https://amity.biz Amity Fri, 20 Feb 2026 22:15:56 +0000 https://amity.biz en https://amity.biz/Landing Wed, 11 Oct 2023 22:33:46 +0000 Amity https://amity.biz/Landing Projects About Contact https://amity.biz/About Fri, 13 Oct 2023 15:47:58 +0000 Amity https://amity.biz/About Amity is a project-based arts organization producing physical exhibitions and facilitating creative partnerships within the wider cultural space. INQUIRIES INSTAGRAM https://amity.biz/Exhibitions Wed, 11 Oct 2023 22:38:58 +0000 Amity https://amity.biz/Exhibitions PAST EXHIBITIONSAttrition&nbsp;Group Exhibition29 October - 1 December, 2025 66. Crosby St,&nbsp; New York, NY Works by Emmanuel Beguinot6 - 17 May, 2025 264 Canal St,&nbsp; New York, NY&nbsp;Ponyshow Group Exhibition18 - 25 February, 2025&nbsp;The Wohlstetter House, Los Angeles, CANADA Miami | Lukasz Stoklosa3 - 7 December,&nbsp; 2024&nbsp;Ice Palace Studios,&nbsp; Miami, FLGreat and sudden change Group Show3 October – 1 November, 2024173 Canal Street, New York, NY Carrot &amp; Stick Group Show22 May – 1 July, 2024Amity Street, Brooklyn, NY Beautiful Fish in a Man-Made Pond Group Show27&nbsp;February – 3 March, 2024The Wohlstetter House, Los Angeles, CA Who Will Build the Ark? Group Show30 November – 13 January, 2023Carlye Packer Gallery, Los Angeles, CA Łukasz Stokłosa ‘Perihelion’20 October – 6 December, 2023 Amity Street, Brooklyn NY https://amity.biz/Lukasz-Stoklosa-Perihelion Wed, 11 Oct 2023 22:43:50 +0000 Amity https://amity.biz/Lukasz-Stoklosa-Perihelion <img width="3633" height="4544" width_o="3633" height_o="4544" data-src="https://freight.cargo.site/t/original/i/8b974e6858166e3e601540d9aae3aa08b233b5843d2affb9e3530a104b0f28df/ukasz-Stokosa--Catherine-Sloper--Jennifer-Jason-Leigh--2023--graphite-on-paper--25x20-cm.JPG" data-mid="193427601" border="0" src="https://freight.cargo.site/w/1000/i/8b974e6858166e3e601540d9aae3aa08b233b5843d2affb9e3530a104b0f28df/ukasz-Stokosa--Catherine-Sloper--Jennifer-Jason-Leigh--2023--graphite-on-paper--25x20-cm.JPG" /> <img width="3688" height="4586" width_o="3688" height_o="4586" 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data-src="https://freight.cargo.site/t/original/i/f02ac96cd04379b947fac01a09e5bfeb1a4c662ffaeccf35a621bc895259c92d/ukasz-Stokosa--Kalwaria--2023--oil-on-canvas--80x90-cm.JPG" data-mid="193427604" border="0" src="https://freight.cargo.site/w/1000/i/f02ac96cd04379b947fac01a09e5bfeb1a4c662ffaeccf35a621bc895259c92d/ukasz-Stokosa--Kalwaria--2023--oil-on-canvas--80x90-cm.JPG" /> <img width="4964" height="3680" width_o="4964" height_o="3680" data-src="https://freight.cargo.site/t/original/i/a64ad2f5322f89e3c3083675499927c5689872a20b109a8d1fb82e65e3243993/ukasz-Stokosa--odz--Izrael-Poznanski-Palace--2021--oil-on-canvas--30x40-cm..JPG" data-mid="193427605" border="0" src="https://freight.cargo.site/w/1000/i/a64ad2f5322f89e3c3083675499927c5689872a20b109a8d1fb82e65e3243993/ukasz-Stokosa--odz--Izrael-Poznanski-Palace--2021--oil-on-canvas--30x40-cm..JPG" /> <img width="3662" height="4630" width_o="3662" height_o="4630" data-src="https://freight.cargo.site/t/original/i/860ab1c76436893bb7827f106f644a4a839432a1deb8065bdb982df693fbffed/ukasz-Stokosa--Morris-Townsend--Ben-Chaplin--2023--graphite-on-paper--25x20-cm.JPG" data-mid="193427606" border="0" src="https://freight.cargo.site/w/1000/i/860ab1c76436893bb7827f106f644a4a839432a1deb8065bdb982df693fbffed/ukasz-Stokosa--Morris-Townsend--Ben-Chaplin--2023--graphite-on-paper--25x20-cm.JPG" /> <img width="4445" height="3553" width_o="4445" height_o="3553" data-src="https://freight.cargo.site/t/original/i/90d38c8d2b265244dee7cb4e4adf1f9d65a11c893eb2fa06d2cd044b231cc21b/ukasz-Stokosa--Napoli--2022--oil-on-canvas--40x50-cm.JPG" data-mid="193427607" border="0" src="https://freight.cargo.site/w/1000/i/90d38c8d2b265244dee7cb4e4adf1f9d65a11c893eb2fa06d2cd044b231cc21b/ukasz-Stokosa--Napoli--2022--oil-on-canvas--40x50-cm.JPG" /> <img width="3763" height="4855" width_o="3763" height_o="4855" data-src="https://freight.cargo.site/t/original/i/847ae3c5de8f77d16fbb0f6632b3d44e0263e10c86fe1365f6101ac37e68ab41/ukasz-Stokosa--Perihelion-I--2023--oil-on-canvas--180x140-cm.JPG" data-mid="193427608" border="0" src="https://freight.cargo.site/w/1000/i/847ae3c5de8f77d16fbb0f6632b3d44e0263e10c86fe1365f6101ac37e68ab41/ukasz-Stokosa--Perihelion-I--2023--oil-on-canvas--180x140-cm.JPG" /> <img width="3625" height="4708" width_o="3625" height_o="4708" data-src="https://freight.cargo.site/t/original/i/c9d906ac65b9d14728806bce37d5329132d632582f9bfb4af66674ff0a71bf03/ukasz-Stokosa--Perihelion-II--2023--oil-on-canvas--180x140-cm.JPG" data-mid="193427609" border="0" src="https://freight.cargo.site/w/1000/i/c9d906ac65b9d14728806bce37d5329132d632582f9bfb4af66674ff0a71bf03/ukasz-Stokosa--Perihelion-II--2023--oil-on-canvas--180x140-cm.JPG" /> <img