Our November exhibition rundown features legendary masters alongside emerging figures reshaping the art world. First up is George Rouy’s Bleed, Part I at Hauser & Wirth London. Rouy presents a new body of work that continues his exploration into collective mass, multiplicity, and movement. The exhibition reflects the emotional extremities of our time, inviting us to contemplate identity and embodiment in our globalised, technologically-driven era.

Next on our list of Five Exhibitions To See In London In November 2024 is David Hockney: Living in Colour at Halycon, showcasing one of the world’s largest collections of Hockney’s graphic works, featuring more than 150 pieces spanning six decades of Hockney’s career, dating from 1961 to 2018, this promises to be a feast for Hockney lovers.

Then, head over to bustling Brixton for one of Britain’s foremost contemporary artists, Frank Bowling‘s Selected Prints at Brixton Library. The exhibition showcases sixteen special edition prints by Bowling in collaboration with DACS and the Sussex-based art publisher King & McGaw. These sixteen giclée prints of Bowling’s masterful abstract paintings, ranging from 1968 to 2020, include his ‘map paintings’ that trace and layer stencils of countries and continents and ‘poured paintings’ where acrylic paint is poured directly onto the canvas.

Next stop on our Five Exhibitions To See In London In November 2024 is American photographer Gregory Halpern’s King, Queen, Knave at HUXLEY-PARLOUR. King, Queen, Knave presents fourteen photographs from Halpern’s latest body of work, photographed over the last two decades, mostly in and around his hometown of Buffalo, New York. The series extends beyond a portrait of place, celebrating the poetic idiosyncrasies of everyday life.

The last stop on our Five Exhibitions To See In London In November 2024 is A Journey through Ancient Inspiration in Modern & Contemporary Art at Mazzoleni, London with Mythology Reinterpreted. The exhibition strives to reinterpret the ancient through the lens of Italian artists Giorgio de Chirico, Salvo, and Giulio Paolini, and Mexican artist Jorge Méndez Blake. Guiding this revaluation of the ancient and drawing us back to the point of inspiration, a series of Roman artefacts will invite us to embark on a journey through the annals of art history while simultaneously demonstrating their continual relevance in contemporary visual culture.

Five Exhibitions To See In London In November 2024

George Rouy: The Bleed, Part I

George Rouy: The Bleed, Part I
​7th October, 2024 – 21st December, 2024
Hauser & Wirth London
​23 Savile Row
​London W1S 2ET

Emerging as a leading figure of the new generation of painters, George Rouy’s debut solo exhibition at Hauser & Wirth London, ‘The Bleed, Part I,’ will present a new body of work continuing his inquiry into collective mass, multiplicity and movement. The second chapter, ‘The Bleed, Part II,’ will follow at Hauser & Wirth Downtown Los Angeles in February 2025. Rouy’s dynamic and signature use of the human figure, vexed with desire, alienation and crisis, speaks to the emotional extremities of our time, resulting in explorations of identity and embodiment in a globalised, technologically-driven 21st Century

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David Hockney: Living in Colour

Halcyon is proud to present one of the world’s largest collections of graphics by David Hockney at 148 New Bond Street. “Living in Colour,” which consists of more than 150 works, is also open at its gallery in Harrods. Spanning six decades of his illustrious career, the works date from 1961 to 2018 and include his iconic pool images, self-portraits, portraits of friends, still lifes, and landscapes.

Hockney’s power lies in his virtuosity as a draftsman and colorist, and his appreciation for the everyday. He paints the world around him with bright, bold colors and a restless desire to experiment, epitomizing American modernist Philip Guston’s definition of art as “serious play.”

As an artist, Hockney has always embraced the latest technological innovations. In the 1980s, he harnessed photocopy machines as part of his practice, and more recently, the iPad, which he uses to capture the world as he sees it — through the technicolor guise of the digital age. Visitors will discover various iPad drawings, providing rich insight into his unique exploration of this new medium.

