Tag Archives: Galerie Eva Presenhuber


The sewing in my work has two functions. It allows for the various elements of the painting to be held together, almost like a glue, and it’s also a way for me to draw. The sewing allows me to further articulate different parts of the body and the features of my subjects. I can create depth, and a bulging kind of sculptural effect through stitching. The details in the figures are constantly evolving throughout the making of the piece, and aren’t added at one particular point. — Tschabalala Self*

New works by Tschabalala Self—paintings, drawings, sculpture, and an audio piece—are now on view in Manhattan in COTTON MOUTH, the artist’s debut show at Galerie Eva Presenhuber.

See link below for details.


Through December 19.

Galerie Eva Presenhuber

39 Great Jones Street, New York City.

*“Tschabalala Self in Conversation with Lydia Yee,” in Radical Figures: Painting in the New Millennium, edited by Yee, Cameron Foote, and Candy Stobbs (London: Whitechapel Gallery, 2020).

Tschabalala Self, Cotton Mouth, Galerie Eva Presenhuber, New York, November 7, 2020–December 19, 2020, from top: Fast Girl, 2020, fabric, thread, charmeuse, silk, velvet, paper, pigment, acrylic, and painted canvas; Lil Mama 2, 2020, fabric, craft paper, tulle, dyed canvas, acrylic on canvas; Black Face with Streaked Wig (red and black), 2020, colored pencil, acrylic paint, gouache, charcoal, graphite on archival inkjet print; Black Face with Yellow Breasts, 2020, colored pencil, acrylic paint, gouache, charcoal, graphite on archival inkjet print; Sprewell, 2020, fabric, painted canvas, silk, jeans, painted newsprint, paper, stamp, thread, photo transfer and acrylic on canvas; Pocket Rocket, 2020, digital print on canvas, denim, fabric, thread, painted canvas, dyed canvas, acrylic and hand mixed pigments on dyed canvas; Loveseat prototype 2 (Brown Hips), 2020, plaster cast and house paint; Black Face with Animated Face, 2020, colored pencil, acrylic paint, gouache, charcoal, graphite on archival inkjet print; Nate the Snake, 2020, digital print on canvas, fabric, thread, stamped canvas, painted canvas, dyed canvas, acrylic and hand mixed pigments on canvas. Images © Tschabalala Self, photographed by Matt Grubb, courtesy of the artist and Galerie Eva Presenhuber, Zurich and New York.


What artworks never fail to make us feel is their author’s idea of us—how the artist considers the one watching the result, what he or she imagines this watcher is capable of… By using this common language that the painting and the spectator have in common—shapes—the ideas of Shara Hughes give dignity to the spectator. She trusts our capacity to understand this language: we fabricate these landscapes with her, these interiors, these flower bouquets, we are ready for this alternative reality that does not address our reason but our senses and knowledge. — Éric Troncy*

A selection of new works by Shara Hughes—drawings, monoprint drawings**, and paintings—is on view now in Zürich. A comprehensive catalogue depicting these “psychological or invented landscapes,” with an essay by Andrew Russeth, will accompany the exhibition.


Through September 19.

Galerie Eva Presenhuber

Rämistrasse 33, Zürich.

*Éric Troncy, “Shara Hughes,” in Shara Hughes: At Arm’s Length (Los Angeles: DoPe Press; Zürich: Galerie Eva Presenhuber, 2019), 51.

**The term monoprint drawing refers to a technique Hughes has developed, which consists of using the discarded sheets of former prints. In these prints, the artist removed most of the paint applied on the printing plate using a sheet of paper, thus creating a pale ghost of the motif made up of the diluted colors. This then served as the basis for the actual work, while the original, much more defined print constitutes the discarded remnants of the work. In her monoprint drawings, Hughes returns to these stark forms, which were initially used to create the ghost to serve as a subtle structure with colors that only can be produced in the printing process. Therefore, the monoprint drawings are neither a copy nor a different version of another print but rather a literal déjà-vu, a landscape one may have already seen before, or might be a mere effect of one’s imagination. — Galerie Eva Presenhuber

Shara Hughes, Day by Day by Day, Galerie Eva Presenhuber, June 2, 2020–September 19, 2020, from top: Full Moon Cove 2, 2020, printed ink and mixed media on paper; Shelter, 2020, mixed media on paper; Truth In Your Shadows 4, 2019, printed ink and mixed media on paper; The Slightest Mistake 3, 2019, printed ink and mixed media on paper; Trying To Seem Clean Cut 2, 2019, printed ink and mixed media on paper; Outsider 2, 2019, printed ink and mixed media on paper; Hopeful Self Portrait, 2020, mixed media on paper; Making It Work, 2019, oil and acrylic on canvas; Sun Shower, 2019, oil and acrylic on canvas; More Boundaries, 2020, mixed media on paper; Fiery Grounds, 2020, printed ink and mixed media on paper; Proud To Be Here, 2020, mixed media on paper. Images courtesy and © the artist and Galerie Eva Presenhuber.


