Judy Ledgerwood: Twilight in the Wilderness at Gray Gallery, New York →

Judy Ledgerwood
September 10 - November 1, 2025 | Gray Gallery, New York

Twilight in the Wilderness debuts four large-scale canvases that continue Ledgerwood’s career-long exploration of radiant color and architectural scale through a feminist reworking of the painterly grid. 

For over forty years, Judy Ledgerwood has pushed the boundaries of abstraction. Her chromatic language subverts and reimagines historically male-dominated traditions of Color Field painting and Minimalism, transforming visual pleasure into a critical investigation of beauty and representation. Her large scale paintings often appear like textiles, pinned from the top and painted edge-to-edge, and feature repeating quatrefoil patterns rendered with intentional irregularity. These immersive, optically charged compositions envelop the viewer, turning the act of looking into a fully embodied experience of beauty, color, and space. “For me,” Ledgerwood states, “the painting happens between the painting and the viewer.”

Titled after Frederic Edwin Church’s 1863 painting of a sunset, Twilight in the Wilderness presents four new paintings inspired by the drama and color of refracted light just before nightfall. Monumental in scale, these works blaze with hot pinks, golden yellows, burnt oranges, teals, and vivid greens—colors that heighten the works’ radiance and emotional intensity. Of the largest canvas, Vitamin C, art historian and curator Helen Molesworth writes: “A riot of tangled paint strokes, a filigreed layer of beachfront-hotel seafoam on top of an Orange Julius® ground? Whatever grid once held the substrate together has gone all akimbo.” 

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Ana Prvacki in Common Sentience at 601ArtSpace, New York →

Ana Prvacki
September 7 - November 9, 2025 | 601ArtSpace, New York

The experience of sentience—a word deriving from the Latin root word “sentire,” which means to perceive or feel—is to be aware of our own existence through our five senses. It is often thought of as the dividing line between human and artificial intelligence. Our innate ability to perceive, feel, and understand through our eyes, ears, mouth, nose, and skin places us in a feedback loop with the world, enabling us to experience and co-create reality as we know it. Common Sentience looks at the properties of the sensory faculties—essentially human technology—and how they connect humans, animals, plants, and planets in ways that we have yet to fully understand. In light of anxieties about AI’s capacity to acquire sentience, this exhibition asks us to first look inward: how might we better comprehend our own sensory mechanisms, which author Michael Serres describes as “the real interdisciplinarity of the body?” What is the intelligence of the sensorial realm and how does it operate relationally between human bodies and the rest of the natural world?

Curated by Regine Basha

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Kirsten Everberg in Surface Streets, curated by Russell Ferguson at Marian Goodman Gallery, Los Angeles →

Kirsten Everberg
September 6 – October 18, 2025 | Marian Goodman Gallery, Los Angeles

Surface Streets presents recent paintings by artists working in Los Angeles. The title of the exhibition is intended to evoke both the specificity of the local environment and the tactility that is integral to the medium. Curated by Russell Ferguson, the intergenerational group chosen for this exhibition trace a variety of aesthetics, strategies, impulses, and traditions, and yet at the same time each engages deeply with the physicality of the painted surface.  

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Jan Albers: teNdertaNtrum at Van Horn →

Jan Albers
September 5 – October 25, 2025 | Van Horn, Düsseldorf

Jan Albers, stRawbeRRyReef, 2025
spray paint & polymer plaster on polystyrene & non-wood in acrylic glass box,
171 x 121 x 37 cm

Jan Albers describes his work as a kind of self-observation in action: “The great art is to experience yourself in the act of doing. The more varied the actions are, the more you learn about yourself.”
This attitude lies at the heart of his work. It is insight through action, artistic exploration without a fixed route, a continuous process of experience. Beauty, it seems, is not a goal for Albers, but a solution. Something that can arise from the work itself.

In this exhibition, strength meets softness, wildness meets sensitivity. As the exhibition title suggests, the work oscillates between opposites: ‘tender’ and ‘tantrum’ – delicacy and outburst. These are interwoven in a formal language that allows for both emotional depth and conceptual rigour.