“Living in Colour” also showcases Hockney’s work in the medium of photographic collage, an area of his oeuvre that is sometimes overlooked but in which he was pioneering. In these works, he experimented with unique perspectives and compositions. The exhibition offers a window into Hockney’s personal life: views of his studios, household objects, portraits of friends, family, and his beloved dachshunds — documenting his life and travels from Yorkshire to California.

David Hockney: Living in Colour
Halcyon
10th October, 2024 – 31st December, 2024
148 New Bond Street
London
W1S 2TR

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Frank Bowling OBE RA: Selected Prints

King & McGaw, the Sussex-based leading art publisher and destination for fine art prints, has partnered with Brixton Library on an exhibition of sixteen special edition prints by Frank Bowling OBE RA, one of Britain’s foremost contemporary artists.

Frank Bowling and DACS – the Design and Artists Copyright Society – began their collaboration with art publishers King & McGaw in 2021. The result is a collection of sixteen giclée prints of Bowling’s masterful paintings ranging from 1968 to 2020.

The collection includes Bowling’s ‘map paintings’ that trace and layer stencils of countries and continents, and ‘poured paintings’ where acrylic paint is poured directly onto the canvas.

Frank Bowling OBE RA: Selected Prints
6th November, 2024 – 31st December, 2024
Brixton Library
Brixton
Oval
London SW2 1JQ

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Gregory Halpern: King, Queen, Knave

Huxley-Parlour are delighted to present King, Queen, Knave, a new solo exhibition of works by American photographer Gregory Halpern, now open at our Swallow Street gallery. The exhibition will present fourteen photographs from Halpern’s latest body of work, photographed over the last two decades mostly in and around his hometown of Buffalo, New York. The series extends beyond a portrait of place, celebrating the poetic idiosyncrasies of everyday life.

Buffalo acts as a vast stage in Halpern’s series, hosting a cast of people, animals and buildings that pass before the photographer’s lens. At times the city feels outsized for its inhabitants: open spaces appear unvisited; a large factory looms over a solitary figure picking flowers in a meadow; snow- covered streets are left unwalked.

In his photographs, Halpern reimagines the city’s abandoned sites and urban landscape. Once a centre of industry, which has since migrated elsewhere, along with half its population, Buffalo has witnessed significant loss, although a quiet resilience and strange sense of beauty remain.

Gregory Halpern: King, Queen, Knave
31st October, 2024 – 30th November 2024
HUXLEY-PARLOUR
3–5 Swallow Street
London
W1B 4DE

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Mythology Reinterpreted: A Journey through Ancient Inspiration in Modern & Contemporary Art

Mazzoleni, London is pleased to present the exhibition Mythology Reinterpreted: A Journey through Ancient Inspiration in Modern & Contemporary Art. Opening on 8 October until 6 December, the exhibition strives to reinterpret the ancient through the lens of Italian artists Giorgio de Chirico, Salvo and Giulio Paolini and Mexican artist Jorge Méndez Blake. Guiding this revaluation of the ancient and drawing us back to the point of inspiration, a series of Roman artefacts will invite viewers to embark on a journey through the annals of art history, while simultaneously demonstrating their continual relevance in contemporary visual culture.

Mythology Reinterpreted: A Journey through Ancient Inspiration in Modern & Contemporary Art
8th October, 2024 – 6th December, 2024
Mazzoleni
15 Old Bond Street
London
W1S 4AX

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Art Plugged

Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.

Huxley-Parlour are delighted to present King, Queen, Knave, a new solo exhibition of works by American photographer Gregory Halpern, now open at our Swallow Street gallery. The exhibition will present fourteen photographs from Halpern’s latest body of work, photographed over the last two decades mostly in and around his hometown of Buffalo, New York. The series extends beyond a portrait of place, celebrating the poetic idiosyncrasies of everyday life.

