Friday, March 06, 2026

Charlotte Jackson Fine Art opens Ronald Davis: The Polar Series

Ronald Davis, Timer, ROND148, 2025, acrylic on canvas, 42.5 x 42.5 inches.
SANTA FE, NM.— The Polar Series, an exhibition of new paintings by Ronald Davis will open at Charlotte Jackson Fine Art on March 6 and extend through March 31. An Opening Reception will be held on Friday, March 6 from 5-7 p.m. A Gallery Talk, "A Conversation, Remembering Ron Davis," with guest panelists Ron Cooper, Jim Grant, and Gary Wong will be held on Saturday, March 7 from 2-4 p.m. The gallery is in the Railyard Arts District at 554 South Guadalupe Street. These discs of brilliant and confounding color are alluringly tactile. There is an itch in the palm, a desire to smooth one's hand over the curved edges of the tondos, across their abstract, colorful geometries. The rounded edges and glossy surfaces underscore the lived experience of Ronald Davis’s last series of work, The Polar Series, as objects rather than, in a more classical and rarified sense, paintings. Mounted atop diamond shaped canvases, the inner tondos tug at the viewer, zeroing one's vision center-ward with their bullseye-like attraction. Charlotte Jackson Fine Art is honored to present a selection of pieces from Ronald Davis's final body of work, The Polar Series, including the very last painting that Davis completed a few days before his death, Timer. We tend to freight last's (words, books, works) with an especial level of meaning that might not always be warranted. However, it is difficult to look at Timer and not see a sort of cipher, a work of art where all of Davis's accumulated insights, tools, and affinities are on display. With its alternating stripes of blue and orange to one side, green and orange to the other, the piece is split by a wider, bifurcated band between them. In this off-center band a very Ronald Davis brand of illusion comes into play - using nested shapes and color value in the lower portion to create the impression of depth, where blues deepen to dark blue-green, and using classical two-point perspective a...
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Echoes of the East: Centuries of Japanese photography meet at the National Maritime Museum

AMSTERDAM.— From 5 March 2026, The National Maritime Museum in Amsterdam presents the exhibition Ekō – Japan in two visual narratives. Curated as artists conversing across time, the exhibit juxtaposes early photographs of Japan from the museum's own collection, including those by Felice Beato, with the contemporary work it inspired as captured by photographer and visual artist Anaïs López. In 1859, photography flourished in Japan after the country opened its ports to international trade. As gateways to areas still unknown to the West, port cities were inextricably linked to photography. The photographs collected by the Dutch consul Dirk de Graeff van Polsbroek (1833-1916) are among the oldest taken in Japan. Although De Graeff was not a photographer himself, his support proved indispensable to the most influential foreign photographer of the time: Felice Beato. From a European perspective, the Anglo-Italian Beato created a carefully staged image
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Dressed to Thrill: John Petrey transforms recycled tin and bottle caps into haute couture

AUGUSTA, GA.— Dressed to Thrill: Sculpture by John Petrey, which includes fourteen tabletop and life-size dress-inspired sculptures, opens on the night of the thirty-third annual Morris Museum of Art Gala on Friday, March 6, 2026. The exhibition remains on display through August 30, 2026. “No exhibition was ever more aptly named. What John Petrey has done with recycled materials is literally thrilling. It’s also wildly imaginative, creative, and engaging. There’s nothing quite like it,” said Kevin Grogan, director of the Morris Museum of Art. For more than two decades, artist John Petrey has created dynamic sculptures from everyday materials and objects—tin, bottle caps, aluminum cans, plastic forks, yardsticks, and the like. This current exhibition includes life-size and tabletop sculptures selected from Petrey’s renowned Dress Series, in which he has transformed rigid materials into fluid, garment-inspired pieces, reimagining mid-century style by blending 1950s and 19
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Detroit Institute of Arts to celebrate the bicentennial of Frederic Church, one of America's greatest painters