width="4348" height="3489" width_o="4348" height_o="3489" data-src="https://freight.cargo.site/t/original/i/14cc422d46236b4d5965e72ddb58fd704a30944a68f59b7b4a8547e1856c0a8f/ukasz-Stokosa--Sanssouci--2023--oil-on-canvas--40x50-cm.JPG" data-mid="193427610" border="0" src="https://freight.cargo.site/w/1000/i/14cc422d46236b4d5965e72ddb58fd704a30944a68f59b7b4a8547e1856c0a8f/ukasz-Stokosa--Sanssouci--2023--oil-on-canvas--40x50-cm.JPG" /> <img width="4326" height="3474" width_o="4326" height_o="3474" data-src="https://freight.cargo.site/t/original/i/eed69c0b27bba9e32bef78730d5eeb8689b317ea3a409cd23c27cae5d7994d09/ukasz-Stokosa--The-apartments-of-Napoleon-III--2023--oil-on-canvas--40x50-cm.JPG" data-mid="193427611" border="0" src="https://freight.cargo.site/w/1000/i/eed69c0b27bba9e32bef78730d5eeb8689b317ea3a409cd23c27cae5d7994d09/ukasz-Stokosa--The-apartments-of-Napoleon-III--2023--oil-on-canvas--40x50-cm.JPG" /> <img width="4599" height="3463" width_o="4599" height_o="3463" data-src="https://freight.cargo.site/t/original/i/0d9510760d5af9e3b6fe0079dadfa6fd802dbb881afda74a392ac19029e6b3ee/ukasz-Stokosa--untitled--2023--oil-on-canvas--30x40-cm-3.JPG" data-mid="193427612" border="0" src="https://freight.cargo.site/w/1000/i/0d9510760d5af9e3b6fe0079dadfa6fd802dbb881afda74a392ac19029e6b3ee/ukasz-Stokosa--untitled--2023--oil-on-canvas--30x40-cm-3.JPG" /> <img width="4615" height="3436" width_o="4615" height_o="3436" data-src="https://freight.cargo.site/t/original/i/dd32fd38ac256d829edfc0bc7031ec5213e9f29abbcdae82ecd5f998eacd51d2/ukasz-Stokosa--untitled--2023--oil-on-canvas--30x40-cm.JPG" data-mid="193427613" border="0" src="https://freight.cargo.site/w/1000/i/dd32fd38ac256d829edfc0bc7031ec5213e9f29abbcdae82ecd5f998eacd51d2/ukasz-Stokosa--untitled--2023--oil-on-canvas--30x40-cm.JPG" /> <img width="4792" height="3616" width_o="4792" height_o="3616" data-src="https://freight.cargo.site/t/original/i/d2da68c2eb657323327b61766194edeede49c3860651a34bfd9d15018b9da25b/ukasz-Stokosa--untitled--2023--olej-na-potnie--30x40-cm-2.JPG" data-mid="193427614" border="0" src="https://freight.cargo.site/w/1000/i/d2da68c2eb657323327b61766194edeede49c3860651a34bfd9d15018b9da25b/ukasz-Stokosa--untitled--2023--olej-na-potnie--30x40-cm-2.JPG" /> <img width="4643" height="3694" width_o="4643" height_o="3694" data-src="https://freight.cargo.site/t/original/i/02c40202c897e76fba3ed8d351576a1d12c7e676f6d55c0abaf68c9da5a97a71/ukasz-Stokosa--Versailles-the-king-s-bedroom--2023--oil-on-canvas--40x50-cm.JPG" data-mid="193427615" border="0" src="https://freight.cargo.site/w/1000/i/02c40202c897e76fba3ed8d351576a1d12c7e676f6d55c0abaf68c9da5a97a71/ukasz-Stokosa--Versailles-the-king-s-bedroom--2023--oil-on-canvas--40x50-cm.JPG" /> <img width="4390" height="3512" width_o="4390" height_o="3512" data-src="https://freight.cargo.site/t/original/i/bfa269e0f12821139de021f4e82711a4216b6ac3d534cfb0ac05ffc2645e604d/ukasz-Stokosa--Versailles-the-queen-s-bedroom--2023-oil-on-canvas--40x50-cm.JPG" data-mid="193427616" border="0" src="https://freight.cargo.site/w/1000/i/bfa269e0f12821139de021f4e82711a4216b6ac3d534cfb0ac05ffc2645e604d/ukasz-Stokosa--Versailles-the-queen-s-bedroom--2023-oil-on-canvas--40x50-cm.JPG" /> <img width="4365" height="3478" width_o="4365" height_o="3478" data-src="https://freight.cargo.site/t/original/i/321528a707efa48f380af4e3f8fc39630dc6a85a29faa9c28fc781708fc0fab0/ukasz-Stokosa--Vienna--2023--oil-on-canvas--40x50-cm.JPG" data-mid="193427617" border="0" src="https://freight.cargo.site/w/1000/i/321528a707efa48f380af4e3f8fc39630dc6a85a29faa9c28fc781708fc0fab0/ukasz-Stokosa--Vienna--2023--oil-on-canvas--40x50-cm.JPG" /> Łukasz Stokłosa ‘Perihelion’20 October – 6 DecemberAmity Street Brooklyn NY The château at Versailles began its existence as a hunting lodge so drab and mediocre that one courtier remarked that it “would not inspire vanity in even the simplest of gentlemen.” In time it would not only go on to become the most spectacular palace in all of Europe but quite literally the center of the universe. Having grown up in the shadow of a chaotic civil war, with the aristocracy in open revolt against the Crown, King Louis XIV disarmed the nobility by drawing them close and forcing them to compete for his attention. Dictating fashion became one of the monarch’s most powerful tools to cow noblemen into submission and matters of elegance – what to wear, how to stand, whether to bow or salute - consumed the court entirely. To present oneself at one’s best not only secured one’s standing but also emphasized the vast distance between oneself and the centrality of their heavenly representative on Earth, their Sun King. A “perihelion” is the closest point in a planet’s orbit that it ever comes in proximity to a star, and it’s this lonely, yearning arch that Łukasz Stokłosa traces in his work. His dimly lit paintings of dusty royal apartments, abandoned