Buffalo acts as a vast stage in Halpern’s series, hosting a cast of people, animals and buildings that pass before the photographer’s lens. At times the city feels outsized for its inhabitants: open spaces appear unvisited; a large factory looms over a solitary figure picking flowers in a meadow; snow- covered streets are left unwalked. In his photographs, Halpern reimagines the city’s abandoned sites and urban landscape. Once a centre of industry, which has since migrated elsewhere, along with half its population, Buffalo has witnessed significant loss, although a quiet resilience and strange sense of beauty remain.

Eschewing the straightforward approach of traditional documentary photography, Halpern seeks to encapsulate the contradictions and nuances that coalesce in the quotidian. In his compositions, the ‘ugly’ and the ‘beautiful’ coincide: a gable-roofed house is mirrored by its abandoned counterpart that leans precariously towards it; nature reclaims the hollowed out shells of disused spaces and the mundane is transformed into the otherworldly.

Time moves cyclically through the work, slowly unfolding across seasons as palettes of white and grey subside to warmer tones. Stretching time in this way, Halpern’s photographs probe the slippages between entropy and renewal, discerning an inherent hopefulness in our ability for regeneration.

Gregory Halpern: King, Queen, Knave open on the of 31st October, 2024 until 30th November, 2024 at HUXLEY-PARLOUR

©2024 HUXLEY-PARLOUR

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Izaak Brandt presents No Place Like Home, a new solo exhibition running from 17 October to 7 November 2024 at 96 Robert St. The exhibition investigates ideas of memory, home, and physical embodiment. This is Brandt’s second solo show of the year and his first at this space.

A bold next step following Brandt’s recent exhibition Sporting Goods, No Place Like Home features a new body of work focusing on ghostly, hand-drawn PLA sculptures alongside new large-format sculptures, performance, film, and sound work. With Bristol, Brandt’s hometown, at the exhibition’s core, the artist explores the spaces and images of his youth—city streets and graffiti culture—to produce ghostly sculptures of items that defined adolescence: shoes, bikes, and caps. Likewise, Brandt uses graffiti as a kind of “tattoo” for his trademark sculptures; just as the human figures act as cyphers for greater, non-corporeal meaning, the application of graffiti, which covers a city’s “skin,” is applied here to the sculptural objects.

Adding to the exhibition is a new film work exploring communication through dance in urban spaces. Exhibited in the basement of the gallery, the film draws on the legacy of pioneer Jonzi D, using locations from Brandt’s childhood as backdrops for his own dance performance. This is paired with music produced by Brandt himself, his brother Magnus, GUTTR, and Digital Angel. Continuing with this theme of memory and evocation, a performance will take place within the gallery at 19:00 on the exhibition’s opening night, drawing the constituent themes full circle.

No Place Like Home marks the first collaboration between Brandt and curators Jacob Barnes and Jonny Tanna. The exhibition reflects Barnes’ first foray into the aesthetics of hip-hop and breaking, alongside Tanna’s career-long commitment to the aesthetics of hip-hop and Black culture at large.

Izaak Brandt: No Place Like Home opens on the 17th of October, 2024 until the 7th of November, 2024 at 96 Robert St

©2024 Izaak Brandt

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The Stroll Gallery by Stella A&C (hereinafter called The Stroll Gallery), a Hong Kong-based venue that has been introducing the works of Korean artists, will host Kajin Kim‘s solo exhibition <Sensory Utopia: Between Nearness and Distance> from November 2 to December 7. This exhibition will showcase Kim’s innovative multimedia works that explore the desire for communication and contact among isolated individuals in contemporary society.

The artist notes that while technological advancements have facilitated more convenient and unconstrained interpersonal connections, they have also led to extreme separation and disconnection in our direct, physical interactions. For Kim, this human deficiency translates into a longing for reaching mutual boundaries – ‘touch’. The ‘skin membrane’ then emerges as a boundary dividing the interior and exterior of the body, as well as a device representing the scope of the self. 

Kim gives visual and spatial form to this concept of contact. She casts organic-looking images surrounded by membranes in translucent silicone or transfers them onto resin surfaces, installs them on thermoformed transparent acrylic. The light designed to penetrate these transparent surfaces creates and connects the dual spaces of the interior and exterior, penetrating and connecting to form a new sense of space.

