This exhibition, Chihuly’s ninth with the gallery, includes new architectural installations and setworks representing the breadth and scope of the artist’s vision over the last four decades. Read More

The Swinging Pendulum, Edward Whiteman’s twelfth solo exhibition with the gallery, features his renowned large-scale paintings created with mixed media on reconstructed paper. The wall pieces range in size from 4 to 10 feet and include familiar motifs – simple yet powerful linear forms with seductive color inspired by the environment. The artist’s paintings are unequivocally abstract but filled with possible allusions such as in The Nile, a work from the artist’s recent Egypt Series. These works feature subtler lines and more intricate patterns in earthen colors. Read More

Can We Know the Sound of Forgiveness, artist James Drake’s eleventh exhibition with the gallery, features a collection of the artist’s “red” drawings as well as a grouping of glass sculpture. The pastel drawings continue to reveal the renowned artist’s method and deliberation. The subjects, always personal, are often flecked with faint notations and markings, on paper consumed by the process, sometimes pieced together with exposed tape. Read More

This second exhibition with New York-based artist Holton Rower includes his remarkable “Pour Paintings” along with a unique body of work titled “Focus paintings.” Holton Rower, who has been referred to as a “chemist and sculptor of paint,” is renowned for the incredible color combinations he achieves which can be stunningly psychedelic and hypnotic. Read More

Pard Morrison, inspired by Donald Judd’s rectilinear, minimalist sculptures and Agnes Martin’s ethereal, though also minimalist, grid paintings, continues to explore the nature of truth and perception with his work. He believes that the current anthropomorphisation of technological devices is rapidly causing the replacement of real experience by artificial two-dimensional experience. He strives to create work that, “upon first encounter primarily reads as artificially fabricated, but upon further investigation, the visual strength of its own "objectness" is compromised by specific human mark making.” Read More

David Halliday’s photographic series, Threadbare, profoundly builds on his previous work, at once announcing the photographer’s maturity as an artist. Provocative iconography of lost Americana - heavily decayed objects whose original intention has been exhausted - is given a new sort of vitality as his subject matter. Read More

Kate Blacklock’s medium-scale works on metal present choreographed tableaus reminiscent of Dutch Vanitas paintings in one series and nightscapes, recalling Japanese screen paintings, in the other. The compositions, which are created using a flatbed scanner as a camera, are captured on dye infused aluminum. They are described by the artist as existing in an ambiguous space, not subject to the laws of gravity. Each of the works conjures an enigmatic moment frozen in time. Read More

John Hartman, one of Canada’s most renowned contemporary painters, conceives of cities not as man-made anomalies but rather as provocative landscapes. With a unique and vibrant color palette, astral-like perspective and obvious deference, he captures the essence and lifeblood of the chosen terrain. New Orleans From Above presents aerial views of the city and surrounding areas through the artist’s distinct voice. The compositions include New Orleans from above Algiers, the CBD and Mississippi; as well as Bayou Lafourche, Delacroix, Port Fourchon, Yscloskey and Shell Beach. The exhibition is comprised of large- and small-scale oil paintings on linen and birch panel, as well as watercolor on paper. Read More