palace grounds, and faded icons capture the faint glow of a majesty that has long since vanished from this Earth. To return to Versailles today is to be confronted with both the Sun King’s grandeur and his absence. The Hall of Mirrors and the gardens by Le Nôtre remain timeless as ever, but they have also outlasted their primary purpose: they no longer exalt but merely exist, commanding rapture without anyone to heed its call. After making pilgrimages to castles and cathedrals across Europe, Stokłosa has trained his eye on royal furnishings that have only managed to survive into our century as museum pieces. His effort as an artist is to return what preservationists explicitly set out to halt: a sense of age, wear, and lost time. No one will ride in the carriage of Napoli (2022) or sit on the fauteuils in The apartments of Napoleon III (2023) ever again, and in drawing attention to their recast role as art objects, Stokłosa reveals how useless these formerly functional have become. In the painting that lends his exhibition its title, Stokłosa fuses a composite of various royal gardens into an achingly beautiful but blurry and unresolved skyline, demonstrating in paint that the past is its own completely different country. Underlying every aspect of the pomp and circumstance of life at Versailles was a profound sense of purpose. The most pointless day-to-day tasks demanded the most elaborate etiquette, with every fine detail imbued with subtle meaning. These were rituals that not only drew oneself closer to the Dauphin but also the ideal that he embodied. But what ideal has been lost? And can it ever be recreated? Stokłosa isn’t fussy with his approach to art history and locates as much latent meaning in grand halls as he does among porn stars and pop culture. The doomed wedding cake from Blake and Krystle’s short-lived marriage on Dynasty sits side-by-side with portraits of Jennifer Jason Leigh and Ben Chaplin from the 1997 Henry James adaptation, Washington Square. Elsewhere, the bodies of adult film actors from old VHS tapes are depicted as fetish objects in both senses, hornily rendered vessels for longing. In moments like these, Stokłosa collapses the lofty and exalted with the campy and immediate, granting his work a halo of luxury that’s both funny and also a rejoinder: it’s impossible to recreate the glory of the past, but we will come back a great distance to the extraordinary in due course. - Harry Tafoya, October 2023 Łukasz Stokłosa’s ‘Perihelion’ is on view at Amity through 6 December by appointment. https://amity.biz/Who-Will-Build-the-Ark Fri, 10 May 2024 21:57:27 +0000 Amity https://amity.biz/Who-Will-Build-the-Ark <img width="2750" height="1833" width_o="2750" height_o="1833" data-src="https://freight.cargo.site/t/original/i/8da059694d958215b9cc8bcd9f7e84197a9a5aac559fc7d820cc191e40f523c0/CPG_The-Ark_2841-2.jpeg" data-mid="210691263" border="0" src="https://freight.cargo.site/w/1000/i/8da059694d958215b9cc8bcd9f7e84197a9a5aac559fc7d820cc191e40f523c0/CPG_The-Ark_2841-2.jpeg" /> Who Will Build the Ark? Group Show30 November, 2023 – 16 January, 2024Carlye Packer Gallery, Los Angeles Carlye Packer x Amity are pleased to present Who Will Build the Ark?, a group exhibition featuring several generations of artists mining their respective connections to the natural world, with all of the beauty and horror that can entail. Featuring works by Michael Abel, Larry Bell, Robert Colescott, David Douard, Andrej Dubravsky, Olivia Erlanger, Alex Hutton, Tetsumi Kudo, Claire Lehmann, Ariana Papademetropoulos, Oren Pinhassi, Mosie Romney, Leena Similu, and Nicholas Sullivan, the exhibition will open Thursday, November 30th from 6-9pm, and remain on view through January 6, 2024. In our landscape of environmental alienation where the gap between human civilization and the resources that support it feels more tenuous than ever, Who Will Build The Ark? offers a seductive reminder of the irreplaceability of our planet’s beguiling wonders: The natural world, vast and bristling, haunts the creative visions of the 12 artists assembled here. Who Will Build The Ark?, features works that exist at and in some cases challenge the intersection of artistic production and ecological intervention. The apocalyptic psychedelia of Tetsumi Kudo’s dark, brooding, and kaleidoscopic worlds commingle with Slovakian artist Andrej Dubravsky’s intimately painted fables where animals and humans collide with fantastical force. Both artists’ work attends poetically to the reality of environmental degradation as our relationship with the earth grows more violent and extractive. Claire Lehman, and Mosie Romney’s spiraling tableaux see the human figure awash in hazy landscapes that swarm with fiercely imagined flora and fauna. While, Larry Bell’s richly geological abstractions re- contextualize the legendary