Ellen Wallenstein  | Blue Journey at Carter Burden Gallery

In late 2021, artist and photography professor Ellen Wallenstein received a life-altering diagnosis: stage three endometrial cancer. Despite the daunting prognosis, Wallenstein found solace and strength in her art, continuing to create cyanotypes—ethereal blue shadow-grams on cloth—each sunny day. These daily practices became a profound medium for Wallenstein to channel her emotions, fears, and unwavering determination to thrive.

The installation features nine sets of prayer flags, titled "In Treatment," meticulously crafted during the early stages of her diagnosis in 2021 and 2022. Each flag, imbued with Wallenstein's spirit, reflects the raw and unfiltered experiences of undergoing treatment. Complementing the prayer flags are five quilts, collectively known as "The Healing Process." Created between 2020 and 2024, these quilts narrate the phases of prognosis, treatment, healing, and eventual remission.

They are the result of a collaborative effort between Wallenstein and Kathe Williams, a master quilter and Wallenstein's longtime friend from Texas. Together, they transformed Wallenstein's journey into tactile expressions of hope and recovery, blending artistic visions with intimate personal experiences. Above: photo courtesy of Karin Bruckner whose work appears in Play, in the adjacent Carter Burden Gallery

Continuing through November 6 at Carter Burden Gallery, 548 West 28^th Street, New York, NY Info 

With many galleries closing for a brief summer interlude, this week’s streetwise gallery hop takes you two blocks south to several fascinating installations on West 26^th Street: 

SelfContained) at Ryan Lee

Self (Contained) pays attention to the concept of containment, to the vessel, and the breadth of meanings to which this term can refer. Stemming from the language and associations of the word vessel in Ancient Greek culture and mythology, the exhibition tackles the different shapes and objects taken from this cultural history.

For artists such as Paula Wilson, Lizzie Gill, Paul Anagnostopoulos, Camille Billops, and Gabriela Vainsencher, for example, the Greek amphora itself serves as a way to visually represent mythological stories. In their work, its shape mimics or conceptually references bodies as containers. The self can be thought of as a homogenous vessel carrying a nuanced interior. Through this prism the artists investigate their own selves and archetypes: the mother, the hypermasculine queer male, the female as object.

Through August 16 at Ryan Lee, 515 West 26^th Street, New York, NY Info

Harun Farocki | Inextinguishable Fire at Greene Naftali

Harun Farocki occupies a singular place in the history of post-war cinema, using filmic means to dissect how images uphold or unsettle political power. His five-decade career resulted in over 100 works—from agitprop shorts to multichannel installations— that mount a trenchant critique of the ethics of seeing.  

Farocki was among the most prolific filmmakers to emerge from West Germany in the 1960s, coming of age alongside stars of the New German Cinema like Rainer Werner Fassbinder, Werner Herzog, and Wim Wenders. Yet he forged his own style that deconstructed the genres of documentary and narrative alike, mobilizing found imagery to extract meaning that the archive would otherwise occlude. This exhibition treats depictions of war and their distancing effects through a cluster of works that trace the seepage of the military industrial complex into every sphere of life.

Through August 16 at Greene Naftali Gallery, 508 West 26^th Street, New York, NY Info

Jaime Urdiales | Interstate 88 at Guy Hepner

In preparation for his new body of work, Jaime Urdiales relocated from his home in Spain to New York City, where he found a resurgence of influences. Interstate 88 signifies both a literal and conceptual journey he has undertaken. In his pursuit of harmony and balance, the exhibition unfolds the varying ups and downs Urdiales experienced during his time in New York.

Interstate 88 captures the ephemeral beauty of the everyday, infusing ordinary subjects with a sense of extraordinary significance. His depictions of forgotten neon signs pay tribute to the vibrant energy of city life, transporting viewers to an era where these luminous symbols were the icons of urban culture. His work is a testament to his ability to transform fleeting moments into enduring works of art, celebrating the visual history of both past and present.

Through September 8 at Guy Hepner, 521 West 26^th Street, New York, NY Info

Asian-American Abstraction | Historic to Contemporary at Hollis Taggart

Hollis Taggart is pleased to present this group exhibition of 47 historic and contemporary American artists whose oeuvres have been influenced by East Asian artistic traditions. Ranging from 1950s Abstract Expressionist works by artists including Franz Kline, Sam Francis, and Dusti Bongé to recent works by contemporary artists including Ivy Wu, Gwen Yen Chiu, and Hayoon Jay Lee, the exhibition presents an intergenerational dialogue about the lasting international influence of East Asian artistic techniques and philosophies.

A complementary exhibition, Transcultural Dialogues: The Journey of East Asian Art to the West, will be presented concurrently at Fu Qiumeng Fine Art on the Upper East Side. Above: Chinyee, Dragon Dance, ca. 1955

Through September 7 at Hollis Taggart, 521 West 26^th Street, New York, NY Info

And, mark your calendar for this:

Thursday, August 22, 6:30pm: Pocket Book Club at Sargent’s Daughters

This new literary programming series that spotlights books handpicked by gallery artists and team members.  Oh, to Be a Painter! by Virginia Woolf will be read and discussed as it pertains to the themes around Naomi Lisiki’s solo exhibition, Verpertine, currently on view at the gallery.

This volume collects Woolf’s longest essay on painting, "Walter Sickert: A conversation" (1934), alongside shorter essays and reviews, including "Pictures and Portraits"(1920) and "Pictures" (1925). In these essays and reviews, Woolf illuminates the complex and interdependent relationship between the artist and society, and reveals her own shifting perspectives during decades of social and political change. She also provides sharp and astute commentary on specific works of art and on the relationship between art and writing. 

The discussion will be hosted by publishing professional, Savannah Daniels, at Sargeant’s Daughters, 370 Broadway, New York, NY RSVP. Subscribe to the Pocket Book Club here