On View: Hurvin Anderson @ Michael Werner


Photo credit: Michael Werner Gallery

Michael Werner Gallery – November 4, 2016 – January 14, 2017

Durham Press is pleased to announce Hurvin Anderson’s solo show, Foreign Body, now on view at Michael Werner Gallery, New York. Anderson’s paintings often return to the same locations and scenes of the Caribbean, revealing different imagery and techniques with each reiteration. “Anderson’s newest paintings move toward abstraction, suggesting boundaries and shifting viewpoints, creating a sensation akin to a flicker of memory.” The show is on view at the gallery’s Upper East Side location until January 14th. 

For more information on this exhibition please visit Micheal Werner Gallery website.

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On View: Chitra Ganesh @ Brooklyn Museum











Durham Press would like to congratulate Chitra Ganesh on her exhibition at Brooklyn Museum titled Eyes of Time, which runs from December 12, 2014 through July 12, 2015. The sight-specific focuses on a mural of the Hindu goddess of destruction and rebirth while exploring femininity and empowerment.

Wed 11am – 6pm
Thurs 11am – 10pm
Fri, Sat, Sun 11am – 6pm
first Sat of month 11am – 11pm
Closed Mon and Tues

Elizabeth A. Sackler Center for Feminist Art

Herstory Gallery, 4th Floor
Brooklyn Museum
200 Eastern Parkway
Brooklyn, New York 11238-6052

Chitra Ganesh will also be exhibiting in On Paper: Alternate Realities at the Baltimore Museum of Art. An exhibition of 26 prints from a diverse group of artists, this new show explores the relationship between high and low art by reimagining the visual language of popular culture. Featured artists include Wangechi Mutu, Amy Cutler, Chitra Ganesh, and Enrique Chagoya.

The exhibition runs until April 12, 2015.


Architects of the Future: Away from the Watcher | 2014, Woodblock and Screenprint, 25 3/4″x 31 3/8, Ed. 25


On View: Durham Press Artist’s Fall Shows

 Mariposa, 2004 Acrylic on canvas 98 x 98 inches Private Collection Photograph by Sérgio Guerini. Courtesy of Galeria Almeida & Dale. ©2014 Beatriz Milhazes

Mariposa | 2004, Acrylic on canvas, 98 x 98 inches
Private Collection, Photograph by Sérgio Guerini. Courtesy of Galeria Almeida & Dale. ©2014 Beatriz Milhazes

Beatriz Milhazes: Jardim Botanico

PAMM, Pérez Art Museum Miami  – Sept. 19, 2014 – Jan. 11, 2015

This is Beatriz’s first major U.S. retrospective and will feature over 40 large-scale abstract paintings, collages and screenprints inspired by Brazilian and European Modernism, Baroque forms, popular culture, and the decorations of Carnival.  During the early 1990s, the artist developed an unusual painting technique, in which she adhered separate images executed in acrylic paint—such as flowers, arabesques, lace patterns or peace-signs—onto canvases in a style that references collage, graffiti, and plastic decals. This practice results in richly textured surfaces that appear prematurely aged. The exhibition will  examine Milhazes’s evolution from softer, more decorative forms to harder-edged abstraction. Several Durham Press prints will be featured as well!

Blow-Up | 1997, stretch velvet, fabric dye.
courtesy of Worcester Art Museum ©2014 Polly Apfelbaum

Polly ApfelbaumNevermind: Work for the 90s

Worcester Art Museum – October 8, 2014 – March 1, 2015

Polly Apfelbaum’s exhibition for the Worcester Art Museum will focus on the 1990s and will include a selection of her rarely seen early synthetic velvet and fabric dye works which developed into her now-iconic floor installations (or “fallen paintings”), exemplified by Blow-Up (1997) in the Museum’s collection.


Architects Of The Future - City Inside Her | 2014

Architects Of The Future: City Inside Her | 2014, Woodblock and Screenprint, 25 3/4 x 44 1/4 inches

Chitra GaneshOn Paper: Alternate Realities

The Baltimore Museum of Art – September 21, 2014-April 12, 2015

An exhibition of 26 prints from a diverse group of artists, this new show explores the relationship between high and low art by reimagining the visual language of popular culture. Featured artists include Wangechi Mutu, Amy Cutler, Chitra Ganesh, and Enrique Chagoya.