minimalist whose experiments in perception ignited the light and space movement. These works reveal Bell’s profound and dynamic relationship to the chaos of the natural world, a critical source inspiration for the artist. In Robert Colescott, Ariana Papademetropoulos, Alex Hutton and David Douard’s visually eclectic offerings, biological structures are mobilized as compositional armatures. Olivia Erlanger and Nicholas Sullivan both find ways to render materials into new forms entirely, that while still paying tribute to nature and its powers, have cast these objects as something distinctly man-made. https://amity.biz/Beautiful-Fish-in-a-Man-Made-Pond Fri, 10 May 2024 22:08:26 +0000 Amity https://amity.biz/Beautiful-Fish-in-a-Man-Made-Pond <img width="2750" height="1833" width_o="2750" height_o="1833" data-src="https://freight.cargo.site/t/original/i/cbe7d479839658f60e9d58ccbd8b4b669eaa3ab13047e784e40063c15e7d1aba/Amity-Beautiful-Fish_6692-2.jpeg" data-mid="210691422" border="0" src="https://freight.cargo.site/w/1000/i/cbe7d479839658f60e9d58ccbd8b4b669eaa3ab13047e784e40063c15e7d1aba/Amity-Beautiful-Fish_6692-2.jpeg" /> <img width="2750" height="1833" width_o="2750" height_o="1833" data-src="https://freight.cargo.site/t/original/i/8a48048c401e5fefbfa086b300340945341ae4b822ca04ecbe5f08b6b1d9b6d7/Amity-Beautiful-Fish_6717-1.jpeg" data-mid="219033056" border="0" src="https://freight.cargo.site/w/1000/i/8a48048c401e5fefbfa086b300340945341ae4b822ca04ecbe5f08b6b1d9b6d7/Amity-Beautiful-Fish_6717-1.jpeg" /> <img width="3584" height="2016" width_o="3584" height_o="2016" data-src="https://freight.cargo.site/t/original/i/7200e3315cf9aa62de045c8ed7a028167d721b12d7672204d01f0bd635ed6624/ChinaDoll_still1.jpg" data-mid="219033131" border="0" src="https://freight.cargo.site/w/1000/i/7200e3315cf9aa62de045c8ed7a028167d721b12d7672204d01f0bd635ed6624/ChinaDoll_still1.jpg" /> <img width="1833" height="2750" width_o="1833" height_o="2750" data-src="https://freight.cargo.site/t/original/i/17958ebb87a225b954229f6809203201ecc65a8cc634d7c4d5be33e29d26678b/Amity-Beautiful-Fish_6663.jpeg" data-mid="219033064" border="0" src="https://freight.cargo.site/w/1000/i/17958ebb87a225b954229f6809203201ecc65a8cc634d7c4d5be33e29d26678b/Amity-Beautiful-Fish_6663.jpeg" /> <img width="1833" height="2750" width_o="1833" height_o="2750" data-src="https://freight.cargo.site/t/original/i/6fa4c44727b7a9c431e7dd7a5dcd6c3581d72b66c7618fd766415db43965ab2a/Amity-Beautiful-Fish_6729.jpeg" data-mid="219033061" border="0" src="https://freight.cargo.site/w/1000/i/6fa4c44727b7a9c431e7dd7a5dcd6c3581d72b66c7618fd766415db43965ab2a/Amity-Beautiful-Fish_6729.jpeg" /> Beautiful Fish in a Man-Made Pond Group Show27 February – 3 March, 2024The Wohlstetter House, Los Angeles, CA &nbsp; &nbsp; To coincide with Frieze Week Los Angeles, Amity, the curatorial upstart founded in 2023 by Jed Moch will exhibit 8 artists in the Wohlstetter house, built in 1953 in the Hollywood Hills by architect Josef Van der Kar for the enigmatic nuclear arms strategist who inspired Kubrick’s ‘Doctor Strangelove’. The exhibition takes the broad thematic framework of exploring the disconnect between surface and reality as interpreted by eight artists working across graphite, paint, sculpture, and film.&nbsp; &nbsp; Anchored largely by the precedent set by both the Pictures Generation (Charlesworth) and Pop Ar (Ruscha) movements that defined the second half of the 20th century, each artist foregrounds imagery laden with preexisting associations but upon further reflection seek to expand upon, undermine o contradict those projections. &nbsp; &nbsp; Cristine Brache examines the complex legacy of Playboy playmates at a time when the world has seemingly evolved beyond the context they initially took hold in. Here, she presents two encaustic paintings rendered from a mix of still images pulled from Super 8 film, sometimes altered further by AI, before being printed on silk, stretched on canvas and coated in wax and pigment. The result is a portrait of these women suspended in time, both removed from and perpetually caught in the gaze that had once defined them. &nbsp; &nbsp; Krakow based Lukasz Stoklosa’s practice is largely shaped by his intimately scaled take on the palaces and estates that once housed European aristocracy, but now exist almost as mausoleums for a kind of wealth and lifestyle that no longer exists. Instead, these spaces are preserved in amber and visited by the masses as a means of recalling the type of luxury and elegance that now evades them. He playfully disorients the viewer further by including imagery that looks part and parcel to these same themes but in fact are culled from various other forms of media and entertainment – most commonly, the 1980’s TV melodrama ‘Dynasty’- here inserting the cake from a wedding in season 8 as an implicit nod to the