Recognizing the ongoing threat to reproductive rights in the United States, ABORTION IS NORMAL—sponsored by the Downtown for Democracy Independent Expenditure Committee—is an “emergency art exhibition curated by Jasmine Wahi and Rebecca Pauline Jampol and organized by Marilyn Minter, Gina Nanni, Laurie Simmons, and Sandy Tait.”*

Part 2 of the show opens this week at Arsenal Contemporary in Manhattan.

Contributing artists include Allison Janae Hamilton, Ameya Marie Okamoto, Amy Khoshbin, Andrea Chung, Arlene Shechet, Barbara Kruger, Betty TompkinsCajsa von ZeipelCarrie Mae Weems, Carroll Dunham, Catherine Opie, Cecily Brown, Chloe Wise, Christopher Myers, Christen Clifford, Cindy Sherman, Delano DunnDerrick Adams, Dominique Duroseau, Elektra KB, Fin Simonetti, Grace Graupe Pillard, Hank Willis Thomas, Hayv Kahraman, Jaishri Abichandani, Jack Pierson, Jane Kaplowitz, Jon Kessler, Jonathan HorowitzJonathan Lyndon Chase, Judith Bernstein, Judith Hudson, Katrina Majkut, Louise Lawler, Lyle Ashton HarrisMarisa Morán Jahn, Michele PredMiguel Luciano, Mika Rottenberg, Nadine Faraj, Nan GoldinNarcissister, Natalie Frank, Rob Pruitt, Ryan McGinley, Sahana Ramakrishnan, Sarah Sze, Shirin Neshat, Shoshanna Weinberger, Shout Your Abortion, Sojourner Truth Parsons, Suzy Lake, Tatyana Fazlalizadeh, Viva Ruiz, Walter Robinson, Wangechi Mutu, Xaviera Simmons, Yvette Molina, and Zoe Buckman.

New editions by Paul Chan, Rashid Johnson, and Richard Prince are also available.


Opening Night

Tuesday, January 21, 6 pm to 8 pm.

Exhibition runs through February 1.

Arsenal Contemporary

214 Bowery, New York City.

Abortion is Normal, Galerie Eva Presenhuber, New York, January 9–18, 2020, Arsenal Contemporary, New York, January 21–February 1, 2020, from top: Nadine FarajYo Aborte, 2016; Judith Bernstein, Abortion is Normal, 2019; Lyle Ashton HarrisBillie #21, 2002; Cindy Sherman, Untitled, 2019; Marilyn MinterCuntrol, 2020; Shoshanna WeinbergerHair Between the Legs, 2015; Arlene ShechetTo Be Continued, 2018; Nan GoldinGeno by the lake, Bavaria, Germany 1994, 1994; Christen CliffordI Want Your Blood, 2013–2020 (detail); Rob Pruitt, American Quilts 2018: Neighbors, 2018; Catherine Opie, Nicola, 1993; Natalie Frank, Portrait 1, 2019; Laurie SimmonsMother Nursery, 1976; Ameya Marie OkamotoThe Notorious RBG, 2018; Barbara KrugerWho will write the history of tears?, 2011. Images courtesy and © the artists, the photographers, Downtown for Democracy, and Abortion is Normal.


Lucas Blalock—whose work “highlight[s] his technical footprints within an image”—will give the Handtmann Photography Lecture at USC this week.*

A week later AN ENORMOUS OAR—Blalock’s first solo museum show—will open in downtown Los Angeles, presenting over twenty works from the last five years.

Blalock will join ICA LA curator and exhibition organizer Jamillah James for a conversation in mid-February.


Tuesday, February 5, at 6 pm.

MFA Art Building, USC

3001 South Flower Street, Los Angeles.


February 10 through July 21.


Sunday, February 17, at 3 pm.

Institute of Contemporary Art

1717 East 7th Street, downtown Los Angeles.

From top: Lucas Blalock, Conch and Berries and, 2015–17, archival inkjet print; Lucas Blalock, Emile, Man of the Future, 2016–17, archival inkjet print; Lucas Blalock, Dancing Girl, 2016; Lucas Blalock, The Sleepers, 2016, archival inkjet print. Images courtesy the artist, Galerie Eva Presenhuber, Zürich and New York, and ICA, Los Angeles.


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A new show of paintings, drawings, and sculptures by Joe Bradley, Oscar Tuazon, and Michael Williams is now on view thirty minutes north of Manhattan.



BRANT FOUNDATION, 941 North Street, Greenwich.


Above: Joe Bradley, Baba, 2016. Private collection.

Bottom: Oscar Tuazon, Model Mother, 2018. Courtesy of the artist and Galerie Eva Presenhuber, Zurich/New York.
Photograph by Stefan Altenburger.


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