petzelgallery Petzel Gallery

Official Instagram of Petzel. Contemporary art gallery located in #NYC 456 W 18th St. & 35 E 67th St. and #Berlin Karl-Marx-Allee 45 @capitainpetzel
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253 3 Jan 20, 2018
petzelgallery: Please join @themuseumofmodernart on Monday, January 29, 7pm

Please join on Monday, January 29, 7pm for “An Evening of Maria Lassnig Films” - the world premiere of a series of experimental films by artist made in NYC in the 1970s. Image: “Kopf” (c. 1976).,USA. Directed by . Courtesy of the Maria Lassnig Foundation. © 2017 Maria Lassnig Foundation

476 2 Jan 20, 2018
petzelgallery: Heimo Zobernig “nework” on view now at our

Heimo Zobernig “nework” on view now at our Uptown gallery located at 35 E 67th Street. This is the artist’s first solo show at our Upper East Side location.

1486 15 Jan 19, 2018
petzelgallery: Dana Schutz “Eating Atom Bombs” opens at Cleveland

Dana Schutz “Eating Atom Bombs” opens at Cleveland Museum of Art’s Transformer Station tonight from 6-9pm! The exhibition debuts a new series of paintings by Schutz. Created mostly in the past year, the works reflect the turbulent political atmosphere experienced in the United States in the wake of the 2016 election. Though our society may seem more divided than ever, the exhibition suggests that this uncertainty may be what unites us. In the words of the artist, “Many of the paintings depict dystopic scenes of conflict and shame. Subjects conceal and reveal themselves, trying to hold themselves together as well as the picture.” Image: Dana Schutz, “Deposition” (2017), oil on canvas, 120 x 156inches.

391 1 Jan 18, 2018
petzelgallery: Heimo Zobernig “chess painting” opens tonight at our

Heimo Zobernig “chess painting” opens tonight at our Chelsea gallery from 6-8pm!

558 9 Jan 16, 2018
petzelgallery: Heimo Zobernig opens two exhibitions in both Chelsea

Heimo Zobernig opens two exhibitions in both Chelsea and Upper East Side spaces this Thursday, January 18! Opening reception will be held at our Chelsea location, 456 W 18th Street, from 6-8pm! In “nework"—the artist’s first solo show at our Upper East Side location, Zobernig exhibits nine new text paintings. The sans serif typeface, Helvetica has been used by Zobernig since 1986 in his catalog and poster designs. For a 1993 group exhibition Zobernig, using orange, brown, gray, black, and white, subdivided the letters of the show’s main title REAL into four fields, in reference to Robert Indiana’s iconic LOVE paintings. One year later, the first REAL pictures were produced in the same colors. Bit by bit, Zobernig extended the color scale of the REAL images and years later added the word EGAL (German for “whatever”), which fills the canvas to the same extent as REAL. The words appear written into one another, and thus their meaning disappears, and a new, interpretive zero point of complex construction has been reached. Image: Heimo Zobernig, “Untitled” (2017), acrylic on linen, 19.69 x 19.69cm

597 5 Jan 13, 2018
petzelgallery: Join us next Thursday, January 18, for Heimo

Join us next Thursday, January 18, for Heimo Zobernig’s “chess painting”, the artist’s fourth solo show at the gallery. Opening reception will be held at our 18th Street gallery from 6-8pm. “chess painting” recasts Zobernig’s 2017 show at the MIT List Visual Arts Center, Cambridge, MA. Making use of the gallery’s architecture, Zobernig allows viewers to confront the constructed, at times theatrical, experience of visiting an art exhibition. Zobernig creates a discrete installation that includes a series of eight white large-scale, primed, monochrome canvases, hung in scacchic configuration atop rolls of black photography paper. Repurposed mobile podiums with cozy, black-and-white checkered faux-fur blankets on top, offer platforms like daybeds, which invite the visitors to stay within the gallery rooms. Taking in the light and architecture of the space, they become part in the figure-ground-relationship of the spatial configuration.