malleability of surface and the ease of reproduction. &nbsp; &nbsp; Two films play on loop as part of the exhibition- Lynn Hershman Leeson’s 1975 ‘Lynn Turning Herself Into Roberta’ and Martine Gutierrez’ ‘China Doll’ 2021. Each film playing interchangeably on loop features the artist as the subject, in Leeson’s case self-documenting her turn from the ‘self’ into her performanc character ‘Roberta’ while applying make-up seated at a vanity, and in Gutierrez’ case, performing as an unnamed character reflecting aloud alongside a series of male mannequins on traits by which she defines herself first as human, second as woman. The exhibition is on view by appointment at the Wohlstetter house through 3 March, 2024. https://amity.biz/Ponyshow Mon, 09 Jun 2025 20:58:11 +0000 Amity https://amity.biz/Ponyshow <img width="2750" height="1833" width_o="2750" height_o="1833" data-src="https://freight.cargo.site/t/original/i/cd80af324b4a3b300caa02fc180e8cfac27726ad98922a9afb60799de9769a90/Ponyshow-Installation-View-Kai-Althoff.jpg" data-mid="234387032" border="0" src="https://freight.cargo.site/w/1000/i/cd80af324b4a3b300caa02fc180e8cfac27726ad98922a9afb60799de9769a90/Ponyshow-Installation-View-Kai-Althoff.jpg" /> <img width="5329" height="6313" width_o="5329" height_o="6313" data-src="https://freight.cargo.site/t/original/i/b186a1d0e46358e6b14ea53edf2503618dfff22bb03a23a269e3bb184818adb6/Uri_Amity_Ponyshow_20789.jpg" data-mid="234387042" border="0" src="https://freight.cargo.site/w/1000/i/b186a1d0e46358e6b14ea53edf2503618dfff22bb03a23a269e3bb184818adb6/Uri_Amity_Ponyshow_20789.jpg" /> <img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/b10f7bb9b71e6179ba06eb36f98b076ce119440e342cd50077b375264a0666d9/Amity_Ponyshow_Sang-Woo-Kim.jpg" data-mid="234386985" border="0" src="https://freight.cargo.site/w/1000/i/b10f7bb9b71e6179ba06eb36f98b076ce119440e342cd50077b375264a0666d9/Amity_Ponyshow_Sang-Woo-Kim.jpg" /> <img width="2750" height="1833" width_o="2750" height_o="1833" data-src="https://freight.cargo.site/t/original/i/0875cf4590d8f2d94df00533c0a984ddef8e390ae46fb7e8c1c20965fe154f52/Amity_Ponyshow_Jan-Gatewood.jpeg" data-mid="234386991" border="0" src="https://freight.cargo.site/w/1000/i/0875cf4590d8f2d94df00533c0a984ddef8e390ae46fb7e8c1c20965fe154f52/Amity_Ponyshow_Jan-Gatewood.jpeg" /> <img width="1833" height="2750" width_o="1833" height_o="2750" data-src="https://freight.cargo.site/t/original/i/3796f4b7534ceb5673c3265f2999429804f1ec376307949aeb895afa1f4d3ac6/Amity_Ponyshow_20722.jpeg" data-mid="234386986" border="0" src="https://freight.cargo.site/w/1000/i/3796f4b7534ceb5673c3265f2999429804f1ec376307949aeb895afa1f4d3ac6/Amity_Ponyshow_20722.jpeg" /> <img width="1833" height="2750" width_o="1833" height_o="2750" data-src="https://freight.cargo.site/t/original/i/c0d7b1fbd799aaa0730ac53275b9ff9cc7e9067b54827e24f91a88c5991e417b/Amity_Ponyshow_20773.jpeg" data-mid="234386984" border="0" src="https://freight.cargo.site/w/1000/i/c0d7b1fbd799aaa0730ac53275b9ff9cc7e9067b54827e24f91a88c5991e417b/Amity_Ponyshow_20773.jpeg" /> <img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/1773813e2d5af5ff945f20a2a0efb399f43168cf5b343f82c4a6e3bb4e6e1825/Amity_Ponyshow_20689.jpg" data-mid="234386981" border="0" src="https://freight.cargo.site/w/1000/i/1773813e2d5af5ff945f20a2a0efb399f43168cf5b343f82c4a6e3bb4e6e1825/Amity_Ponyshow_20689.jpg" /> <img width="5792" height="8688" width_o="5792" height_o="8688" data-src="https://freight.cargo.site/t/original/i/7c375ff85821f4a6c0acabcd10812541f0d79b453f22156bd516096f76717ae6/Amity_Ponyshow_20747.jpg" data-mid="234386988" border="0" src="https://freight.cargo.site/w/1000/i/7c375ff85821f4a6c0acabcd10812541f0d79b453f22156bd516096f76717ae6/Amity_Ponyshow_20747.jpg" /> <img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/9ac6bea2ad5fae0a5d37d42a352d35c1dbf3d7f03a5374fac489b55d634d7892/Amity_Ponyshow_20736.jpg" data-mid="234386982" border="0" src="https://freight.cargo.site/w/1000/i/9ac6bea2ad5fae0a5d37d42a352d35c1dbf3d7f03a5374fac489b55d634d7892/Amity_Ponyshow_20736.jpg" /> <img width="2750" height="1833" width_o="2750" height_o="1833" data-src="https://freight.cargo.site/t/original/i/0875cf4590d8f2d94df00533c0a984ddef8e390ae46fb7e8c1c20965fe154f52/Amity_Ponyshow_Jan-Gatewood.jpeg" data-mid="234386991" border="0" src="https://freight.cargo.site/w/1000/i/0875cf4590d8f2d94df00533c0a984ddef8e390ae46fb7e8c1c20965fe154f52/Amity_Ponyshow_Jan-Gatewood.jpeg" /> <img width="2750" height="1833" width_o="2750" height_o="1833" data-src="https://freight.cargo.site/t/original/i/fcd77bce677eefcbfb6c6e7bd09f35c0c9c4d7931ce6cc99e003cffcb612e795/Ponyshow-Installation-View-Kai-Althoff.jpg" data-mid="234386969" border="0" src="https://freight.cargo.site/w/1000/i/fcd77bce677eefcbfb6c6e7bd09f35c0c9c4d7931ce6cc99e003cffcb612e795/Ponyshow-Installation-View-Kai-Althoff.jpg" /> Ponyshow