What emerges is the expression of a dynamic, often contradictory process: a performative exploration of material, form and action. Albers’ relief works are performative settings, less objects than traces of an action. They are the expression of an intellectual and emotional, sometimes even spiritual process. It is not just about form, but about experience: erosion, friction, doubt, pain, happiness, curiosity. It takes courage to seek out the unfinished, to endure failure and inability, and even to use them as a springboard to the next level. The choice of materials is part of this search – open and sensual. What emerges remains open to interpretation: it is not uncommon for a work to only take shape or shift when viewed. It is not so much about realising a design, as about exploring a path.

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Applications for Fall 2025 Internship at 1301PE Now Open

1301PE is excited to announce an internship opportunity for students eager to immerse themselves in the art gallery environment. This internship will provide a comprehensive insight into various aspects of gallery management, including event planning, art curation, sales, and more.

*Please note that you will need to email the application materials to info@1301pe.com to be considered.

Full Details Can Be Found Here.

remains of the day: allora & calzadilla and rirkrit tiravanija at Kurimanzutto →

Rirkrit Tiravanija
September 4 – October 4, 2025 | Kurimanzutto, Mexico City

What lingers, what remains? When wars, environmental disasters, and political unraveling dominate the news, what stays with us after the headlines fade? Media coverage dissipates as surely as flowers fall and decay, yet events leave their mark, shaping what and how we remember. 

Rirkrit Tiravanija’s paintings layer charged phrases over pages from Mexican newspapers with once-urgent headlines. The works reveal how news structures memory, anchoring private and collective histories to particular dates. Newspapers from 2017 and 2024—years marked here by Trump’s first inauguration, California’s wildfires, and a solar eclipse spanning North America—show how time alters our perspective, depending on the political, environmental, or cosmic scale from which we view it. Across a series of canvases, the repeated phrase El miedo devora el alma (Fear Eats the Soul), borrowed from Rainer Werner Fassbinder’s 1974 film, warns of fear’s corrosive power—its ability to weaken solidarity, erode empathy, and fracture recognition of our interdependence with each other and the natural world.

On the gallery floor, hundreds of blossoms—cast from the flowers of the African baobab tree (Adansonia digitata)—appear swept by the wind. In Graft (2023), Allora & Calzadilla fabricated each flower from recycled plastic and hand-painted it in one of seven stages of decay, ranging from freshly fallen white to withered brown. The baobab, long associated with resilience and ancestral survival in African communities, was introduced to the Indian subcontinent through trade networks and to the Caribbean during the transatlantic slave trade. Yet even this long-lived species has been imperiled: in recent years, some of the world’s oldest and largest baobabs have perished due to drought and rising temperatures. Removed from their natural context, the flowers in the gallery evoke a fragile, paradoxical beauty shaped by histories of exploitation and enslavement, while pointing to the ecological precarity of the present and the uncertain future of a planet in crisis.

Amid scattered blossoms and newspapers, The Remains of the Day brings the fleeting and the lasting into dialogue, opening space to reflect on what remains—and what may slip away.

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Charline von Heyl at Xavier Hufkens, Brussels →

Charline von Heyl
September 4 – October 25, 2025 | Xavier Hufkens, Brussels

Charline von Heyl’s debut exhibition at Xavier Hufkens presents a dynamic suite of new paintings, works on paper, and lithographs that pulse with invention, wit, and formal tension. Long regarded as a vital force in contemporary painting, von Heyl conjures a visual universe that is as expansive as it is unpredictable. What emerges is a protean body of work: restless, confident, mercurial, and alive with inquiry and mischief.

von Heyl is a visual acrobat. Throughout the exhibition, she demonstrates a rare painterly dexterity: the ability to choreograph chaos without taming it. Each painting she makes poses a new formal puzzle. At the core of her practice is a belief in painting as a living form of knowledge — generative, volatile and perpetually in motion. Each canvas becomes a site of experimentation: never conclusive, always open. Her works offer not answers, but propositions. In doing so, they pose a deeper question: what can painting do now?

