowska, Jeff Preiss, Florian Pumhösl, R.H. Quaytman, Willem de Rooij, Wilhelm Sasnal, K.ari.n Schneider, James Welling, Julita Wójcik, Tobias Zielony, Heimo Zobernig and others! by @maxwellgrahamgallery

136

0

2 months ago

#JohnMiller and #NinaBeier Solo exhibition #ThePopulace at #ARoS Aarhus Art Museum, Aarhus, Demark Until March 29, 2027Their immersive installation addresses questions of identity, authenticity, and reproduction. Danish artist Nina Beier and American artist John Miller unveil an array of mannequins, many facing photographs of otherwise forgotten portrait paintings. A study of image economy across time: The Populace emerges from the artists’ shared fascination with the interplay between artifice and reality. The exhibition scrutinizes the cultural codes and frameworks shaping contemporary life, shifting between conventional portraiture, consumerism, and the hierarchies embedded in the gaze. “With The Populace Beier and Miller have created an immersive installation that reflects the world we live in today – a world where our sense of identity and reality is constantly shaped by images and stories. The exhibition invites us to question what feels authentic and original, and how stable our sense of self reality is. At the same time, it shows how art can open our eyes and help us see ourselves and the society around us in new ways,” says Rebecca Matthews, Museum Director. Curated by #SigneMelgaardMark by @maxwellgrahamgallery

551

5

2 months ago

#HamishiFarah at Moderna Museet, Stockholm, in House of Nisaba New Stories of Painting, until August 30,2026Pictured:Hamishi Farah Untitled, 2026 Oil on linen 42 ⅝ × 33 ⅛ inches (108.27 × 84.14 cm)“House of Nisaba: New Stories of Painting” signals a return to figurative painting in contemporary art, through the lens of allegory. The exhibition highlights 29 international artists, of whom 25 are commissioned to make a new painting especially for this occasion. What does painting look like and mean today as knowledge transforms, information accelerates and societies splinter? What stories are these artists telling us?House of Nisaba holds the work of twenty-nine international artists, who are committed to a conversation on allegory. Nearly twenty-five artists have created a new painting for the exhibition, presented alongside several major works on loan. The participating artists are, in alphabetical order: Soufiane Ababri, Michael Armitage, Felipe Baeza, Kevin Beasley, Cornel Brudaşcu, Leidy Churchman, Alex Červený, Nicole Eisenman, Hamishi Farah, Martin Gustavsson, Gordon Hookey, Sanya Kantarovsky, Melanie Kitti, Matthew Lutz-Kinoy, Hortensia Mi Kafchin, Jill Mulleady, Wangechi Mutu, Naudline Pierre, Mohammed Sami, Cinga Samson, Agnes Scherer, Selma Selman, Agata Słowak, Mikołaj Sobczak, Abdellah Taïa, Mounira Al Solh, Salman Toor, Kevin E. Quashie, and Evelyn T. Wang.House of Nisaba: New Stories of Painting is curated by Hendrik Folkerts. The exhibition is co-organized by Moderna Museet and Kunsthaus Zürich. The exhibition architecture is designed by Formafantasma. by @maxwellgrahamgallery

149

0

2 months ago

Hamishi Farah at Stedelijk Museum, Amsterdam in Beyond the Manosphere, Masculinities Today, on view until August 2, 2026Pictured:Hamishi FarahUntitled, 2026Oil and pumice on linenA history painting of sorts, Hamishi Farah’s Untitled shows the German artist Wolfgang Tillmans standing in front of one of his works after winning the Turner Prize in 2000.Tillmans’s generation-defining oeuvre and career emerged during a neoliberal era defined by deregulation and privatization. Economic policies such as the introduction of the euro freed capital from national constraints, while deindustrialization threatened a certain “industrial” masculine identity. In this context, the language of “fluidity” that has been used to describe both global markets and gender might also reflect a broader societal instability. Neoliberalism’s unrealized promises are increasingly attributed within the manosphere to a crisis of masculinity rather than one of political economy.AlongsideLucy McKenzieIf It Move Kiss It, 2002Wall paintingAlso including works by Tetsumi Kudo, Melle, Paul McCarthy & Mike Kelley, Julio Galán, Pope.L, Sophie Calle, Sylvie Fleury, Solomon Garçon, Sven Gex, Jasmine Gregory, Zhana Ivanova, Basir Mahmood, Reba Maybury, Marlie Mul, Sands Murray-Wassink, Paul Pfeiffer, Sara Sadik, Diamond Stingily, SoiL Thornton, Salman Toor, Amanda van Hesteren, Alex Vivian, Bruno Zhu, Selina Zürrer and others.Curated by Melanie Bühler@melaniebue @stedelijkmuseum by @maxwellgrahamgallery