Group Exhibition Kai Althoff, Sam Anderson, Uri Aran, Jan Gatewood, Sang Woo Kim, Eric N. Mack, Ed Ruscha, Carol Rama, Emma Sims, Harley Weir 18-25&nbsp;February, 2025The Wohlstetter House, Los Angeles, CA Ponyshow | Exhibition text by Ruby McCollister A birth chart isn’t foreign to most Angelenos, but for those of you who don’t know-- it’s the snap shot of the galaxy the moment the event of birth occurs. This often describes the energy someone contains, the will and the life force of how a person, place or thing moves in the world. At first glance Los Angeles automatically contains within it hellfire- the tension between new and old, between action and twilight, between ancient and future. Aries, the first fire sign and Pisces the last water sign. I mean doesn’t it make perfect sense this HOT WATER of a town? LOS ANGELES IS (after all): HOT WATER. HELL FIRE. ANCIENT HEATED GROTTOS. STUCCO SWIMMING POOLS WITH CURSES ON THEM. NAKED HOT GIRLS WORSHIPING THE BEACH. TECHNO BILLIONAIRES WATCHING THE SHORE BURN. CAMERAS CAPTURING THE LIBIDO OF THE UNIVERSE. It is quite literally as if- at its inception Los Angeles lived all of its lives at once- trying to warn the world of what it might be. &nbsp;Los Angeles remained the most dangerous city in America until the 1910’s- a town largely for criminal bandits and citrus farmers (Aries) suddenly began attracting a new type of entrepreneur- the movie man (pisces). The movie men who had begun studios in New York, but decided to move their business to Los Angeles, due to space, nature and its light. If you film anything outside in LA it has no shadow. The sunlight manages to hit you evenly at all angles. Miraculous some would say, as if God himself put his finger down on this exact piece of land 100 miles each way and said here: here’s where you can take the perfect picture, this will be the space where movies are made. Hollywood and arguably greater Los Angeles’ bright light often casts no shadows- its spectacle often over looks the true citizen of LA- the artists that discreetly move veiled from the industry that dominates this city. Between the sea and jewel of Hollywood midland marked in the center of the city is Laurel Canyon Boulevard. A trail splitting the west of the city and east of the city. Until 1909 it was a single trail carved by mules. Eucalyptus trees and dry brush growing in the shadow of the canyon- Laurel Canyon sprung from the necessity of oasis. Bandits hid in the canyon in the 1920s, as the city began to industrialize itself into a movie town. Before Los Angeles was largely for rancheros, oil barons and men trying to lose their name. As the industry changed, the people from the before city used the canyon to live away from the eye of the ever municipalizing tinsel town. Then came the artists, who eventually lived beside the bandits and forever more established this neighborhood as an artistic community. Celebrities then began using the neighborhood as a summer house of sorts- a place separate from their office or their…”city house”- where they too could be hideaways- bandits- artists using the shadow of the canyons to shade themselves from molten gaze of the industry. Laurel Canyon has always been the necessary “piscean” dream, a neptunian bolt in the brazen electric compulsion of Los Angeles’ “aries” audacity. In a world and a city where sanctuary and respite and privacy become an ever increasing luxury Laurel Canyon reminds us of its powerful cool shade it has provided this over lit place. ENTER PONYSHOW housed in one of Laurel Canyons’ most eccentric jewels, the Wohlstetter House, muses on everything SHOW, while lulling us in sweet respite in this sacred artistic oasis. Here we can take off our hats and finally get to turn away from the camera’s lens. &nbsp; ---------Exhibition text by 4th generation Angeleno, Ruby McCollister. ‘Ponyshow’ features work by Kai Althoff, Sam Anderson, Uri Aran, Jan Gatewood, Sang Woo Kim, Eric N. Mack, Ed Ruscha, Carol Rama, Emma Sims and Harley Weir. Each has contributed a work that presents tension formally through layering or stacking. The work can read as frenetic, or as if the subjects or materials are in cconflict, when in reality this brings them closer to our lived experience. Portions of proceeds from ‘Ponyshow’ (on a sliding scale at artists’ discretion) will go to LAFD and to ‘Grief &amp; Hope’, a fund created to help LA's artists and art workers start over. The exhibition is on view by appointment at the Wohlstetter house through 25 February, 2025. https://amity.biz/Great-and-sudden-change Tue, 01 Oct 2024 17:47:59 +0000 Amity https://amity.biz/Great-and-sudden-change <img width="3193" height="3463" width_o="3193" height_o="3463" data-src="https://freight.cargo.site/t/original/i/8cc334679898ebb16a4bb7fdce180dbd92a90acb2f2e6b23978cccbde826d5a2/-_news.200x200.oil-on-canvas.