DETROIT, MICH.— The Detroit Institute of Arts (DIA) will present Guests of Honor: Frederic Church’s Cotopaxi, a special exhibition celebrating the 200th anniversary of the renowned American landscape painter’s birth. This intimate presentation highlights how Church used observation and imagination to turn scientific curiosity into awe-inspiring art. The show features the DIA’s breathtaking 1862 masterwork Cotopaxi, one of the museum’s most celebrated and beloved American paintings, complemented by three additional works by Church on loan, and a related landscape painting by Rémy Louis Mignot to illuminate Church’s creative process and vision. On view in the DIA’s American Galleries, from March 27 through October 25, 2026, this special Guests of Honor exhibition—the tenth installment in a long-running series
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Pedro Friedeberg, legendary surrealist and creator of the iconic hand-chair, dies at 90

SAN ANTONIO, TX.— The family of Pedro Friedeberg has announced with deep sorrow his passing this morning in San Miguel de Allende, at the age of 90. Pedro died peacefully, surrounded by his family in peace and with love around him. His family is deeply grateful for all the time we have shared with him. His work and creative spirit leave an immense legacy. The family appreciates the expressions of sympathy and asks for respect and privacy at this time. Ruiz-Healy Art played a part in the storied career of Pedro Friedeberg. I first met Pedro Friedeberg in the early 2000's while working on my doctoral dissertation. My dissertation centered on the artist Mathias Goeritz, a close friend and a mentor of Pedro Friedeberg. We immediately connected and began working together soon after. Our first solo exhibition with Pedro was in 2008 at our San Antonio gallery, and his most recent solo exhibition was at our New York City gallery in 2021. Pedro was one of a kind. He had a zest for life
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Frazetta Vampirella No. 1 cover painting shines in $27.5 million Heritage Comics and Comic Art Auctions

DALLAS, TX.— For the first time in Heritage Auctions history, five Comic Books and Comic Art lots reached the $1 million mark in a single event as the auction house closed out February and roared into March with sales of many of the hobby’s most prestigious titles and artists during the Feb. 26–28 Comic Books Signature ®Auction and overlapping Feb. 27–March 1 Comic Art Signature® Auction. The Comic Art auction tallied $15,559,202 over its three days, and Comic Books reached $11,953,922 for a total of $27,513,124. “These two auctions had some of the most sensational issues and original art in the comics collecting hobby, so it was rewarding to see the prices reflect their importance,” says Heritage Auctions Vice President Barry Sandoval. “This was the first time we had five lots close at $1 million or higher in the same Comic Books and Comic Art event, and I am confident it is a great indicator for the market.” Following September’s record-smashing $13.5 milli
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Emmi Whitehorse joins White Cube

LONDON.— White Cube announced representation of Emmi Whitehorse (b.1957, Crownpoint, New Mexico, US), alongside Garth Greenan Gallery. At the 2026 edition of Art Basel Hong Kong, her painting Father Sky meets Mother Earth (2025) will go on view at White Cube’s booth (1C23). An enrolled member of the Navajo Nation, Whitehorse is known for her vibrant, poetic paintings of landscapes, inspired by both the unique topography of the American Southwest and her cultural heritage. The artist studied at the University of New Mexico, receiving a BA in Painting in 1980 and an MA in Printmaking in 1982. During her time as a student, she became one of the youngest members of the groundbreaking Native American artist collective, the Grey Canyon Group, which was founded by Whitehorse and the late Jaune Quick-to-See Smith. The Grey Canyon Group was an early challenger of the
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Ndidi Dike unpacks the brutal cost of global tech in major Austrian debut

VIENNA.— Ndidi Dike is an internationally renowned British-Nigerian sculptor and multi-disciplinary artist born in London. Rare Earth Rare Justice is her first major solo exhibition at an Austrian institution. Dike works across mixed media, painting, sculpture, collage, photography, video, and installation. Her practice engages with the social, political, and economic conditions shaping the modern world, with a particular focus on the legacies of colonialism, postcolonialism, forced migration, and global capitalism. At the centre of Rare Earth Rare Justice lies the ongoing exploitation of the African continent’s natural resources, and specifically the extraction of cobalt in the Democratic Republic of the Congo. Dike traces how extractive industries fuel ecological devastation, climate change, displacement, and resource-driven conflicts, exposing how global demand for technology is met through systemic violence and dispossession. The exhibition unfolds as a large-scale
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Containers love disorder: Seven artists unpack the hidden systems of global logic