The exhibition will feature three new works being unveiled for the first time, alongside the representative Habitable Dialogue and Embedded Embrace series. The opening event on November 2 will include an artist talk with Kim and a performance by contemporary dance artist Hoi Ling. Guests will enjoy traditional Korean alcoholic beverages and refreshments provided by Kave, a premium Korean traditional liquor and culture platform.

As Kajin Kim’s first solo exhibition in Hong Kong, <Sensory Utopia> seeks to capture the various movements that emerge at the boundaries of human connection and the efforts to fulfill this desire. The gallery expresses its hope that visitors will experience new emotional connections and explore existential questions through the exhibition.

The exhibition will run from November 2 to December 7 at The Stroll Gallery. For further information, please refer to the gallery’s official website and Instagram, or visit the gallery during the exhibition period.

Kajin Kim: Sensory Utopia: Between Nearness and Distance open 2nd November, 2024 – 7th December, 2024 The Stroll gallery

©2024 The Stroll Gallery

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Curators: Clara Kim, Chief Curator & Director of Curatorial Affairs, and Paula Kroll,
Curatorial Assistant, The Museum of Contemporary Art, Los Angeles, in collaboration with Marta Blàvia, Associate Curator at the Guggenheim Museum Bilbao

The Guggenheim Museum Bilbao, with sponsorship from BBK, presents Paul Pfeiffer: Prologue to the Story of the Birth of Freedom, the artist’s largest survey exhibition in Europe. Featuring over thirty works spanning his career, this exhibition cements Pfeiffer as one of today’s most influential artists.

Born in Honolulu in 1966 and based in New York, Pfeiffer’s multidisciplinary practice—incorporating video, photography, sculpture, and installation—explores themes of spectacle, belonging, and difference. Known primarily for incisive videos derived from a media-saturated world, he questions how images shape spectatorship, posing, “Who’s using who? Is the image making us, or do we make images?”

For over twenty-five years, Pfeiffer has utilized early digital editing tools like Photoshop and QuarkXPress to manipulate footage from sports, concerts, and Hollywood films. Through iterative acts of cutting, splicing, masking, and cloning, his work reveals structures underlying collective memory, evoking repressed fears and desires and anticipating the digital age’s mass sharing of short clips and GIFs. Examining how stadiums and stages have historically functioned as sites for grand spectacles and identity-shaping experiences, Pfeiffer unveils spaces where the body politic—whether of a nation, community, or society—is both defined and contested.

Iconic figures like pop stars, actors, and athletes appear in Pfeiffer’s works, embodying intersections of veneration and objectification that drive mass culture. His use of celebrity culture reflects the global circulation of images, and his works reveal how viewership mechanisms, from architectural spaces to post-production, shape perceptions of self, community, and, at times, nationhood. By restaging collective events where individual identities blur, Pfeiffer highlights how such spectacles foster belonging and identity while underscoring questions of difference and otherness.

In Pfeiffer’s work, shifts from miniature to monumental scale destabilize the “natural” relationship between viewer and object, prompting awareness of our bodies in relation to a broader, constructed world. His iconic early video and photographic works invite close inspection, while recent sculptures and installations immerse viewers in expansive, cinematic experiences.

Inspired by the temporary architecture of a studio soundstage, the exhibition design reflects Pfeiffer’s fascination with Hollywood’s labor-intensive fabrication. His frequent references to filmmaking and the apparatus of the camera evoke iconic scenes embedded in collective memory. The exhibition title, Prologue to the Story of the Birth of Freedom, nods to a pivotal moment in American media history: Cecil B. DeMille’s introduction of The Ten Commandments (1956), an epic that was, at its release, the most expensive film ever made.

Pfeiffer’s biography—spanning childhood in the Philippines and the United States—imparts a transnational perspective on American identity. Deeply engaged with Philippine history and its unique racial, religious, and cultural blend shaped by colonialism and global labor movements, Pfeiffer’s work reflects on diaspora and the complex construction of identity. Through this lens, he investigates a politics of visibility, shaped by mass media, collective entertainment rituals, and popular culture, which, in turn, highlight the intersections of commonality and difference.

