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This show also include works by Peter Halley and Blair Thurman among others

“Millennials. Paintings 2000-2020 "is an exhibition presenting a group of works which, without claiming to be exhaustive, is representative of the most significant developments in painting over the past twenty years. The works in the exhibition are the work of artists of all generations. The "millennials" are the paintings studied, all made since the transition to the year 2000.

Almine Rech is pleased to share its second Selections, which is being shown exclusively in its Online Viewing Room. This presentation consists of seven premier works—all dating from 2020—by seven artists.
Most of the works were slated to be shown at Art Basel's September fair (akin to the format of the first “Selections” edition, which presented works scheduled for exhibition at Art Brussels, Art Monaco, and TEFAF).
The artists represented are John M Armleder, Genieve Figgis, Marcus Jahmal, Rudolf Polanszky, Kenny Scharf, Vaughn Spann, and Genesis Tramaine.

EXPLORE ONLINE!

For more information about Selections and further programming, please contact Arnaud Mareels inquiries@alminerech.com

Almine Rech is pleased to introduce One by One, a new series of exclusive online viewing rooms dedicated to extraordinary individual artworks. Established to further refine the experience of online exhibitions, One by One will feature works by artists from the gallery's programme on a regular basis. Works will be accompanied by new texts (written by curators, writers, and art historians), insights from the artist or the estate, as well as other media, which detail the work's art-historical significance and relevance to the current moment.

To launch this series, Almine Rech presents Jeff Koons, Gazing Ball (Bottlerack), 2016

EXPLORE ONLINE!

For more information on One by One and further programming, please contact Arnaud Mareels inquiries@alminerech.com

Artbook, MoMA PS1 bookstore and Bad Dimension Press are organizing a conversation between Peter Saul, Aaron Curry and Dan Nadel on September 23rd (7pm EDT). Online discussion - registration is limited
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Peter Saul: Professional Artist Correspondence, 1945-1975
2020
Bad Dimensions Press, Los Angeles
Edited by Dan Nadel, Curator-at-Large, Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis
Designed by Brian Roettinger
200 pages, hardcover
9 x 6 1/2 in
22.9 x 16.5 cm

Register here!

September 13th, 2020 - 1-7 pm

On the occasion of 'Un Dimanche à la Galerie', Almine Rech Paris will be opened on Sunday, September 13th from 1 to 7 pm.

Farah Atassi ‘Paintings'
September 05 — October 03, 2020

Almine Rech is pleased to announce the representation of contemporary Newark-based artist Genesis Tramaine in Europe, the United Kingdom, and Asia. Almine Rech will also be working in with the artist in the United States in partnership with Richard Beavers Gallery (Brooklyn), who has represented Tramaine since 2018. 

Follow our Stories on Instagram to participate to our Summer Quizz!
Click here!

Sylvie Fleury’s work ‘Marcel et Robert’ (2000-2001) is currently on view in the retrospective dedicated to the work of Belgian Pop-Surrealist Evelyne Axell (1935-1972) at Muzeum Susch, Switzerland - Until December 6th, 2020

www.muzeumsusch.ch

The late French sociologist Pierre Bourdieu intervened within the discourse of consumption habits in his landmark study Distinction: A Social Critique of the Judgment of Taste (1979), a text that is essential reading for the lovers and collectors of Chloe Wise’s work.

Second Nature focuses on small scale micro portraits, a departure from Wise’s larger scale group paintings. Wise’s first digital show, an experiment in widespread accessibility where space is further collapsed, is an outcome of a health and geopolitical crisis that has compelled us to question our own values, pleasures, and desires.

- Kristen Cochrane

« As I am moved, enriched, empowered, and inspired by the courage and fortitude of the brother Dr. Cornel West, I write: The murder of George Floyd was practically a public lynching, giving rise to heightened protests and mass demonstrations throughout America — and, indeed, in many parts of the world — highlighting, at last, that America has proven to be, on many levels, a failed social experiment.  The world is undergoing and witnessing America’s great moment of reckoning, where the long-standing correlation between the local and the global are most remarkably felt: sowing the seeds of unchecked greed that made concrete domestic inequality in tandem with America’s imperial, militarized, and violent tentacles around the globe.  Make no mistake, the collective seeds of violence operate as the obvious link that bounds the connective tissue between the external and the internal.  Such is most efficiently true in relation to the seed of white supremacy’s deep hatred of Black people within the context of a predatory capitalistic society obsessed with money, domination, and the marginalization of the “other.”  

The American Empire’s foundation is shaken to its core, with uprisings from below, from the streets.  

No doubt, George Floyd’s murderous lynching by the embodiment of white supremacist hatred by the name of Derek Chauvin ignited the fuse, but the outright failings of America’s predaceous capitalistic economy to adequately fulfill basic needs — food, healthcare, a quality education, jobs with decent wages — was the explosion.  The so-called promise of America’s legitimacy is bankrupt, and a multiracial check is past overdue. 

Now, the youth and the streets are forcefully speaking, highlighting the hypocrisy and the abject blindness to their suffering and misery.  Simply put, they no longer believe in the legitimacy of the traditional American social contract.  However, rebellion, while being the sounding call, is not enough, for a Nonviolent Revolution is of the highest order; that is, enacting comprehensive, democratic sharing — power, wealth, resources, respect, organizing — and the radical transformation of the American Empire.  

For, by all means, we cannot possibly, comfortably, and willingly return to the way things were. »  

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Nathaniel Mary Quinn, I Imagine It Was a Burden at Times, 2019 - oil paint, paint stick, oil pastel, soft pastel, gouache on linen canvas - 50.8 x 50.8 x 2 cm; 20 x 20 x 3/4 in
Courtesy of the artist and Almine Rech