"More than 300 galleries line the blocks of Chelsea, from emerging shops under The High Line park to multi-floor blue-chip establishments that could be mistaken for museums—but this wasn’t always the case. The history of Chelsea as a gallery district began with the 1980s economic boom, which fueled New York’s art scene to unprecedented highs. More artists worked in the city than ever before, and scores of the newly-minted rich were eager to cash in on fine art. While economic prosperity vaulted the art industry to new levels, it also created a conundrum for the city’s trendy downtown galleries, many of whom were forced out of their storefronts in SoHo with ever-rising rents. They turned to Chelsea, revitalizing a gritty neighborhood known for its warehouses and streetwalkers to a glitzy, world-renowned arts capital in little over a decade. "
https://www.artsy.net/collection/chelsea-new-york-galleries
I was so lucky to have the chance to go to Chelsea gallery shows all of the galleries are awesome and unique. it was a huge and great experiment for me to see this amount of art in one time i was so glade and these are the most amazing galleries i saw.
"Katy Cowan’s hand-painted metal wall reliefs, drawings and paintings move easily between mediums, connecting to the physicality inherent in painting, drawing and sculpture. “I am completely interested in breaking down barriers of categorization,” Cowan states. Her transitions rely on a larger way of thinking that emphasizes alteration, repetition, and a conceptual emphasis on material choice. Katy Cowan embraces an open attitude towards studio practice: “I love incorporating accidents into my work and learning to react to them, to build off of them.” Poetry is another influence in Cowan’s work. As a visual artist, working in response to poetry, “takes time,” Cowan writes, “you have to step back, see your world in a new way, and let that change affect you.”"
https://philipmartingallery.com/artists/30-katy-cowan/biography/
, tangled, eternal motion, 2023, Oil and enamel paint, graphite on cast aluminum, 45 × 25 × 2 1/2 in | 114.3 × 63.5 × 6.4 cm
, itself; as far, 2019, Oil and enamel paint, graphite on cast aluminum, 29 × 159 × 3 in | 73.7 × 403.9 × 7.6 cm
Katy Cowan, something intangible and else, 2023, Oil and enamel paint, graphite on cast aluminium, 40 × 36 × 2 1/2 in | 101.6 × 91.4 × 6.4 cm
Katy Cowan, when stone entwines, 2023, Oil and enamel paint, graphite on cast aluminum, in two parts, 45 × 62 1/4 × 2 1/2 in | 114.3 × 158.1 × 6.4 cm
"Nick Aguayo’s abstract paintings have a collage-like sensibility, as if created by placing cutout swatches of color on horizontal surfaces. This effect—one that brings to mind Leo Steinberg’s characterization of the flatbed picture plane as “a receptor surface on which objects are scattered”—is heightened by the autonomous nature of each individual form. Departing from the scumbled brushstrokes in some of Aguayo’s earlier paintings, the eight untitled canvases in the artist’s first solo exhibition at Susanne Vielmetter Los Angeles Projects were notable for their shift toward cleanly delineated shapes in uniform hues.
If there is a quality to Aguayo’s paintings that is both intriguing and unsettling, it can be attributed to the individual elements of his basic visual lexicon, which are so autonomous as to take on quasi-anthropomorphic qualities. These simple geometric shapes carry over and repeat from one painting to the next, becoming recurring characters in a series of vignettes whose narrative arc remains unclear. Unmoored from both noncompositional logic and pure spontaneous gesture, these forms hover, uneasily, in that ambiguous zone between chance and intention."
https://www.artforum.com/print/reviews/201408/nick-aguayo-48259
House of Intuition, 2022, Acrylic and marble dust on canvas, 86 x 86 inches, 218.4 x 218.4 cm Night Theme, 2022, Acrylic and marble dust on canvas, 86 x 86 inches, 218.4 x 218.4 cm
Caustic Tongue, 2022, Acrylic and marble dust on canvas, 60 x 48 inches, 152.4 x 121.9 cm
Electric Roulette, 2022, Acrylic and marble dust on canvas, 60 x 48 inches, 152.4 x 121.9 cm
JAMES CLAR
"Clar's work is an analysis and observation on the effects of media and technology on our perception of culture, nationality, and identity. His interest is in new technology and production processes, using them as a medium, while analyzing and critiquing their modifying effects on human behavior." https://www.janelombardgallery.com/james-clar
The Center of Gravity (Hip Tensegrity), 2023, Steel, Wire, LEDs, Filters, 420 x 275 x 220 cm
Parol #2, 2022, LEDs, Filters, Aluminum, 3D Printed Parts, 130 x 250 cm
Janet Fish
"Over the last fifty years, Janet Fish has drawn on her embrace of change and her belief in the underlying interconnectedness of things to fuel her remarkable painting practice. She philosophizes that to stop changing is to die, a conviction that drives her unending formal experimentation and her mastery of multiple genres. Change inhabits each painting as well. The objects that serve as armatures for color and light in her work are exuberant in their state of flux. The long conceptual, formal, and iconographic history of the still life genre confirms our own experience. Though the artist works against the idea of capturing a photographic instant, she preserves a mood, a quality of light, and a sense of place to which we can continually return." https://www.dcmooregallery.com/artists/janet-fish
Football, 1986, Oil on canvas, 70 × 50 in | 177.8 × 127 cm
Mirror and Shell, 1981, Oil on canvas, 54 x 48 inches Barn Raising, 1989, Oil on canvas, 84 x 54 inches
Hercules, 1986, Oil on canvas, 60 x 70 inches
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