Stephen Friedman Gallery

In the past decade, Zerbini has increasingly dedicated himself to producing monotypes using various kinds of plant material. In partnership with João Sánchez, founder of the Baren Studio in Rio de Janeiro, Zerbini has experimented with this traditional printmaking technique, which has the peculiarity that it is capable of producing works that cannot be replicated. In this respect, the monotype resembles drawing and painting. Zerbini’s method involves spreading layers of printer’s ink and vegetable matter across a surface, to create something that tends to resemble a landscape. Once carefully arranged by the artist, the surfaces of leaves, roots, and bark, along with the ink (and other elements) functions as matrix. A large sheet of paper is then placed on top of this, and a print roller passed over everything. The pressure causes the colors, shapes and textures of the matrix to be transferred onto the paper, creating a surprisingly natural-looking effect. — Na última década, Zerbini tem crescentemente se dedicado a produzir monotipias com partes diversas de plantas e outros elementos vegetais. Em parceria com João Sánchez, fundador do @estudiobaren (Rio de Janeiro), o artista tem experimentado essa tradicional técnica da gravura que guarda a peculiaridade de produzir obras não repetíveis, razão pela qual a monotipia se aproxima do desenho e da pintura. Em seu processo, Luiz distribui, sobre uma superfície, camadas de tinta gráfica e partes vegetais, compondo o que costuma se parecer com o recorte de uma paisagem. Depois de cuidadosamente montada pelo artista, a superfície de folhas, raízes, cascas e tintas (entre tantos outros elementos) opera como a matriz da monotipia: por cima dela é colocada uma grande folha de papel e, sobre todo o conjunto, é passado o rolo da prensa. Através da pressão, as cores, formas e relevos da matriz são transferidos para o papel, fazendo nele brotar surpreendentes naturezas. Texto: Clarissa Diniz Você pode ver de perto essas e outras obras do artista na Exposição Paisagens Ruminadas no @ccbbrj . 🖼🌿 #LuizZerbini #PaisagensRuminadas #ExposicaoArte

☁️⁠ Kenturah Davis’ debut solo exhibition in the UK, ‘clouds’, continues at our London gallery.⁠ ⁠ Each of Davis’ bodies of work is a study in movement that translates photographs of Black dancers taken by the artist. In ‘planar vessel XXIX (marcella)', a reactive, fluid range of movement connects the five drawings. Though individually striking, they appear all the more powerful together.⁠ ⁠ On view until 20 July. Click the 🔗 link in bio to plan your visit and find out more⁠⁠⁠⁠⁠.⁠ ______⁠ @kenturah Kenturah Davis ‘planar vessel XXIX (marcella)’, 2024. Carbon pencil rubbing and debossed text on igarashi kozo paper, Five parts, each: 100.3 x 75.6cm (39 1/2 x 29 3/4in) Framed: 103.5 x 79.1cm (40 3/4 x 31 1/8in)

🎾 The 2024 Wimbledon Championships begins today! ⁠ ________⁠ @davidshrigley @wimbledon #wimbledon

Don’t miss Denzil Forrester featuring in ‘Beyond the Bassline’ at The British Library. The exhibition explores 500 years of Black British music, presenting soundscapes, artworks and films produced by artists and collectives across the UK. Archival footage leads into spectacular costumes, interactive displays, and music. ⁠🎶🎺 ⁠ The show is a map of the places where these sounds were born: the clubs, the carnivals, the stages, the kerbside auditoriums. It is the voice of community, resistance, culture and joy. It is a celebration of the trailblazers and innovators that brought new music to the UK, and the layered Black experiences that have birthed a thriving musical culture and history. ⁠ On view until 26 August. Click the 🔗 link in bio to plan your visit and find out more⁠⁠⁠⁠⁠.⁠ ______⁠ @britishlibrary Denzil Forrester, 'Night Owls’, 1995. Oil on canvas, 152.5 x 182cm (60 1/8 x 71 5/8in) Copyright Denzil Forrester. Courtesy the artist and Stephen Friedman Gallery, London and New York⁠. Photos by Mark Blower