538

5

2 months ago

#GhislaineLeung at MIT List, Cambridge in Performing Conditions, until August 2, 2027 Pictured:Ghislaine Leung Budgets, 2025 Score: The exhibition budget is displayed. Edition of 3 + 2 APGhislaine Leung Maintenance, 2025 Score: The exhibition space is left as it is. Edition of 3 + 2 APGhislaine Leung Monitors, 2022 Score: A baby monitor installed in one room and broadcast to another. Edition of 3 + 2 AP“Performing Conditions gathers artists whose work underscores asymmetries of power and need,” said Bell and Ngin. “There are contracts that must be signed, scores requiring interpretation, and reenactments needing hundreds of participants. Debt and dependency are enacted, and performed, often in formally reflexive ways. By centering these two terms, the exhibition unsettles the idea of ‘labor’ as prototypically individualized, waged, and productive.”Rather than depicting labor or representing exploitation, many works in the show build dependence and debt into their very structure—and, in doing so, often enact the relations they examine. Ghislaine Leung’s conceptual scores, for example, which delegate artistic labor to others, turn the artist’s limits (as an artist and caregiver) into a creative resource. Her score for Maintenance (2025)—“The exhibition space is left as it is.”—makes evident the reproductive labor of the art institution through its withdrawal.Alongside #ElizabethCatlett, BlondellCummings, SophiaGiovannitti, SidselMeinecheHansen, GabrielleLHirondelleHill, AutumnKnight, CarolynLazard, RebaMaybury, SengaNengudi, #AdrianPiper, DreadScott, XavieraSimmons, CallySpooner, CedartTamasala, CassieThornton, TaniaWillard, ConstantinaZavitsanos, and ArturŻmijewskighislaineleung@mitlistartsmitlistvisualartscenterCurated by NatalieBell and RamonaNgin by @maxwellgrahamgallery

726

11

2 months ago

#GhislaineLeung at Museum Sztuki, in Lodz, Poland, in Permanent CollectionPictured:Ghislaine LeungParents, 2019Consists of two 4 metre by 2.30 metre panels plugged into a power supply, monitor screen, monitor mount, colour high definition video file of 8 mins and 28 seconds, media player, plug sockets, plugs, insulated electrical cable, heart shaped padlock, windows, metal fixings, stickers. The work physically exists when both panels plugged into a power supply with the monitor on and playing video. There is no sound. The work is not an edition.In Gifts of Friendship, curated by Barbara PiwowarskaGifts of Friendship presents nearly 150 works donated to the Muzeum Sztuki in Łódź collection in 2024–26 by eighty artists from dozens of countries. Their gesture allows us to reflect on the significance of artist solidarity in the modern world and the relations between the art scene and the public museum. It emphasizes the role of trust, friendship, and community based on long-term collaboration as forces shaping the institutional collection.Alongside the most extraordinary artists:Pauline Boudry & Renate Lorenz, Isabelle Cornaro, Jakub Czyszczoń, Morgan Fisher, Andrea Fraser, Barbara Hammer, Liam Gillick, Eduardo Kac, Jiří Kovanda, Jumana Manna, Dóra Maurer, Josiah McElheny, John Miller, Haroon Mirza, Deimantas Narkevičius, Paulina Ołowska, Jeff Preiss, Florian Pumhösl, R.H. Quaytman, Willem de Rooij, Wilhelm Sasnal, K.ari.n Schneider, James Welling, Julita Wójcik, Tobias Zielony, Heimo Zobernig and others!This work by Leung original commissioned and exhibited at Chisenhale, London in Constitution, curated by #Polly Staple by @maxwellgrahamgallery

277

3

2 months ago