Paul Pfeiffer: Prologue to the Story of the Birth of Freedom opens on the 30th of November, 2024 until the 16th of March, 2025 at Guggenheim Museum Bilbao

©2024 Guggenheim Museum Bilbao

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Fictional Landscapes, a groundbreaking exhibition showcasing 28 women artists across five galleries and led by three curators, is set to make its debut in Dubai on November 9th, running through December 15th, 2024. Fictional Landscapes will be opening at The Foundry Downtown Dubai.

Fictional Landscapes brings together artists from the UAE, Russia, Iran, Armenia, India, Pakistan, Ukraine, Kazakhstan, Indonesia, Iceland, USA and more. These artists who live and work across the globe, look at landscapes — urban, imagined, natural and artificial — as a profound reflection of personal and collective experiences. 28 women artists gather spatial narratives, each bound by the powerful, collective lens of womanhood. Through this exhibition, the female perspective takes centre stage, celebrating resilience, beauty, and strength in every stroke and sculpture.

By using the theme of landscape, the artist’s transcend current geopolitical boundaries and address critical social motifs, making Fictional Landscapes a compelling exploration of unique visions in an ever-changing world. This exhibition is curated by a distinguished team including Nadine Khalil, Alisa Bagdonaite, and Serafima Kostrova, and is organised by women-led galleries.

Through a diverse range of media, including textile, video, painting, and performance, Fictional Landscapes explores how environments extend beyond physical terrains to embody mental and emotional spaces shaped by passing memory, identity, and migration. The artists negotiate their bodies and the spaces around them, delving into issues such as patriarchal violence and political reality, while also reimagining relationships between time, place, and power.

A key objective of Fictional Landscapes is to emphasise the representation, visibility, and valuation of women’s work in the contemporary art world. This exhibition highlights the persistent challenges faced by female artists and advocates for greater recognition, equity, and fair representation in the global art market.

Fictional Landscapes Featured Artists

Anna Afonina, Maryam Ashkanian, Mary Badalian, Anna Fobia, Anna Komarova, Liudmila Konstantinova, Taisia Korotkova, Olya Kroytor, Lilia Li-Mi-Yan, Katerina Lukina, Oksana Mas, Almagul Menlinbaeva, Irina Nakhova, Lisa Olshanskaya, Alexandra Paperno, Vasilisa Palianina, Lidia Russkova-Hasaya, Diana Shliman, Sofya Skidan, Olga Tatarintsev, Fatima Uzdenova, Irina Zatulovskaya, and Asia Zaslavskaya well as UAE-based artists Richi Bhatia, Olia Breva, Sophiya Khwaja, Sara Masinaei, and Fatima Uzdenova

Fictional Landscapes opens on the 9th of November, 2024 until the 15th of December, 2024 at The Foundry Downtown Dubai

©2024 Art Korero

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In the upcoming exhibition at Spritmuseum, Money on the Wall: Andy Warhol, curated by renowned art critic Blake Gopnik, the focus centers on what Warhol famously called “Business Art”—a concept he described as “the step that comes after art.”

“Those who say Andy Warhol was a sell-out aren’t wrong,” Gopnik states. “Business Art was one of his most significant and impactful creations. From the beginning, the dollar bill was one of his favorite motifs.”

From the launch of his Pop Art in 1961, Warhol deliberately intertwined his work with the commercial ethos of the consumer culture he portrayed. By the late 1960s, Warhol had fully embraced—and indeed helped to pioneer—a new wave of conceptual art that turned business and finance into the very materials of creation. He coined this approach “Business Art,” an artistic evolution that acknowledged the reality that Western modern life revolves around money and the power it wields. Warhol’s art not only depicted this truth but demanded viewers confront it head-on.