-2021-1.jpg" data-mid="219032215" border="0" src="https://freight.cargo.site/w/1000/i/8cc334679898ebb16a4bb7fdce180dbd92a90acb2f2e6b23978cccbde826d5a2/-_news.200x200.oil-on-canvas.-2021-1.jpg" /> <img width="3024" height="3177" width_o="3024" height_o="3177" data-src="https://freight.cargo.site/t/original/i/08802744a492356f2d61eecc768d506031e6b9ff2c75fd1262e8d9f166afc047/-_autumn-explotions.jpg" data-mid="219032393" border="0" src="https://freight.cargo.site/w/1000/i/08802744a492356f2d61eecc768d506031e6b9ff2c75fd1262e8d9f166afc047/-_autumn-explotions.jpg" /> <img width="2689" height="3290" width_o="2689" height_o="3290" data-src="https://freight.cargo.site/t/original/i/7f333290b77a130e9b3349221fb59644076c97b29719ed679dcc2bc9affe86dd/-_bad-trip-that-became-the-reality.-24.jpeg" data-mid="219032400" border="0" src="https://freight.cargo.site/w/1000/i/7f333290b77a130e9b3349221fb59644076c97b29719ed679dcc2bc9affe86dd/-_bad-trip-that-became-the-reality.-24.jpeg" /> <img width="1424" height="1024" width_o="1424" height_o="1024" data-src="https://freight.cargo.site/t/original/i/ae18805d3cfab6ce987887d5088f3f5c303533025c00ebb76c85b05566b2eb7e/Screenshot-2024-10-01-at-4.15.37-PM.png" data-mid="219045956" border="0" src="https://freight.cargo.site/w/1000/i/ae18805d3cfab6ce987887d5088f3f5c303533025c00ebb76c85b05566b2eb7e/Screenshot-2024-10-01-at-4.15.37-PM.png" /> <img width="1574" height="1182" width_o="1574" height_o="1182" data-src="https://freight.cargo.site/t/original/i/33dd97af7bbb3313831125d01894135bc33cde450b60c974e6f7186cce1de8f5/Screenshot-2024-10-01-at-1.57.32-PM.png" data-mid="219032501" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/33dd97af7bbb3313831125d01894135bc33cde450b60c974e6f7186cce1de8f5/Screenshot-2024-10-01-at-1.57.32-PM.png" /> <img width="713" height="567" width_o="713" height_o="567" data-src="https://freight.cargo.site/t/original/i/1916f8a24bdf61ced91c340209e89fae1c5f0c009d123233ad9d6a7fb6a2958c/psychopompe.jpg" data-mid="219032500" border="0" src="https://freight.cargo.site/w/713/i/1916f8a24bdf61ced91c340209e89fae1c5f0c009d123233ad9d6a7fb6a2958c/psychopompe.jpg" /> Great and sudden change: Tymur Postovyi, Michael Dean &amp; Camille Henrot3 October – 1 November, 2024173 Canal Street, New York, NY “Nothing is so painful to the human mind as a great and sudden change.” -Mary Shelley,&nbsp;Frankenstein, 1818 &nbsp; &nbsp; The exhibition features the work of three artists that telegraph themes of transformation, the body, and intimacy through their respective mediums. Tymur Postovyi, the Ukraine born, Paris based painter (making his debut here in the United States) invokes tropes of both Surrealism and Abstraction, situating his figures — creatures presented with varying degrees of legibility— within domestic but fantastical settings in a nod to an increasingly unrecognizable but ultimately humorous world. Michael Dean’s sculptures and installations begin for him with language and an effort to make tangible forms out of his experience of semiotics and typographical abstractions. These explorations most commonly employ materials familiar in our built world (concrete, rebar, steel, paper, cable ties) but find them recast entirely in an effort to challenge pre-existing associations and appeal to a more base instinct as if experiencing these things for the first time. &nbsp; &nbsp;&nbsp; &nbsp; Camille Henrot is widely known for her capacity to move seamlessly between media —&nbsp; working across sculpture, installation, paint, animation and in this case, film, to probe sources of anxiety in the world both as we know it, and as she imagines it. In ‘Psychopompe’ (2011), she draws on eclectic sources, including B-movies, climbing videos and scientific documents to examine the enduring legacy of Frankenstein. This work muddles the lines between humans, animals, and machines, prompting a reevaluation of the nature-culture divide. The film was originally designed to be accompanied by a live performance with improvised music, creating a mesmerizing ritual of change and transformation. This presentation will feature recordings of the film along with the live score from its initial format, and be accompanied by live music on two occasions. The exhibition is on view at 173 Canal Street in New York City by appointment through 1 November, 2024. https://amity.biz/Attrition Fri, 20 Feb 2026 22:15:56 +0000 Amity https://amity.biz/Attrition <img width="2250" height="1688" width_o="2250" height_o="1688" data-src="https://freight.cargo.site/t/original/i/b938522e69860dcd0af75b1a1be5f50ba802ccabed4ad47342af2fd39fd924ea/Attrition-10.31.25-08-1.jpg" data-mid="245122596" border="0" src="https://freight.cargo.site/w/1000/i/b938522e69860dcd0af75b1a1be5f50ba802ccabed4ad47342af2fd39fd924ea/Attrition-10.31.25-08-1.jpg" /> <img