Matthew Barney presents ZONE DEFENSE: Old Snowmass Parallax as part of Aspen Art Museum’s AIR Festival. This new large-scale sculpture extends Barney's ongoing investigation into the interplay between physical endurance, mythology and material transformation. Figured like a drawing in space, the work responds to TACTICAL parallax, Barney’s site-specific performance for AIR 2025. Tickets are required for the public viewing of ZONE DEFENSE, which will take place on Friday, 31 July.

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Glenn Brown’s solo exhibition Grottoesque, at No.1 Royal Crescent, Bath, presents paintings and drawings responding to the Georgian shell grotto, landscapes and the grotesque nature of trees, with one of the Gallery rooms transformed into a ‘grotto’ featuring three new large-scale paintings of multiple heads, set within shell-encrusted frames. Grottoesque is one aspect of a double presentation by Brown across two Bath museums, with Brown in Bath: Arrows of Desire opening concurrently at The Holburne Museum.

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Glenn Brown’s work is the subject of Arrows of Desire, a solo exhibition at The Holburne Museum, Bath. Staged forty years after the artist studied in the city, a selection of Brown’s recent and dramatic works will be hung amongst the renowned English and Dutch paintings of the museum’s permanent collection, as well as smaller drawings in antique frames in adjoining galleries. Arrows of Desire is one aspect of a double presentation by Brown across two Bath museums, with Brown in Bath: Grottoesque opening concurrently at No. 1 Royal Crescent.

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Albert Oehlen’s new book Kleine und mittlere Gespenster is published by Rookie Books, an independent publishing house specialising in children's books designed by visual artists. For this new publication, Oehlen and his daughter Maya cut-out and assembled fragments from one of the artist’s old catalogues into new ghostly forms.

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Albert Oehlen presents Badende, 2026, an artist edition made in collaboration with TEXTE ZUR KUNST. Translating to ‘bather’, Oehlen’s figure is embedded in a turquoise background reminiscent of the Mediterranean, picking up on a trope from the history of painting returned to by artists from Paul Cézanne to Pablo Picasso. Yet if Oehlen’s Badende is steeped in the history of painting, his figure appears to be trying with her irreverent gestures to wash this heritage off her body like ballast. On the one hand, Oehlen stages a kind of painterly unconcern with traditional art historical genres; on the other hand, he brings them back for a captivating and entertaining encore. This work is presented in an edition of 100 + 20 AP + 2 PP.

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Victor Man's work is presented in the exhibition Clair-obscur at Bourse de Commerce, Pinault Collection, Paris, on view until 24 August 2026.

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Danielle Mckinney’s works are presented in the artist’s largest museum exhibition to date at the Norton Museum of Art, West Palm Beach. Engaging with the history of art, colour theory, and longstanding traditions of portraiture, Mckinney’s depictions of female subjects in intimate domestic spaces transform moments of quiet introspection into timeless meditations on solitude, respite, and shared human connection.

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We are delighted to announce that Danielle Mckinney’s painting Haze, 2024, is now part of the permanent collection of The Metropolitan Museum of Art in New York. The work is currently on display. ​​​​​​

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We are delighted to announce that Danielle Mckinney’s painting Moth to a Flame, 2024, is now part of the permanent collection of The High Museum, Atlanta.  

SECONDARY is a five-channel video installation by Matthew Barney, performed in the artist’s Long Island City studio in 2023, then in London, Paris, and Los Angeles in 2024. The plot revolves around an accident that occurred during a football game in 1978, when Oakland Raiders’ Jack Tatum delivered an open field hit on Darryl Stingley, a wide receiver for the New England Patriots. Stingley was left paralysed. The tragic event remained seared in the minds of American fans, including Barney himself, a youth-league quarterback at the time.

Through allusion to American sports culture, SECONDARY explores the complex intersection of violence, its representation, and its celebration. It reimagines the game through a unique movement vocabulary. The result is a physical study that focuses on every element of the game, from drills and pre-game rituals to moments of impact and their slow-motion replays.

Volume 1 explores SECONDARY in depth, with essays by leading contemporary voices. Volume 2 maps the life of Barney’s former Long Island City studio, where SECONDARY premiered to the public.

Contributions by Eric Banks, Jonathan Bepler, Raven Chacon, Mark Godfrey, Juliette Lecorne,  Helen Marten,  Maggie Nelson, and David Thomson
Author: Matthew Barney
Edited by Louise Neri

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Published on the occasion of the artist’s ​​solo exhibition Endless Summer, at Galerie Max Hetzler and Gagosian, Paris from 20 October – 20 December 2025.