2012 Sculpture Diorite granite and concrete 35 × 456 × 21 2/3 ft. (10.67 × 138.98 × 6.6 m) Weight: 340 Tons

Levitated Mass | 2012, Sculpture, Diorite granite and concrete, 35 × 456 × 21 2/3 ft. Weight: 340 Tons
Courtesy of LACMA. © 2012 Michael Heizer

Michael Heizer, Levitated Mass: The Film

Levitated Mass is a film documenting the installation, transportation and sensation of Michael Heizer’s monolithic sculpture: Levitated Mass: The film was created by  Doug Pray and the sculpture is installed at LACMA. The film, which opened to rave reviews, can be viewed at the following:

Los Angeles, CA Landmark Nuart Opens September 5, 2014
Pasadena, CA Laemmle Playhouse 7 September 13 – 14, 2014
Seattle, WA SIFF Cinema September 26 – 28, 2014
Howell, MI Historic Howell Theater October 2 – 5 & 21 – 24, 2014
San Diego, CA Media Arts San Diego October 4 – 8, 2014
Portland, OR Northwest Film Center October 5 – 6, 2014
Santa Fe, NM CCA Cinematheque Opens October 10, 2014
Chicago, IL Gene Siskel Film Center October 24 – 30, 2014
New York, NY Elinor Bunin Munroe Film Center Opens November 14, 2014


courtesy of Paul Kasmin Gallery

Untitled | 2014 ink on paper, 60 x 95 inches
courtesy of Paul Kasmin Gallery, James Nares ©

James NaresHigh Speed Drawings

Paul Kasmin Gallery – Currently to October 25, 2014

HIGH SPEED DRAWINGS demonstrates Nares’ masterful ability to capture precise moments in time and extend them through visual representation. In his new body of work, Nares introduces a new technique, using Chinese ink on paper to create rippling lines of various widths.

In a similar fashion to his Brushstroke paintings and ROAD PAINT series, Nares re-appropriates mechanical tools to create his artworks. He utilizes a spinning steel drum, powered by a motor. As the drum, with paper fastened to it, rotates, the artist draws lines of ink using paintbrushes he has created specifically for this body of work. As a result of the spinning drum and the artist’s precise movements, each band takes its own form. Nares’ artworks showcase his exploration on the subject of movement; some drawings he creates with one steady line, others from a continuously repeating stroke, but all manifest a careful choreography of spontaneity and control.”

Read James Nares “High Speed Drawings” article


Clarivel Centered | 2014 Rhinestones, acrylic, oil and enamel on wood panel 60 x 96 inches
courtesy of Galerie Nathalie Obadia © 2014 Mickalene Thomas

Mickalene Thomas

Femme au Divan 

Gallerie Nathalie Obadia – September 11th – October 28th

A solo exhibition at Galerie Nathalie Obadia in Paris, including works from the Femme au Divan II exhibition in Monaco earlier this summer, a new selection of paintings, collages, and new film installation will be on view.’

I Was Born to do Great Things

Kavi Gupta Gallery – September 19 – November 15, 2014

I Was Born to do Great Things, at Kavi Gupta Gallery Chicago continues the exploration of my mother and muse, Sandra Bush. Following the film Happy Birthday to a Beautiful Woman (2012), the exhibition acts as a portrait of my mother through her belongings. Taking the form of a domestic installation, the exhibition will include a series of bronze works cast from these personal items. Carrying great significance to both mother and daughter, these articles of clothing and jewelry are destroyed through this process of casting and are preserved and transformed into highly finished objects of nostalgia and memory.


On View: Polly Apfelbaum @ Miss Dior Exhibition


Polly Apfelbaum ‘s enormous rainbow-colored floor installation is currently included in the Miss Dior exhibition at the Grand Palais in Paris from November 13th through 25th. Dior invited 15 international female artists to give their take on the Miss Dior fragrance. The exhibition showcases the many timeless sources of inspiration behind the legendary legacy of Christian Dior. The installation piece, Rainbow Nirvana Houndstooth, 2012, is based on a Nirvana Park Monoprint print that Polly made at Durham Press in 2011. She added the houndstooth element to reflect a central component of the Miss Dior packaging. The carpet was hand-woven in Oaxaca, Mexico. Oaxaca is the center of ancient Mesoamerican weaving, the Zapotecs have been weaving in that area of Southern Mexico for over 4,000 years. Each color was custom dyed to Polly’s specifications. The exhibition is open every day from 11am-8pm at the iconic Grand Palais.