width="2250" height="1687" width_o="2250" height_o="1687" data-src="https://freight.cargo.site/t/original/i/e5e49160180a3b409773850946427ee7b5045b6eed189063e87fbac7c893ff8a/Attrition-10.31.25-10-1.jpg" data-mid="245122599" border="0" src="https://freight.cargo.site/w/1000/i/e5e49160180a3b409773850946427ee7b5045b6eed189063e87fbac7c893ff8a/Attrition-10.31.25-10-1.jpg" /> <img width="2250" height="1688" width_o="2250" height_o="1688" data-src="https://freight.cargo.site/t/original/i/aa4ee89edba95a5eb370343f7108e78649fb590f2131da76e45c95a149ee36e5/Attrition-10.31.25-02.jpg" data-mid="245122598" border="0" src="https://freight.cargo.site/w/1000/i/aa4ee89edba95a5eb370343f7108e78649fb590f2131da76e45c95a149ee36e5/Attrition-10.31.25-02.jpg" /> <img width="1054" height="1192" width_o="1054" height_o="1192" data-src="https://freight.cargo.site/t/original/i/fb78de166e7aa5a6872a4467e862f730c6ee8b39c4356beeb12a0a776eb0f4ec/PAUL-S.jpeg" data-mid="245122607" border="0" src="https://freight.cargo.site/w/1000/i/fb78de166e7aa5a6872a4467e862f730c6ee8b39c4356beeb12a0a776eb0f4ec/PAUL-S.jpeg" /> <img width="2250" height="1688" width_o="2250" height_o="1688" data-src="https://freight.cargo.site/t/original/i/38a61cbb06f5b9abcef3e09ec9a041b8592b135e44a71ea5d050976d50b60761/Attrition-10.31.25-16-1.jpg" data-mid="245122600" border="0" src="https://freight.cargo.site/w/1000/i/38a61cbb06f5b9abcef3e09ec9a041b8592b135e44a71ea5d050976d50b60761/Attrition-10.31.25-16-1.jpg" /> <img width="944" height="1133" width_o="944" height_o="1133" data-src="https://freight.cargo.site/t/original/i/d4d6ad0f24d4a0e497f51398df621734a6b568958f6b9ee0964ea513da2916d8/ARTEM.jpeg" data-mid="245122606" border="0" src="https://freight.cargo.site/w/944/i/d4d6ad0f24d4a0e497f51398df621734a6b568958f6b9ee0964ea513da2916d8/ARTEM.jpeg" /> <img width="780" height="883" width_o="780" height_o="883" data-src="https://freight.cargo.site/t/original/i/1c9af01897a40bb10da630fc1f5ffca15ff38a9e8df17f0ae5adcac62665a9f4/PC-Edit.jpg" data-mid="245122635" border="0" src="https://freight.cargo.site/w/780/i/1c9af01897a40bb10da630fc1f5ffca15ff38a9e8df17f0ae5adcac62665a9f4/PC-Edit.jpg" /> <img width="1688" height="2250" width_o="1688" height_o="2250" data-src="https://freight.cargo.site/t/original/i/29b280b475b5ac1127482b678241aec17eac5c8449d79f316ea7c91bc48bfe0d/Attrition-10.31.25-13-2.jpg" data-mid="245122597" border="0" src="https://freight.cargo.site/w/1000/i/29b280b475b5ac1127482b678241aec17eac5c8449d79f316ea7c91bc48bfe0d/Attrition-10.31.25-13-2.jpg" /> Attrition Patrick Caroll, Christopher Gambino, Brittany Adeline King, Sarah Lucas, Artem Nanushyan, Paul Sietsema &amp; Willa Wasserman 29 October – 1 December 2025Greene, 66 Crosby Street, New York, NY The exhibition title 'Attrition' nods to the presumption that disintegration implies inevitable doom. Yet, in both the art world at large and in the practices of the artists gathered here, the notion of gradual collapse instead points toward the potential for reanimation—often with varying degrees of severity and renewal. The artists on view range from YBA breakout and institutionally celebrated Sarah Lucas (b. 1962), who has been creating rigorous, genre-defying works for more than five decades, to Los Angeles–based mixed-media practitioners Paul Sietsema (b. 1968) , Patrick Carroll (b. 1991) , and Artem Nanushyan (b. 1997). The show also features work by three rising New York artists—Christopher Gambino (b. 1996) , Brittany Adeline King (b. 1997), and Willa Wasserman (b. 1990)—each offering a distinct approach to the exhibition’s central theme. Gambino’s assemblages of sourced and found objects subvert gender conventions, combining Baroque weaponry, domestically scaled antiques, stockings, and discarded heels cast in resin. His works hover between the absurd and the sexually charged, exploring the tensions between ornament, violence, and desire. &nbsp; &nbsp;Brittany Adeline King’s modular practice involves constructing silhouetted figures from hand-sewn paper parts and found materials. Building on her earlier painting practice, King’s figures now occupy new, less conventional space—by turns frank, playful, and self-possessed. Two works by Willa Wasserman demonstrate the spectral versatility of her practice: figures that appear both in the act of forming and of fading away, poised between presence and departure. Across these diverse practices, Attrition contends that little about the world as we know it is ever fixed. The promise of dissolution implies within it the possibility of evolution—and, in its most idealized sense, transcendence. The exhibition is on view at 66 Crosby by appointment through 1 December. https://amity.biz/Projects Sun, 15 Oct 2023 23:59:57 +0000 Amity https://amity.biz/Projects FILMS Resilience: Philip Guston in 1971 for Hauser &amp; Wirth Glenn Ligon: Neon for Ursula Magazine Cindy Sherman’s Enduring Legacy for Ursula Magazine