It’s Glastonbury Festival this weekend! ⁠☮️ 🎉 🎤⁠ ⁠ In her large-scale oil painting of the event, Caroline Coon casts a rumpled group of festival-goers as a sun-bathed mythical assemblage. Coon explains: “I had fun imagining Glastonbury pop festival as a contemporary version of the bucolic bacchanals of ancient times, with a play on Diego Vélazquez’s painting 'The Triumph of Bacchus' or, 'The Drunkards' (1628-1629)”. ⁠ ⁠ Music is an important part of the artist’s practice. A trailblazer of London’s counterculture, Coon was central to London’s nascent punk scene, managing The Clash from 1978 to 1980. 'Glastonbury Festival' strikes a balance between the playful and the earnest, paying homage to the spectacle and cultural importance of music festivals, and revelling in the disorder of it, all at once. Humorously, Coon notes, “Of course, being England, it usually rains. The festival in 2000 was particularly muddy”.⁠ ⁠ Click the 🔗 link in bio to find out more about the artist.⁠ ____⁠ Caroline Coon, ‘Glastonbury Festival’, 2000. Oil on canvas, 121 x 151cm (47 5/8 x 59 1/2in) Framed: 126.8 x 157.2cm (49 7/8 x 61 7/8in). Copyright Caroline Coon. Courtesy the artist and Stephen Friedman Gallery, London and New York

Join us in wishing a very Happy Birthday to Channing Hansen! 🎈⁠ ⁠ Woven using a blend of synthetic and natural fibres, spun and dyed by hand, the tactile composition of ‘Mathemagical Mapping’ comprises organic forms, raised textures and blocks of vibrant colour. ⁠ ⁠ The painterly, unpredictable surfaces of Channing Hansen’s works are generated by computer algorithm, guiding the artist to create intricate combinations of colour, fibre and knit. ⁠ ⁠ Click the 🔗 link in bio to find out more about the artist.⁠ ________⁠⁠⁠⁠⁠⁠ ⁠ @channinghansen Channing Hansen, 'Mathemagical Mapping’, 2024. Hand spun, hand dyed wool and redwood, 82.5 x 86.4 x 8.9 cm (32 1/2 x 34 x 3 1/2in). Copyright Channing Hansen. Courtesy the artist and Stephen Friedman Gallery, London and New York, Susan Inglett Gallery New York and Marc Selwyn Fine Art California. Photo by Cooper Dodds.

Leilah Babirye’s first solo museum show in the United States, ‘We Have a History’, is now open at de Young Museum. ⁠ ⁠ 🎥 Watch Babirye discuss her practice and the relationship she has with her sculptures.⁠ ⁠ On view until 22 June 2025. Click the 🔗 link in bio to plan your visit and find out more⁠⁠⁠⁠⁠.⁠ ______⁠ @babiryesculptor  @deyoungmuseum ‘The Fearless Art Practice of Leilah Babirye’, 2024 © Fine Arts Museums of San Francisco

📹 Watch Kenturah Davis speaking about her solo exhibition, ‘clouds’, on view now at our London gallery, until 20 July.⁠ ⁠ In this lenticular print, several versions of the subject phase together, transforming into one another. Vibrant hues of deep Prussian and sky-blue colour the background. Utilising long exposure, Davis captures the dancer’s movement and shifting states of mind in a still frame.⁠ ______⁠ @kenturah ⁠ @icenistudios ⁠ Film by Iceni Studios

🌞🌿 While the sun is out, why not visit us to see outdoor sculptures by Yinka Shonibare CBE RA, Leilah Babirye and kiosk designed by David Shrigley. ⁠ The garden is open during gallery hours: Tuesday - Friday 10am-6pm, Saturday 11am-5pm.⁠ ______⁠⁠⁠⁠⁠⁠ ⁠ @yinkashonibarestudio  @babiryesculptor  @davidshrigley