ST. GALLEN.— The group exhibition «Containers Love Disorder» brings together seven artists and collectives active in Switzerland who explore strategies of arrangement, classification and situatedness. On display are works by Michèle Graf & Selina Grüter, Dominic Michel, Mathis Pfäffli, Matthias Sohr, Kelly Tissot, Paulo Wirz and the collaborative project La Bibliothèque des Ready-Mades, initiated by Anaïs Wenger in 2023. As the title suggests, the exhibition is based on the idea of the container as a symbol and model for social organisation and beyond. Specifically, the standardised metal containers function as a basic prerequisite for the efficient, global circulation of goods. More figuratively speaking, containers create spaces, assign places to things and act as moderators for relationships and actions. In this sense, also an institution – also a Kunst Halle – can be understood as a container: for art,
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Sophie Kuijken's "fabricated" portraits arrive at Galerie Nathalie Obadia

PARIS.— Galerie Nathalie Obadia is presenting in Paris a solo exhibition devoted to Belgian artist Sophie Kuijken. This exhibition brings together a dozen of her recent paintings, shown at a major retrospective of her work tracing the history of a meticulous and eloquent artistic practice. Drawn to ancient and modern art from a very young age, Sophie Kuijken has sought to develop a unique body of work, free from any form of imitation. After graduating from the Royal Academy of Fine Arts in Ghent (KASK), she made the radical decision to extricate herself from the art world to work hidden away in her studio for more than twenty years. This intentional retreat also involved staying away from exhibitions, specialist reviews and what was happening in the art world, with a view to preserving the autonomy and integrity of her pictorial language. Her work was revealed to the public in 2011 at a solo exhibition held at the Museum Dhondt-Dhaenens,
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Royal Ontario Museum appoints Nicholas R. Bell as Director & CEO

TORONTO.— Following an extensive international search, Royal Ontario Museum (ROM) is pleased to announce the appointment of Nicholas R. Bell as Director & Chief Executive Officer (CEO), effective July 6, 2026. Originally from Vancouver, B.C., Bell comes to ROM from Glenbow in Calgary, Alberta, where he has served as President & Chief Executive Officer since 2019. As ROM Director & CEO, Bell will lead the Museum’s finances, operations, and capital expansion projects; foster a culture of creativity and innovation; and advance the strategic vision of Canada’s most-visited Museum. At Glenbow, Bell led the development of the museum’s current strategic plan, which prioritized financial sustainability, increased inclusion and accessibility, and furthered Indigenous community engagement and reconciliation. Under his leadership, the museum established the JR Shaw Free Admission Endowment, which will make Glenbow the first major museum in Canada to provide free general admissio
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Edgar Calel's Indigenous landscape opens at Kunsthalle Bern

BERN.— Edgar Calel taps into the rituals and traditions of his native Guatemala. His work highlights the working conditions around export-oriented agricultural industries, particularly palm oil and coffee plantations, which play a central role in the country’s economy. Calel further examines the impact of the plantations on the environment, as the extensive cultivation of coffee, sugar cane, bananas, and palm oil in Guatemala leads to deforestation, soil damage, and the depletion of natural resources. At Kunsthalle Bern, Edgar Calel creates a walk-in landscape featuring a mountain of salt. The installation echoes the efforts of indigenous Guatemalan communities to fight against the exploitation of their land and for the protection of nature. In the installation, ants made of copper and gold represent the labor of farm and land workers, whose individual contributions are rendered invisible. The artist also presents a series of embroidery paintings that he makes collectively with his famil
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Quinha Farias "Receptors" merges nursing materials with fine art

NEW YORK, NY.— Kiang Malingue is presenting in its New York space Receptors, an exhibition by Quinha Faria, the artist’s first solo exhibition in New York. Quinha Faria activates a constellation of receptive fields, traversing natural and synthetic materials, and their transformation through woodwork and weaving, into paintings, sculptures, and installations. In a series of carved paintings, Faria begins with the subtractive hand tool woodworking methods of carving and gouging, with and against woodgrain into the substrates of birch, mahogony, and luan, where images emerge, recalling phenomena, such as landscape formation, climate occurrences, synaptic connection, or temporal leaps and psychic conditions. These markmaking are incipient records, offering shifting perceptual grounds that allow for interaction with a range of paint materials, including oil, acrylic, latex, sumi ink, pigment, tempera, fabric dye, tar, and medical-use skin marker. Toggling between actions of embedding, layering, and
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This grandiose tragedy that we can call Modern Art.
Salvador Dalí

