December 3 2015
Peter Saul Book Signing
Tuesday, December 8
5 – 7 PM
980 Madison Avenue
New York, NY 10075
November 6 2015
Art in Review | An H.C. Westermann Retrospective Melds Humor and Provocation
“Homage to American Art (Dedicated to Elie Nadelman)” is one of 38 sculptures in “See America First,” a terrific exhibition of works by the great American visionary H. C. Westermann (1922–1981) at VENUS (formerly Venus Over Manhattan).
August 11 2015
Daniel Fuller | Liquid Horizon
Venus Over Los Angeles Celebrates Daniel Fuller
Tuesday August 11, 5 – 8pm
Venus Over Los Angeles is pleased to celebrate professional surfer Daniel Fuller, and his new body of photographs titled Liquid Horizon on Tuesday, August 11th, from 5 – 8pm. The works will be on view through August 29th.
June 3 2015
Peter Saul | New York Reviews
ArtForum, Summer 2015
The wonderful exhibition “Peter Saul: From Pop to Punk”—challenging, engrossing, troubling—which consisted of sixteen ambitious paintings and five equally ambitious drawings from the 1960s and ’70s, was woefully mistitled: There was nothing waywardly adolescent about this show, nothing punk, as I understand the meaning of both word and style.
February 7 2015
Los Angeles Adds to Growing Art Scene
The art collector Adam Lindemann knew that opening a gallery in the Los Angeles area could be risky. He had seen others try and fail, namely the Pace Wildenstein Gallery, which closed its Beverly Hills location in 1999, and L&M Arts, which shuttered its Venice outpost in 2013.
January 21 2015
Charles March | Wood Land
Venus Over Manhattan celebrates Charles March
Celebration: Wednesday January 21, 6 – 8 pm
January 21 – February 7, 2015
October 3 2014
Art in Review | Fire!
“Fire!” is an ebullient if overly familiar survey of sculptures and vessels in glazed ceramics and sometimes glass that has been organized by Michaela de Pury and her husband, Simon de Pury, the former chairman and chief auctioneer of Phillips de Pury & Company.
May 6 2014
Critics’ Picks | Raymond Pettibon
ArtForum, May 2014
Raymond Pettibon’s oeuvre of drawings presents its ambivalent attitude to avant-garde resistance by illustrating acts of sexual or violent depravity via mainstream American iconography, produced at an industrial scale and rate of production. The artist’s surfer paintings, with their lurid, ebullient wave renderings and transcendental textual citations, mark a surprising anomaly, spanning nearly thirty decades of work.