The exhibition begins with a look at Warhol’s career in the 1950s as a commercial artist. It then explores his quintessential Pop Art pieces, which address themes of economics, commerce, and commodification. A notable highlight is Soap Opera, an early work combining real TV commercials with spontaneous scenes enacted by Warhol’s entourage.

Money on the Wall includes a collection of Warhol’s purely commercial works, such as video ads promoting products as varied as laxatives and ice cream. It also showcases pieces where Warhol appears as an advertising model, fashion figure, filmmaker, and even restaurateur.

The exhibition expands its scope to include a group of postwar artists like Yves Klein, Chris Burden, and Lee Lozano, who, like Warhol, engaged with commerce and finance to create art that speaks to our economic realities. The final section presents contemporary artists working in a similar vein, featuring names like Darren Bader, Andrea Fraser, Takashi Murakami, Carey Young, and the American collective MSCHF.

“These artists provide crucial context, shedding new light on Warhol’s so-called ‘sell-out’ period during the 1970s and 80s,” notes Mia Sundberg, curator at Spritmuseum. “This includes his lucrative portrait commissions, Absolut Vodka ads, and reinterpretations of Edvard Munch’s iconic lithographs.”

Blake Gopnik, born in 1963, is an American art historian and critic based in New York. As one of the foremost experts on Warhol, he authored the definitive biography Warhol in 2020. Drawing from years of archival research and extensive interviews with Warhol’s circle of friends, lovers, and rivals, the book offers an in-depth exploration of Warhol’s groundbreaking ideas and their lasting influence on the art world.

Money on the Wall: Andy Warhol Featuring Artists

Genpei Akasegawa, Chris Burden, Ed Keinholz, Lee Lozano, Robert Morris, Takashi Murakami, Darren Bader, Andrea Fraser, Jens Haaning, Mason Rothschild, Bernar Venet, Carey Young, Andy Warhol, the art collective MSCHF.

Money on the Wall: Andy Warhol Curated by Blake Gopnik opens on the 18th of October, 2024 until the 27th of April, 2025 at Spritmuseum, Stockholm

©2024 The Andy Warhol Foundation, Spritmuseum

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After the summer release of Being Poor Is Expensive—an album chronicling the gritty, intimate journey of Bashy’s formative years in North West London—the artist extended the album’s storytelling beyond the mic, connecting with four Black British artists: Matt Small, Danny Augustine, Ultra Kolor, and Exhibit69.

With no rigid guidelines in place, the invitation was simple yet profound: listen, absorb, and respond to the 11-track journey through Bashy’s side of the city. The result? Bashy Presents: Made In Britain—a raw, unfiltered body of work that merges the styles and mediums of these four artists into a cohesive reflection on identity, survival, and memory.

Known off-stage as Ashley Thomas, Bashy has sculpted a legacy within the UK’s grime and hip-hop scenes. His lyrics cut deep into themes of identity, community, and resilience, mirroring the energy, struggles, and spirit of West London. His celebrated track “Black Boys” made waves in British music in the late 2000s, offering unflinching commentary on race, social struggles, and the complexities of Black British identity.

Bashy remains an empowering voice—one of defiance and resistance—cementing himself as a spokesperson for a generation grappling with its place in the British landscape.

But Bashy’s creativity isn’t confined to just beats and bars. He transitioned into acting in the mid-2010s, with roles in films like Shank and The Veteran, and in the critically acclaimed British drama Top Boy and the The Night Of. More recently, he portrayed Henry Emory in Amazon Prime’s chilling series Them, navigating the nuances of racial tension in 1950s America. Through his art, Bashy continues to challenge perceptions and reshape narratives, leaving an indelible mark on British music and the global screen.

Bashy Presents Made In Britian opens on the 22nd of October, 2024 until the 24th of October, 2024 at Jealous

©2024 Jealous

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Tai Kwun is proud to present “DigiRadiance: GOLD_LEAD_WOOD_COAL“, an immersive digital exhibition on view from 2 to 30 November 2024 in F Hall Studio.