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Philippe Parreno at Andersen’s →

Philippe Parreno
August 22 – October 25, 2025 | Andersen’s, Copenhagen

The exhibition is the first solo show in Denmark by internationally acclaimed French artist Philippe Parreno. Parreno works in a diverse range of media including film, sculpture, drawing, and text.

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Jonny Niesche: Lava Lamp at 1301SW →

Jonny Niesche
August 14 – September 20, 2025 | 1301SW, Melbourne

Jonny Niesche, Zig Zag Wanderer (Wax Ballet), 2025

Jonny Niesche’s third solo exhibition with 1301SW continues the artist’s playful and profound engagement with the sublime. Lava Lamp, where amorphous movements of a psychedelic vessel become static… to produce static. An exhibition of forms containing distorting sunsets.

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Rirkrit Tiravanija in All Stories Are About Us: A Climate Recipes Survey at Sunaparanta Goa Centre for the Arts →

Rirkrit Tiravanija
August 9 – October 25, 2025 | Sunaparanta Goa Centre for the Arts, Panaji

Curated by Srinivas Aditya Mopidevi and Srinivas Mangipudi, All Stories Are About Us is the first comprehensive survey of the Climate Recipes project, which began within the corridors of Sunaparanta in the summer of 2023. From an exercise to gather wisdom in the Goan ecosystem, the project has evolved into a knowledge-system and dissemination method, extending across the regions of Andhra Pradesh, Telangana, Odisha, Karnataka, and other parts of India, as well as the educational context of Ashoka University in Haryana.

All Stories Are About Us spatializes and activates some of the ideas and directions that emerge from the Climate Recipes project in conversation with artists and creative practitioners. These artists respond to and depart from the recipes to create new sensations of thought and action about the ongoing ecological crisis and the resilience of communities.

This show includes projects and interventions by Edible Archives, Salil Chaturvedi, Vikram Doctor, Tallulah D’Silva + Vishal Rawlley, Divesh Gadekar, Debasmita Ghosh, Mihika Kulkarni, Material Library of India, Enit María + Sartaj Ghuman, Kulpreet Singh, Sumeet Thakur, Rirkrit Tiravanija, Ramesh V, Mamata Verlekar and Goa Water Stories.

The opening of the exhibition hosted a Climate Recipes Potluck conceptualized by renowned global contemporary artist Rirkrit Tiravanija in collaboration with Edible Archives. This potluck was an immersive and durational experience centered around sharing food and the stories that accompany it.

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Kiran Nadar Museum of Art Artist Talk: Rirkrit Tiravanija - Making Without Objects →

Rirkrit Tiravanija | Kiran Nadar Museum of Art

For several years now, renowned contemporary artist Rirkrit Tiravanija has been teaching his students at Columbia College of the Arts in New York a course titled "Making Without Objects." According to Tiravanija, this undergraduate sculpture course does not teach students to produce anything. It is, for him, a way to explore how a young artist in an art school experiences what is happening in the world at large. Students, as part of the course, have made films for YouTube, done projects on Instagram, and Tiravanija even rented a plot in Second Life, inviting them to create sculptures virtually. He says, "I am more interested in encouraging my students to think conceptually and create things in their heads than in any material." This pedagogic approach is in close alignment with his multidimensional approach to art that emphasizes the conditions and relations art could potentially generate rather than an object-oriented outcome.

In this conversation, Rirkrit Tiravanija will discuss with Srinivas Aditya Mopidevi how his approach to art influences his teaching practice and vice versa.

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OCMA Artist Talk: Diana Thater with Heidi Zuckerman →

Diana Thater | Orange County Museum of Art

Join acclaimed Orange County Museum of Art collection artist Diana Thater in conversation with the museum’s CEO and Director Heidi Zuckerman on Sunday August 3rd as they discuss the importance of time, what it means to perform with and for an artwork, memory, and human nature.

Thater was recently awarded a Milestone Grant from the Trellis Art Fund, adding to an impressive list of accolades.