See Anne Rothenstein's solo exhibition at Charleston, Sussex until 13 October.⁠ ⁠ This is the first institutional exhibition of Rothenstein's work. Largely celebrated for her painting practice, the artist notes she started making collages "when I had a sort of painters block... The idea of making a coherent image out of cut out paper, instead of having to deal with my complicated relationship with paint, appealed to me."⁠ ⁠ Speaking of her process, Rothenstein remarks, "I have a huge collection of vintage ephemera, old bills, letters, newspapers etc which were ideal material. I spent a day learning the very basics of mono printing which in turn became the backbone of the collages. Now I print my own paper, often on the vintage paper and often using the wood blocks I rescued from my fathers studio."⁠ ⁠ Click the 🔗 link in bio to plan your visit and find out more⁠⁠⁠⁠⁠.⁠ ________⁠ @annerothenstein @charlestontrust ⁠ 1. 'The Crowd,' 2022. Monoprint and collage on vintage paper mounted on handmade Lokta paper. Photo by Todd-White Art Photography.⁠ 2. 'Trio', 2022. Monoprint, collage and paint on cardboard.⁠ 3. 'Tattoos and Red Lips', 2022. Monoprint and collage on vintage paper mounted on handmade Lokta paper. Photo by Todd-White Art Photography.⁠ All copyright Anne Rothenstein. Courtesy the artist and Stephen Friedman Gallery, London and New York.⁠

Izumi Kato participates in the exhibition 'Actual Fractals, Act II’, which brings together the work of a broad range of contemporary sculptors. Publicly displayed around downtown Milwaukee, the works invite visitors to engage with the interconnections of human beings, nature, animals, and cosmopolitan communities, despite our perceived differences and divisions. ⁠ ⁠ Kato's work is a large figurative sculpture, crafted in aluminium and fashioned to replicate Kato’s previous sculptures in stone. The figure is split into four stone-like parts, balanced on top of each other. Embodying a primal and universal visual form, Kato encourages viewers to arrive at their own ideas about his compositions rather than assigning a predetermined meaning.⁠ ⁠ Click the 🔗 link in bio to find out more⁠⁠⁠⁠⁠ and plan your visit.⁠ ______⁠⁠⁠⁠⁠⁠ ⁠ @izukat692 @sculpturemilwaukee @milwaukeeart Installation: Izumi Kato, 'Actual Fractals, Act II’, Museum Center Park, Milwaukee, Wisconsin, USA (2024) Copyright Izumi Kato. Courtesy the artist and Milwaukee Art Museum.

Kenturah Davis’ solo exhibition ‘clouds’ continues at our London gallery.⁠ ⁠ Utilising powdered indigo pigments, Davis flawlessly portrays clouds as we know them—boundless, elemental, and undeniably majestic. The clouds depicted in each drawing were recreated from photographs the artist took of the sky surrounding her Los Angeles home.⁠ ⁠ Hieroglyph-like characters faintly emerge in the series of twelve cloud drawings. Marks and symbols of a musical score fade in and out of the cool-toned shadows and a replica of the Rosetta Stone, known as the key to deciphering Egyptian script, is impressed into billowing clouds.⁠ ⁠ On view until 20 July. Click the 🔗 link in bio to plan your visit and find out more⁠⁠⁠⁠⁠.⁠ ________⁠ @kenturah ’clouds V’, 2024. Indigo rubbing and debossed text on igarashi kozo paper in maple frame, 50.8 x 50.8cm (20 x 20in) Framed: 54 x 54cm (21 1/4 x 21 1/4in). Copyright Kenturah Davis. Courtesy the artist and Stephen Friedman Gallery, London and New York, and Matthew Brown, Los Angeles and New York. Photo by Paul Salveson.