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Annika Thiems responds to Méret Oppenheim's surrealist legacy at Bartha_contemporary

Bartha_contemporary presents the first solo exhibition by Annika Thiems (b. 1991), entitled On wings (or almost), on view from March 5 to April 5 2026. Conceived in response to Méret Oppenheim’s print series Parapapillonneries (1976), the exhibition unfolds as an inquiry into absurdity, surrealism, and psychoanalytic thought. The new sculptures gesture toward the repressed: futile attempts at containment and order, like an insect evading the pin. Working across textile sculpture and installation, Thiems creates soft structures that hover between utility and excess, tenderness and restraint; objects that appear to have devised their own coping mechanisms. The works feel simultaneously over-prepared and yielding, suspended between protection and exposure. Drawing on her background in psychology, Thiems employs free association and a surrealist

The Grolier Club unveils the private world of Jack Kerouac in "Running Through Heaven"

An exhibition at The Grolier Club examines the origins of Jack Kerouac (1922–1969), one of the most influential American authors of the 20th century, whose unfiltered, spontaneous prose style had a tremendous impact on the world’s literature. On view in the Club’s second floor gallery from March 5 through May 16, 2026, Running Through Heaven: Visions of Jack Kerouac explores the writer’s personal life from childhood to his death through approximately 65 objects from the collection of Grolier Club member Jacob Loewentheil. The exhibition features many unpublished letters, several unknown and unpublished manuscripts, Kerouac’s copies of books that were important to his evolution as a writer, his own first editions of his best-known works, critical first editions, original drawings, classic and unknown photographs, and realia. An accompanying catalogue,

Tajh Rust's fictional portraits map the reciprocal relationship between subject and setting

Alexander Berggruen is presenting Tajh Rust: How to Disappear. The gallery's first solo show with the artist, this exhibition opened Thursday, March 5, 2026. Tajh Rust’s paintings depict primarily Black fictional figures in leisurely settings, with particular attention to storytelling, pattern, and environment. Rooted in questions of representation, Rust explores varied painterly ways to rendering figures and their environments. Through this inquiry, he points to the reciprocal effects between subject and environment. Across silvered glass and paintings on canvas, How to Disappear reflects a meditative stance on finding unity with one’s environment. The exhibition takes as its starting point the painting Rückenfigur III. The work collapses the art historical concept of the Rückenfigur—most closely associated with Casper David Friedrich—with a scene

Julia Kochetova's "War is Personal" restores empathy to the Ukrainian front line

Foam presents War is Personal, a solo exhibition by Ukrainian photojournalist and documentary filmmaker Julia Kochetova. As a part of a new generation of image-makers directly affected by the war in Ukraine, Kochetova documents it from within. Her images have been published in international media outlets such as The Guardian, Der Spiegel, DIE ZEIT and Bloomberg. Drawn from her own experiences, Kochetova brings visitors close to life on the front lines, where she explores the fragile boundary between documenting, mourning, and surviving. War is Personal emerged from a desire to bridge the gap between statistics and lived experience. While international media often reduce war to numbers, cropping the human presence out of images, Kochetova insists on showing that war is, above all, personal. Her images reveal how war permeates

Forty Years of This... Franklin Parrasch Gallery celebrates 40th anniversary with exhibition

Forty Years of This… is a memoir of an ongoing effort. What began four decades ago as an improvised, underfunded, contrarian art venue experiment, remains just that. Responding to a 1986 classified ad in The Washington Post for a “gallery space” with “free rent in exchange for managing building” I swooped in on the offer, built out the roughly 400 square foot space, and immersed myself in a hard knocks lesson in hotel management. As it turned out, “The Gallery Hotel”, on the fringe of the Adams Morgan neighborhood of Washington, D.C., was a “by the hour” hotel. As if learning how to start and run a commercial gallery with absolutely no professional experience and no funding wasn’t enough of a trial by fire, tending to the dramas and traumas of The Gallery Hotel made the former task seem self-explanatory. I was exceptionally naïve in both