Pre-order tickets here

Pae White: Restless Color in Portraits of Creativity →

Pae White

Visiting Pae White in her studio in Lincoln Heights, Los Angles, we enter into her “zone of reflectivity” where the surfaces of the works on her walls and work tables reflect light and create their own ever-changing iridescence, which compels you to look again and see something new. Pae White works in many mediums, glass, clay, steel, textiles; she often takes on media that she has never worked with before. Her sense of experimentation—that sense of not knowing,—is a catalyst for discovery and creativity. She also uses a high-level technology to create her work. Her tapestry projects, in particular, require years of experimentation on the loom, as she explains, ”we try, we fail, we have success, we fail and we finally prevail.”

We have come to talk about her series of tapestries called Bugz and Drugs. Pae White says she is interested in psychopharmacology and plants that have a potential psychedelic effect for medicine. Her choice of metallic threads create what she calls “restless color” …a chromatic vibration that never settles, as you move around her piece or appreciate it in the morning or evening light, you may experience a different vision, a different array of colors. In her story telling, she is elevating these humble materials with gold and silver threads and a sense of luxury that celebrates movement and discovery.

Watch the video here

Blake Rayne in Accrochage 3 at Miguel Abreu Gallery, New York →

Blake Rayne
July 23 – August 22, 2025 | Miguel Abreu Gallery, New York

 accrochage 3 is a summer installation of paintings, photographs, and sculpture by artists at Miguel Abreu. Included in the show are works by Alex Carver, Liz Deschenes, Rochelle Goldberg, Kate Mosher Hall, Dana Lok, Scott Lyall, Beaux Mendes, Jean-Luc Moulène, Paul Pagk, R. H. Quaytman, Eileen Quinlan, and Blake Rayne.

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Jonny Niesche’s Paintings Balance Bold Colour and Abstract Minimalism →

Jonny Niesche | Broadsheet

Photo: Courtesy of Gucci and Truls Blaasmo

by Gitika Garg

Sydney artist Jonny Niesche spent a decade in New York’s electronic music scene before returning to home and turning his attention to art – at the age of 30.

“I helped my parents renovate their house and sell it, and just out of the blue, I decided to do a painting on the For Sale sign,” Niesche says. “It looked like a big canvas, so I just attacked it – and loved it.”

Since then, Niesche’s hyper-colourful abstract paintings have been exhibited across the world, from Los Angeles and Vienna to London, and most recently, at the Munich Opera Festival.

A musical sensibility still runs through his work. When recording music, “you’re creating a sonic landscape,” Niesche says. “You can push sounds really far back, or to the right and the left. It’s like constructing an audible image. "I think of painting in a very similar way. Warmer colours come forward, colder colours go back. Sharp images come forward. Blurriness goes back.”

Read more here.

Jonny Niesche featured in Lucent Ground at GW Contemporary, Laguna Beach →

Jonny Niesche
July 19 - September 7, 2025 | GW Contemporary, Laguna Beach

GW Contemporary’s inaugural exhibition, Lucent Ground, features works by Larry Bell, Laddie John Dill, Gary Lang, Heather Hutchison, Mark Whalen, Rosalind Tallmadge, Matthew Allen, Will Cooke, Jan Maarten Voskuil, and Line Busch. Lucent Ground explores surface, form, and visual experience - foregrounding artists whose works reward close looking. Subtle shifts in material and structure offer new ways of seeing, revealing a world where surfaces become thresholds, dimensionality is in flux, and structure and spontaneity exist in quiet tension.

Informed by movements such as Light and Space, minimalism, and post-minimal abstraction, the exhibition evokes a heightened sensitivity to light, texture, and the act of perception. Optical phenomena hover and recede; compositions unfold slowly, inviting a slowed way of looking - one attuned to nuance, reflection, and the physical presence of each object.

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Stolon Press and Chui Lee Luk: Live feed at 1301SW, Sydney →

Simryn Gill
July 19 –August 23, 2025 | 1301SW, Sydney

Stolon Press, Strainers, 2025 (detail view)

Live feed, a modest and preliminary collaboration between a publisher and chef, asks us to consider our need for daily nourishment. How do goods and foodstuffs reach the shop and the table, what are the distances travelled, and the means and processes that make this possible? What do we do with this fresh or aged or packaged or processed produce to make it palatable and consumable? What do we talk about over the meal? 

