David Richard Gallery Podcasts

David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.

David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.

David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.

David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.

David Richard Gallery is pleased to present Drawing Air, the gallery’s first solo exhibition for New York artist, John F. Simon, Jr. The presentation debuts the first all new large-scale software artwork for Simon since 2013 and also includes twelve new sculptural wall works—ten measuring four-foot square and two larger works that measure ten-foot square—each a continuation of his important Innerhole series from 2010.

Mike Childs and David Eichholtz discuss Mike's works on paper as part of The Journey: Grids, Color and Curvilinear forms, 2004 to 2020 David Richard Gallery is pleased to present its first solo exhibition of paintings by New York-based artist Mike Childs. The presentation includes 28 paintings that survey the subtle, but important transitions in formal approaches and compositional elements in the artist’s paintings from 2004 through 2020.

David Richard Gallery is pleased to present its first solo exhibition of paintings by New York-based artist Mike Childs. The presentation includes 28 paintings that survey the subtle, but important transitions in formal approaches and compositional elements in the artist’s paintings from 2004 through 2020.

Spanning six decades, Robert Murray: Sculpture includes photographs of nearly two hundred works, seen in galleries, museums, and private collections, at public outdoor exhibitions, in his studios, and in the workshops of his fabricators. Jonathan D. Lippincott’s introduction and interview with Murray cover the sculptor’s process of working with fabricators and foundries, issues of public art and the siting of sculpture, Murray’s early years, his close friendship with Barnett Newman and relationships with other artists, his lifelong interest in flying, and more, insightfully illuminating both the work and the life of his remarkable sculptor. Jonathan D. Lippincott is the author of Large Scale: Fabricating Sculpture in the 1960s and 1970s. Design manager at Farrar, Straus and Giroux, he also works independently as art director and designer on illustrated books about architecture, landscape, and fine art. He has written about art for The Paris Review Daily, On-Verge, and Tether: A Journal of Art, Literature, and

Systemic Pattern Painting: Artists of the Criss-Cross Cooperative Artists Panel, Saturday, September 22, 2018 3:30 - 4:30 PM. Gloria Klein, Dee Shapiro and Mario Yrisarry and will be moderated by Anne Swartz

David Richard Gallery - Santa Fe Artist Talk: REBECCA ALLAN  In Voltaire’s Garden  June 12 - July 14, 2018  Saturday, July 7, 4-5pm with Rebecca Allan and David Eichholtz

Colleagues and gallery mates in the 1990s in Julian Pretto’s gallery in New York, both artists explore painted surfaces and supports. Kretschmer excavates the surface and leverages process to reveal literal depth and volume, while Trincere uses subtle transitions of hue and shaped supports to create illusory movement and depth within her compositions.

Monday, May 7, 2018, 7:00 - 8:00 pm Panel Participants: Melissa Rachleff Tamara Melcher Alex Bacon David Eichholtz Moderator: Lara Pan   at White Box 329 Broome Street (Between Bowery and Chrystie) New York, NY 10002   David Richard Gallery in collaboration with WhiteBox - New York and part of Frieze New York VIP Program, “In The City”. This exhibition is made possible thanks to the generous support from David Richard Gallery, LLC and Artworks Advisory.

Alex Bacon, Art Historian, Critic and Curator Peter Reginato, Artist David Eichholtz, Gallerist, Art Historian Wednesday, April 11 from 7:00 to 8:00 PM   The exhibition, “Curved”, surveys Leo Valledor’s career-long interest in curvilinear and circular shapes as well as multi-component canvases. The artworks span from the 1950s through the 60s, 70s and 80s. Aesthetically, the presentation includes Valledor’s early expressionist abstract paintings and signature reductive and minimalist compositions with an emphasis on his later hard edge and color-based abstractions from the 1970s and 80s. The latter include illusory and optical constructs exploring space and creating a tension between the two-dimensional and three-dimensional worlds. 

For the past 50 years, Robert Swain has dedicated his career to a rigorous study of color sensations and their effect on the human experience. Swain’s paintings offer visual, cognitive, and sensuous experiences, while elevating our understanding of color phenomenon and perception. This heightened awareness of seeing and unique experience of feeling color occurs when Swain’s works are viewed in person with attentive, patient observation. Perceptual effects will begin to emerge slowly, rearranging themselves as the constant flow of color’s energy changes and moves in response to Swain’s compositions and palettes.  Robert Swain, Color: Theory and Affect, on view December 9, 2017 – January 20, 2018 at the Gallery’s newest venue in Harlem, located at 211 East 121st Street, New York, NY 10035,

David Richard Gallery is pleased to announce the upcoming presentation, Abiquiú Paintings by Shane Tolbert at the Gallery’s newest venue in Harlem, located at 211 East 121st Street, New York, NY 10035, P: (212) 882-1705. This is Tolbert’s debut exhibition with the Gallery and his first presentation in New York. The exhibition will be on view through March 3, 2018. A digital catalogue will be available online. 

Gallery Talk with artist, Erik H Gellert and Kathryn M Davis of ArtBeat Santa Fe Out of Square October 13 - November 3, 2017  In this most recent body of work Gellert has returned his attention to that of the square. Where previously he had married the wiggly elements of nature with the efficiency of the square Gellert has now broken these elements apart and fused them together resulting in quirky, more animated forms. These works are built upside down and are righted only before being glaze fired.   Aired Wednesday, October 25, 2017 6:30 PM

Nancy Graves gallery talk featuring Christina Hunter, Ph.D., Director of the Nancy Graves Foundation and Cassandra Lozano, Director of Artists’ Estates at Mitchell-Innes & Nash, and David Eichholtz, Curator / David Richard Gallery

Scott continues the tradition of making pictures inspired by landscapes. However, in his newest paintings, there is no horizon or direct reference to landscapes. Using a modified acrylic paint and process of application as well as a two dimensional support frequently consisting of shaped canvases, he instead creates an experience of the earth and specific location of a landscape. The surfaces of these paintings are actually sculpted using many different devices, basically anything other than a brush and including, pouring the paint. The paint is thick and full of volume from the inclusion of a variety of particulates – iron, marble dust, mica – and full of life. The colors range from black to vibrant, bold pigments with the use of fluorescence, pearlescent finishes and interference paint, each providing spectral shifts, a shimmer like the sun reflecting off sand and rocks, as well as optical effects. These paintings look as though they have been sculpted by the earth’s eruptions and tectonic shifts as well as