Installation view of Rainbow Nirvana Houndstooth, 2012, dyed wool, 214 x 214 inches



Dying the wool in Oaxaca, Mexico


Looming the rug in Oaxaca, Mexico

Polly Apfelbaum, NIrvana Park 1, Woodblock Mono-print, 79" x 79", Handmade triple thick paper

Nirvana Park 1 | 2012, Woodblock Monoprint, 79 x 79 inches


On View: Polly Apfelbaum @ Mendel Art Gallery

Polly Apfelbaum will be exhibiting her work at the Mendel Art Gallery in Saskatchewan, Canada. The exhibition, Rewilding Modernity, examines art from the 1950s to the ’70s and new work by contemporary artists. The goal is to create a dialogue about the presence of modern art in contemporary art and its future. Polly will be giving an artist talk on Thursday, September 26th at 12 noon. The opening reception is on Friday, September 27th at 8pm. The exhibition will be on view through January 5, 2014. Mendel Art Gallery is located at 950 Spadina Crescent East, Saskatoon, Saskatchewan.


On View: Beatriz Milhazes @ Paco Imperial, Rio de Janerio


Beatriz Milhazes in front of one of her paintings. Image courtesy of Felipe Dana/Associated Press

Durham Press would like to congratulate Beatriz Milhazes on her major solo exhibition at Paço Imperial, Rio de Janeiro which will run through October 27th. The show, ‘Meu Bem‘, will showcase over 50 artworks from 1989 until the present day including paintings, prints and collages. ‘Meu Bem’ will then travel to the Museu Oscar Niemeyer – MON, in Curitiba, Brazil, from November 2013 to February 2014. The Paço Imperial has historical and cultural significance, it was built in the 18th century to serve as residence for the governors of colonial Brazil. It was one of the main political centers of Brazil for nearly 150 years, from 1743 to 1889. The Paço Imperial is located in the Praça XV in central Rio. Due to its architectural and historical significance, it is one of Brazil’s most important historic buildings. It currently serves as a cultural center.

Milhazes is a native of Rio and it has been more than a decade since her last show in her hometown. “I’ve shown in places that are obviously very exciting for any artist, but in a way showing in your city — I was born here and still live and work here — kind of grabs you more, excites you more, stirs you up more,” Milhazes told The Associated Press in a Friday interview as she supervised the installation of the exhibit, entitled “Meu Bem,” Portuguese for “My Dear.” ‘’It’s being able to say, ‘Mom, look what I’ve done.’”

Beatriz was in the Durham Press studio a few weeks ago working on a new print. Stay tuned to the blog and website for updates.

Paco Imperial, Rio de Janiero

Paco Imperial, Rio de Janiero

Beatriz Milhazes, Dancing, 2007. Acrylic on canvas, 247 x 350 cm. Private collection. Photo: Ambroise Tézenas. Courtesy of Fondation Cartier pour l’Art Contemporain.

Beatriz Milhazes, Dancing, 2007. Acrylic on canvas, 247 x 350 cm. Private collection. Photo: Ambroise Tézenas. Courtesy of Fondation Cartier pour l’Art Contemporain.


Jamaica, 2007, Woodblock and Screenprint, 70 x 70 inches, Edition 30


Pimienta Vermelha (Red Pepper), 2010, Triptych: 3 Woodblock and Screenprints
Image Size: 31 1/2 × 15 3/4, 31 1/2 × 15 3/4 , 31 1/2 × 31 1/2 inches, Edition of 40


On View: Hurvin Anderson @ Museum of Contemporary Art Chicago


Museum of Contemporary Art Chicago

Hurvin Anderson is featured in an exhibition entitled Homebodies at the Museum of Contemporary Art Chicago. The exhibition runs from June 29th through October 13, 2013.

“Homebodies presents work by contemporary artists who examine the space of the home, both literally and metaphorically, as an integral site for making art. Featuring an expansive range of artworks, some made of materials found in the domestic sphere and others that represent or re-create a sense of domesticity, Homebodies demonstrates a new understanding of how the domestic context has influenced the creation and interpretation of contemporary art. The exhibition incorporates various media, including paintings by Hurvin Anderson; sculptures by Vito Acconci and Rachel Whiteread; installations by Alexandre da Cunha and Do Ho Suh; photography by Marina Abramović, Barbara Kruger, Doug Aitkin, and Adrian Piper; video by Martha Rosler, Rivane Neuenschwander, and Guy Ben-Ner; and a living-room environment by Dzine that doubles as a nail salon. It is likewise international in its reach, drawing from six continents to include more than forty artists at various stages in their careers.”