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Work by Danielle Mckinney is featured in the travelling group exhibition, When We See Us: A Century of Black Figuration in Painting, at Liljevalchs, Stockholm. The presentation includes over 155 works, on loan from institutions and private collectors from 26 different countries. Created by Black artists from around the world over the past century, the artworks are placed in dialogue with contemporary Black thinkers, writers and poets.

Originally conceived by the Zeitz Museum of Contemporary Art Africa (Zeitz MOCA), When We See Us has been internationally recognised as one of the world’s most significant exhibitions focusing on Black representation and identity. With a primary focus on painting, the exhibition celebrates how artists from Africa and its diaspora have portrayed, positioned, preserved and highlighted the experiences of people of African descent.

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The Brown Collection, London, presents Hoi Polloi, a group exhibition curated by Glenn Brown. Derived from the Greek term ‘for the people’, most often used as an insult for the ‘great unwashed masses’, Hoi Polloi brings together a number of paintings, drawings, prints, and sculptures from the sixteenth century to the present, exploring how artists have represented, resisted, or reimagined the ordinary man through the lens of the spiritual.

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Published on the occasion of the solo exhibition Schweinekubismus, at Galerie Max Hetzler, Berlin from 14 September – 2 November 2024.

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Published on the occasion of the solo exhibition In the Altogether, at Galerie Max Hetzler, Paris from 14 October – 18 December 2024. 

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For the ninth iteration of Dior’s Lady Art project, Danielle Mckinney has put her own spin on the fashion house’s iconic Lady Dior bag. Inspired by moments of quiet introspection, Mckinney’s design features a hand-embroidered silhouette of a woman. Cocooned in her coat, the subject is visited by a butterfly, which is used to convey the ‘flight of imagination.’ 

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In his paintings, sculptures and drawings, Glenn Brown confronts the history of art with a contemporary understanding of paint’s materiality and a barbed sense of colour. Numbered and signed by the artist, this Collector’s Edition treats the viewer to a close encounter with Brown’s eye-deceiving renderings of brushstrokes from sources between Sci-Fi and the Old Masters.

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Albert Oehlen’s work is included in Post-Atomic Abstraction, a collection presentation in room 203 at The Museum of Modern Art, New York. During the final years of the Cold War and in the decades that followed, artists in Germany and the United States faced a brave – and contradictory – new world. The presentation brings together artists’ responses to this period of transition, where the push and pull between the prewar and post-atomic worlds fostered novel paths toward abstraction.

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We congratulate Matthew Barney on becoming an Honorary member of the American Academy of Arts and Letters. Matthew Barney has been elected into the Department of Arts and will be inducted into the American Academy of Arts and Letters during its annual Ceremonial in May 2024.

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Albert Oehlen’s monumental sculpture Ömega Man, 2023, is now on view to the public in Weidingen, where it emerges from the vast landscape of the Südeifel. Its simplified form and slightly raised steel bars, recessed into their concrete casting, evoke the lightness of a drawing. Here, the persistent importance of the line in Oehlen’s work becomes evident, appearing simultaneously curved and controlled. In this work, the artist uses elements which are both abstract and figurative to critically examine the history and conventions of contemporary art, all the while continuing to acknowledge the importance of classical models. Massive yet fragile in its isolation, Oehlen’s Ömega Man appears like a monument from the future. Omega, the last letter of the Greek alphabet, is here written with an umlaut, thereby referring to the artist’s own name. 

Stiftung zur Förderung Zeitgenössischer Kunst in Weidingen

Published on the occasion of the solo exhibition From Wounds and Starry Dreams, on view at Galerie Max Hetzler, Paris from 3 September to 22 October 2022, this new catalogue includes a passage from Georg Trakl’s ‘From A Golden Chalice: Mary Magdalene’, 1906 and is available for purchase now on the Galerie Max Hetzler publications website.

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The catalogue accompanying Glenn Brown’s double exhibition The Real Thing, currently on view at the Sprengel Museum and Landesmuseum Hannover until 18 June 2023, is now available for purchase. This publication condenses the key ideas of the exhibition, which presents Brown’s work alongside a selection of historical masterworks from the two collections. In this way, Brown brings continuities and contrasts from 500 years of painting into a contemporary dialogue. The publication contains new texts by Jurriaan Benschop, Katja Lembke, and Reinhard Spieler, as well as a conversation with the artist.

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