Preparing two shared meals five weeks apart, Chui Lee Luk attempts to lay bare the hierarchies of cooking and eating. The first meal is made from just-harvested and picked produce, the second from fermented, pickled, sprouted and growing ingredients. In the interim between meals, her processes will be visible in the space.  

Alongside, Stolon Press present their recent series of prints, Strainers (2025), made from cardboard boxes collected from shops around their neighbourhood in Sydney. In Small talk (2025-), they use a ledger typewriter as a poultice, drawing out memories of dinner table conversations and informal thoughts.

Stolon Press is an art and publishing collective whose work sits somewhere between art and book, image and text. In 2024, they published Shallow (Simryn Gill, Charles Lim Yi Yong, Chanon Kenji Praepipatmongkol, and Selene Yap) and Hustle Culture (Tom Melick). Their forthcoming titles include new pocket books by Quentin Sprague, Trent Walter and Soucho Yao, and an Urdu translation of Hustle Culture by Nusra Qureshi. Recent exhibitions include the Lahore Biennale and Flat earth, with Khaled Sabsabi and Elisa Taber, at Monash University Museum of Art (MUMA). 

Chui Lee Luk is a chef who has run various restaurants in Sydney. Most notably, she was the chef and owner of the legendary French restaurant, Claude’s, for nearly a decade. She is also the author of the cookbook, Green Pickled Peaches.

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Diana Thater a Recipient of MCA Santa Barbara's 2025 Art Award →

Diana Thater | MCA Santa Barbara Art Awards

The Museum of Contemporary Art Santa Barbara’s Art Awards honor and recognize individuals or organizations that have made a significant impact on the arts and culture of the region.

Diana Thater is awarded this honor alongside composer Dr. JoAnn Kuchera-Morin and artists Gabriela Ruiz and Manjari Sharma.

Thater has pioneered the use of film, video, light, and sound, continually challenging the boundaries of time-based media and installation art. Her work explores the relationship between the natural and man-made worlds while critically examining the structures of mediated reality. Drawing on a wide variety of sources, including literature, animal behavior sciences, mathematics, chess, and sociology, her evocative works directly engage their surroundings, producing an intricate relationship between time and space.

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Playfulness and Wonder: Ana Prvački for The Gorgeous Nothings →

Ana Prvački
March 15 – October 5, 2025 | Chatsworth House, Derbyshire, England

Berlin-based artist Ana Prvački has conceived four site-specific performative pieces for this year's exhibition, The Gorgeous Nothings: Flowers at Chatsworth. 

The work takes inspiration from the goddess Flora and involves a live trail through Chatsworth's Garden and Park. With particular reference to the Ludi Florales or Games of Flora, the ancient Roman festival that honored the goddess of flowers, vegetation and fertility, Prvački leads her viewers into a realm of playfulness and wonder.

Intersections of science, folklore, spirituality, and human connection emerge in Prvački’s conversations with nature.

This first film, above, focuses on her findings on and around Flora. 

Ana Prvački's second film is set in the historic Kitchen Garden at Chatsworth House. 

It is a sensual and surprising meditation on the intelligence of gardens. Blending gentle humor with ecological insight, the film explores how gardens are not only sites of cultivation but also of deep resourcefulness and imagination.

With a focus on soil as a living, breathing body—hot, steamy, and craving cover—Prvački draws poetic connections between fertility, gravity, and the intimate choreography of growth.

This is gardening as performance, as philosophy, and as provocation.

Prvački’s next short film for Chatsworth unfolds in the high moors above the house, where the landscape becomes a stage for a quiet yet powerful ritual.

Set within a large bronze circle, the film loops like a meditation, round in form and spirit. Here, love, nature, humans, animals, power, and the heavens revolve in a gentle orbit.

The camera glides in seamless motion, capturing the ancient land. The result is a poetic, circular vision of interconnectedness, where everything belongs to everything else.