Durham Press would like to congratulate Hurvin on the exhibition.


Francesca Woodman
It must be time for lunch now, New York, 1979, 1979
Collection Museum of Contemporary Art Chicago, gift from the Howard and Donna Stone Collection, 2002.72
© 1979 Francesca Woodman


New Edition: James Nares | Step Up


STEP UP | 2013, Screenprint, 58 x 46 inches, Ed. 44

Durham Press is pleased to announce the completion of STEP UP, the latest edition print by James Nares. STEP UP measures 58 x 46 inches and is printed with over ten different screens and inks. STEP UP is printed on Saunders Waterford paper and is an edition of 44.


Nares’s work focuses on movement, rhythm and repetition. His most iconic works are usually made as a single brushstroke, a visual recording of gesture and the passage of time across the canvas. Using brushes of his own design, he repeatedly creates and erases his strokes, over and over again, until he feels he has made a mark that represents a precise balance between intent and improvisation.

Each screen is printed with a different shade of ink in a slightly different profile, which gradually builds the image into a rich and highly textured finished print.


James Nares was born in London in 1953 and currently lives and works in New York. His work is included in numerous public and private collections including the Metropolitan Museum of Art, Museum of Modern Art, the Whitney Museum of Art, and the Albright-Knox Art Gallery.

Paul Kasmin Gallery is currently featuring an exhibition of new paintings entitled “Road Paint”. The exhibition runs through June 22nd.


Noteworthy: Road Paint by James Nares

James Nares, Untitled (Road Paint Series), 2013

Durham Press would like to congratulate James Nares on his upcoming exhibition, ROAD PAINT, which will be on view at Paul Kasmin Gallery from May 8th through June 15th.

The new series of paintings was created with the use of a mechanical road striper, a new technique Nares is using to spread a viscous white paint across the black ground of his canvases. The process also distributes tiny glass beads into the paint, which creates an iridescent effect. This series of work continues to explore Nares’ interest in form, motion, rhythm and time.

Street, the 2011 film, can be seen at the Metropolitan Museum until May 27th.

Noteworthy: James Nares film premiere

Still from James Nares “Sleep”, 2011

Durham Press would like to congratulate James Nares on the New York premiere of his newest film Street, opening tomorrow at the Metropolitan Museum of Art. The incredibly beautiful 61 minute high-definition video captures a vivid glimpse of New York street life. The film will be shown continuously on a large screen in the central gallery of the Museum’s Drawings, Prints, and Photographs Galleries from March 5th through May 27th. The exhibition will also include 60 works of art selected by Nares from the Met’s collections that also capture the spirit of the street. If you are in New York, do go see it, it’s wonderful!

To view a clip of the film – CLICK HERE

Thomas P. Campbell, Director of the Metropolitan Museum, said of the film:

“James Nares’ Street is a microcosm of contemporary New York that makes accessible the countless individual moments, gestures, and interactions that are normally too fleeting to take in all at once. Because its underlying subject is people, Street is also fascinating to view in a historical context. The relevant works of art that Nares selected from across the Met’s vast holdings range from a striding figure made in Sumer around 3000 B.C. to Walker Evans’ jars of pull tabs and bottle caps pocketed off the sidewalk. These works are eclectic and often surprising, and provide a true lesson in close looking across geographic and temporal boundaries.”

Inspired by a genre of film known as “Actuality Films” from the turn of the twentieth century, James said this of his film,  “The camera sees in the same way as a little baby sees, without judgment. It’s just the eyes open, and it takes it in. And in those films and in my films, there are people who clown for the camera, or just stare, or look embarrassed. Whatever it is, there are occasional connections between the people being filmed and the person filming. It draws you back into the present and connects you as the viewer with the people being viewed, in a nice way….My intention was to give the dreamlike impression of floating through a city full of people frozen in time, caught Pompeii-like, at a particular moment of thought, expression, or activity…a film to be viewed 100 years from now.”

More information/press:

The Metropolitan Museum of Art
Paul Kasmin Gallery
Martha Schewendener- New York Times 
Andrew Frisicano – Time Out

Still from James Nares, Street, 2011