456 3 Jan 12, 2018
petzelgallery: Adam McEwen, “Up Elevator” (2017), graphite, 9.75

Adam McEwen, “Up Elevator” (2017), graphite, 9.75 x 5.5inches.

660 8 Jan 10, 2018
petzelgallery:

“I’ve always taken pictures. For me it’s a way of looking. To understand my work differently I started photographing it in the studio and using these images to produce paintings. And it seems to me perfectly logical to use a photographic image with the tools I’m using. The printers I use were designed to replace darkroom photography; a kind of hostile business advancement masked as technological progress and image improvement.” Wade Guyton WADE GUYTON Untitled, 2016 Epson UltraChrome HDR inkjet on linen 84 x 69 inches 213.4 x 175.3 cm

1248 13 Jan 9, 2018
petzelgallery: Please join us for the final week of

Please join us for the final week of Jorge Pardo’s “Self Portraits” at our Chelsea gallery. The exhibition closes Saturday, January 13th.

684 7 Jan 6, 2018
petzelgallery: Today is the final day to see John

Today is the final day to see John Stezaker's “The Voyeur: Photoroman Collages, 1976-1979” at our Upper East Side gallery. The kiss—central to the photoroman narrative, and also as Stezaker notes, “cinema’s most ubiquitous still image of itself”—dominates these collages. As a euphemism for sexual consummation, the kiss simultaneously represents sex and is part of it. “I thought of this as a kind of leak between the simulacral and the real,” Stezaker explains, “a realization that in order to enact a kiss, the actors must kiss, converting a stereotypical trope into an object of voyeurism…Where cinema promises a space in which reality and illusion seamlessly dissolve, the photoroman was an opportunity for me to explore the seams.” Image: John Stezaker, “The World Made Flesh III (Photoroman)” (1977-78), collage, 3.07 x 2.95inches.

226 3 Jan 5, 2018
petzelgallery: Join @icalondon tomorrow January 6 for a 3pm

Join tomorrow January 6 for a 3pm screening of Seth Price’s film “Redistribution” (2007-ongoing) followed by a talk on Price’s work by writer and curator Michelle Kuo at 5pm. “Seth Price Circa 1981” is on view through January 7.

506 4 Jan 4, 2018
petzelgallery: Two exhibitions by Heimo Zobernig open Thursday, January

Two exhibitions by Heimo Zobernig open Thursday, January 18 at both gallery locations. At our Chelsea location, “chess painting”—the artist’s fourth solo show at the gallery—recasts Zobernig’s 2017 show in Cambridge, MA. Making use of the gallery’s architecture, Zobernig allows viewers to confront the constructed, at times theatrical, experience of visiting an art exhibition. Zobernig creates a discrete installation that includes a series of eight white large-scale, primed, monochrome canvases, hung in scacchic configuration atop rolls of black photography paper. Repurposed mobile podiums with cozy, black-and-white checkered faux-fur blankets on top, offer platforms like daybeds, which invite the visitors to stay within the gallery rooms. Taking in the light and architecture of the space, they become part in the figure-ground-relationship of the spatial configuration. In “nework”—the artist’s first solo show at our Upper East Side location, Zobernig exhibits nine new text paintings. The sans serif typeface, Helvetica has been used by Zobernig since 1986 in his catalog and poster designs. For a 1993 group exhibition Zobernig, using orange, brown, gray, black, and white, subdivided the letters of the show’s main title REAL into four fields, in reference to Robert Indiana’s iconic LOVE paintings. One year later, the first REAL pictures were produced in the same colors. Bit by bit, Zobernig extended the color scale of the REAL images and years later added the word EGAL (German for “whatever”), which fills the canvas to the same extent as REAL. The words appear written into one another, and thus their meaning disappears, and a new, interpretive zero point of complex construction has been reached. Zobernig’s practice is grounded in an awareness of his position as an artist and producer in the broader context of culture. His work is framed by the impact Modernism has had on the trajectory of art history and a questioning of the institutional mechanisms that support the exhibition of artwork.