Luc Delahaye's 25-year retrospective opens at Photo Elysée

The Echo of the World is a major solo retrospective of the work of Luc Delahaye (b. 1962). The exhibition at Photo Elysée, organized in collaboration with Jeu de Paume in Paris, looks back on a quarter-century of the French photographer’s output, featuring pieces produced between 2001 and 2025. Holding a show on this scale underscores the museum’s commitment to a form of photography that critically engages with reality and its representations. Through his work, which stands out for its documentary style, formal discipline and inquiry into the nature of the image, Delahaye emphasizes the importance of holding the spectacle of current events at a distance and adding new layers of depth to the visible. In today’s age of image overload and growing uncertainty as to the boundaries of reality, the show shines a spotlight on the practice of a photographer who thinks

Julien Bismuth explores the fluid boundaries of meaning and value at Layr

This exhibition is a collection of images - some still, others moving - accompanied by a single object, titled every pale has its beyond. The word “pale” also means a stake or boundary marker used to demarcate a property or territory. The expression “beyond the pale” means something that is outside the limits of the “proper.” This object is a pale that marks no boundary, only the point of its location. All the works are linked by lines that fluctuate, vary, modulate and migrate, lines whose delineation shifts with every encounter. The exhibition includes a series of silkscreen prints, transferred directly onto the wall using a process invented for these works. Each image shows a set of exonumia: coin-like objects that have no legitimate value as currency ( such as subway tokens or casino chips ). These include a set of so-called Hard Times tokens from the 1830s. Hard

Buffalo AKG announces Let Us Gather in a Flourishing Way, a new exhibition of contemporary Latinx painting

The Buffalo AKG Art Museum announced Let Us Gather in a Flourishing Way, an exhibition that explores contemporary Latinx artists’ innovations and interventions within established traditions of painting. The project celebrates painting from the Latin American and Caribbean diaspora, inviting discussion on a variety of themes and revealing the diversity and expansiveness present within the field today. The fifty-eight artists in the exhibition—and those in the Latinx field more broadly—encourage us to interrogate the continued relevance of boundaries, from political borders to disciplinary confines. The exhibition is organized by the Buffalo AKG Art Museum and curated by Associate Curator Andrea Alvarez. It will

Ben Rivers explores the extinction of speech at Kate MacGarry

For his fifth solo exhibition at the gallery, Ben Rivers presents a chapter from his film Mare’s Nest (2025), based on The Word for Snow (2007), a one-act play by the American novelist Don DeLillo. Set after an ecological catastrophe, the work imagines a future in which language begins to unravel, losing its connection to the world it once described. As landscapes vanish and species disappear, the film examines the limits of expression and the extent to which speech can disguise as much as it reveals. In this vision, words both obscure and supplant the very things they once named. They collude our inability to envisage what lies ahead, standing in for extinct animals, vanished landscapes and the irretrievable past. The scene centres on three characters, the protagonist, Moon, who encounters a ‘scholar’ and an ‘interpreter’ on a mountain. As their conversation

The lost landscapes of Donald Towner return to Hampstead

Burgh House is presenting Amongst the Trees and Terraces: Donald Towner (1903–1985), the first exhibition in decades to celebrate the life and work of Hampstead-based painter Donald Towner. Spanning the interwar and postwar years, this exhibition traces Towner’s landscapes, cityscapes, and Hampstead views — capturing both the gentle beauty of the British countryside and the upheavals of a nation in recovery. Donald Towner lived at 8 Church Row, Hampstead, from 1927 until his death in 1985. A naturalist at heart, he painted the English countryside with quiet reverence while also recording London in flux — including the rubble-strewn streets around St Paul’s Cathedral in the aftermath of WWII. In the postwar years, Towner was commissioned by the British Tourist Board to depict landscapes across the country, positioning
Flashback: On a day like today, Dutch-American painter Piet Mondrian was born
Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (7 March 1872 - 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements. In this image: Mondrian restoration project team with Sea after sunset (1909) Photo: Alice de Groot.

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