Featuring a newly commissioned multi-channel video installation produced by the acclaimed Aotearoa/New Zealand artist Lisa Reihana, this exhibition, curated by Tobias Berger, brings together the far-flung islands of Aotearoa/New Zealand and Hong Kong.

Based on the moving yet tragic story of the sinking of SS Ventnor, the video immerses audiences in an extraordinary funeral procession from New Zealand to Hong Kong. The artist’s work draws on what is shared by these islands, including a strong maritime legacy and a history shaped by colonial forces—in a way following her distinctive blend of history and fiction in her large-scale video installation, in Pursuit of Venus [infected] (2015-17), when she represented New Zealand in the 2017 Venice Biennale.

In DigiRadiance: GOLD_LEAD_WOOD_COAL, Lisa Reihana explores issues surrounding foreign labor, longing, and displacement. The work takes us back to the late 1800s, shining light on the untold stories of Chinese gold miners who relocated to the Otago region on the South Island of New Zealand. Under tremendous hardship and severe living conditions, many died far away from their homeland and became “hungry ghosts.”

Delving into this important part of history, Reihana revisits the story of the SS Ventnor, which in 1902 was en route to Hong Kong and Canton carrying coal and 500 boxes with the remains of the Chinese gold miners. During a storm, the ship sank close to a Māori settlement south of Hokianga on the North Island of New Zealand, where the Māori found and gathered the lost remains and buried them ceremonially according to their customs.

About the Lisa Reihana

Born in 1964, in Aotearoa/New Zealand, and of Ngā Puhi, Ngāti Hine, Ngāi Tūteauru, and Ngāi Tūpoto descent, Lisa Reihana’s works mainly focus on colonialism and the representation of ethnic and gender minorities in various media. As a multidisciplinary artist, producer, and networker, her practice influenced the development of contemporary art and contemporary Māori art in her hometown. As part of a series of seminal exhibitions, she carved out a space in the visual arts for an expanded representation of Māori identity and self-expression.

Lisa Reihana: DigiRadiance: GOLD_LEAD_WOOD_COAL opens on the 2nd of November, 2024 until the 30th of November, 2024 at Tai kwun

©2024 Tai Kwun

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Simchowitz is pleased to present When There’s Nothing Left, our second solo exhibition of the Los Angeles-based artist Shaina McCoy, at Hill House in Pasadena, California.

In this new body of work, McCoy (b. 1993, Minneapolis MN) delves into the root system of her family’s archival photographs. A project stewarded by an inter-generational investment in preserving and celebrating family history, of monumental moments and mundane beauty of the everyday, a heart-felt series that holds literal & metaphorical relevance of togetherness.

Inspired by her grandfather, the family photographer, McCoy expounds on the art of archiving what her family is able to capture so well—being together. This series, When There’s Nothing Left, channels a re-envisioned take on her family’s most sincere candids with a perspective mirroring her grandfather’s photography.

Taking many of her own photographs now as well, McCoy distinguishes both contributor and time period by her use of color. The poignancy of the quotidian experience of life is treated with the same care and attention to detail, and McCoy’s featureless faces allude to the possibility that the figures might serve as archetypes of a more universal human experience, one where the viewer can imagine how they might place themselves within the work. 

Using familial source imagery as reference allows McCoy to explore the personal accessibly, a central characteristic of her practice. The paintings on view in When There’s Nothing Left depict a series of embraces, between adults and children alike, that could be interpreted in a number of ways–some celebratory, others consoling, each an active gesture made static, further memorializing the importance of human connectivity.

Fleeting moments, particularly as they pertain to loss, reverberate in this work–the potency of contact between figures, and how they hold each other up, celebrate the relationships we have with those we love, reminding us to honor the time we have and to prioritize the important bonds we share.

Shaina McCoy: When There’s Nothing Left opens on the 20th of October, 2024 until the 29th of November, 2024 at Simchowitz

©2024 Simchowitz

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Art Plugged is a contemporary platform inspired by a relationship with the broader arts communities. We provide our audience with curated insight into the world of art, from exhibitions to artist interviews and more.