Garth Greenan Gallery

Garth Greenan Gallery is pleased to announce Gladys Nilsson: The 1980s, an exhibition of paintings at 545 West 20th Street. Opening on Thursday, January 12, 2017, the exhibition features twelve of the artist’s densely-layered, intricately detailed works, most of which have never before been exhibited. The exhibition focuses on a series of monumentally-scaled watercolorsNilsson’s preferred mediumall of which were created between 1984 and 1987. In each of them, a flowing, sin...Continue reading

For the 2017 edition of the Independent, New York, Garth Greenan Gallery presents a solo-exhibition of photographic works by Howardena PindellHowardena Pindell: Video Drawings, 1974-1976. The works includedtwelve unique chromogenic printswere last displayed as part of Rooms, the inaugural exhibition at Alana Heiss’ P.S. 1, Institute for Art and Urban Resources (1976). Pindell captures televised sports events beneath transparencies marked with her signature abstract system...s of lines, numbers, arrows, and dots. The marks do not signify the measurement of space; however, their placement is enhanced relative to the movement of the image (shape and value contrast) on the television screen. Her Video Drawings represent the artist’s earliest experimentations with photography, as well as her first attempts at combining both figurative and abstract imagery. Born in Philadelphia in 1943, Howardena Pindell studied painting at Boston University and Yale University. After graduating, she accepted a job in the Department of Prints and Illustrated Books at the Museum of Modern Art, where she remained for 12 years (19671979). In 1979, she began teaching at the State University of New York, Stony Brook where she is now a full professor. Throughout her career, Pindell has exhibited extensively. Following our booth presentation, Pindell’s work will appear in major international group exhibitionsPower (2017, Sprüth Magers); We Wanted A Revolution: Black Radical Women, 196585 (2017, Brooklyn Museum); Magnetic Fields: Abstraction by Black Women Artists, 1960 to Present (2017, Kemper Museum of Contemporary Art); Soul of a Nation: Art in the Age of Black Power (2017, Tate Modern); Delirious: Art at the Limits of Reason, 1950-1980 (20172018, Metropolitan Museum of Art); and Outliers and American Vanguard Art (2018, National Gallery; 2018, High Museum of Art; 20182019, Los Angeles County Museum of Art). A full-career retrospective of Pindell’s work will open at the Museum of Contemporary Art, Chicago in Spring 2018. Pindell’s work is in the permanent collections of major museums internationally, including: the Brooklyn Museum; the Corcoran Gallery of Art; the Fogg Museum, Harvard University; the High Museum of Art; the Louisiana Museum of Modern Art, Copenhagen; the Metropolitan Museum of Art; the Museum of Contemporary Art, Chicago; the Museum of Modern Art; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; the National Gallery of Art; Pennsylvania Academy of the Fine Arts; the Philadelphia Museum of Art; The Studio Museum in Harlem; the Smithsonian Museum of American Art; the Wadsworth Atheneum; the Walker Art Center; the Whitney Museum of American Art; and the Yale University Art Gallery. Garth Greenan Gallery is pleased to represent Howardena Pindell.

Garth Greenan Gallery is pleased to announce Norbert Prangenberg: Figuren, an exhibition of paintings and sculptures at 545 West 20th Street. Opening on Thursday, March 2, 2017, the exhibition features five of the artist’s large-scale ceramics and five paintings. It is the first time that any of these works have been shown in a gallery outside of Europe. Prangenberg’s monumental ceramics, begun in the 1980s, are often simple geometric formsusually ovalswith surfaces punctua...ted by finger marks, holes, and added cylindrical or circular elements. They are bulbous and hollow, lying on their sides like imaginary archaeological fragments, with glazes crawling and crazing both inside and out. They are reminiscent of traditional pottery only in their shape; otherwise, the artist has freed them of their utilitarian purpose. Figur (1998) was made following two residencies at the Europees Keramisch Werkcentrum in Hertogenbosch. Traces of the artist’s hand are even more pronounced here than in previous works. Playful funnel-shaped protrusions and plant-like swellings join the characteristic holes, notches, and fingerprints of Prangenberg’s surfaces. Nevertheless, the artist’s respect for clay’s directness and flexibility is always evident, as well as its ability to transform, once glazed, from open-pored raw material into objects of luminous beauty. Everything he did was rooted in materiality, ranging from the tangible to the ethereal, and in the transformational progression of his materials, writes critic John Yau. He loved working with stuff that invited his direct physical engagementthat could be shaped, pushed around, spread, spontaneously dispersed, and incised. Born in Rommerskirchen-Nettesheim, Germany in 1949, Norbert Prangenberg apprenticed as a gold- and silversmith before turning to fine art. From 1993 to 2012, he held a professorship at the Academy of Fine Arts, Munich. Since 1981, his work has been exhibited extensively in Europe, including sixteen solo- exhibitions at Galerie Karsten Greve (Cologne and Paris); eight at Galerie Barbara Gross (Munich); and five at Produzentengalerie (Hamburg), among others. Most recently, his work was the subject of retrospective exhibitions at the Kaiser Wilhelm Museum (20042005, Krefeld, Germany); the Staatliche Kunsthalle Karlsruhe (2005, Germany); and the Kunstmuseum Kloster Unser Lieben Frauen (2008, Magdeburg, Germany). Prangenberg’s work is featured in the collections of major museums around Europe. Garth Greenan Gallery is pleased to represent the Estate of Norbert Prangenberg.