Wearing Your Heart on Your Sleeve: The Fabric Store
Curated by Polly Apfelbaum
Posted to Instagram on May 22, 2020

I’ve been thinking lately about Robert Rauschenberg’s quote, “Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)” It’s a good formulation at any time, but particularly poignant right now, during lockdown, when people are stuck at home.

I grew up outside Philadelphia and frequently visited the original Barnes Foundation in Merion Station, PA, where I vividly remember Albert Barnes’s juxtapositions of painting and everyday functional objects installed salon-style in his domestic setting: a Henri Matisse next to a Pennsylvania Dutch ‘Fractur’ or Navajo blanket; Horace Pippin mixed with 19th century hardware and tools. Some of these things–on a much more modest scale–were also in the old farmhouse where I grew up. At the Barnes and at home, decorative hardware, pottery, painting, furniture, textiles, etc. all lived together on the same level and made up a familiar domestic landscape; still life and installation were implied in the arrangements. It’s important to me that art exists in the world of habit, order, and the familiar, not just in a gallery.

On a recent zoom call with art critic David Pagel and his Claremont University graduate studio class, I mentioned my suspicions about art history and that so much work I love has been overlooked. David quoted Nietzsche, “make up a history you wish you descended from and act as if you did…eventually it’ll become true.” So with this show, I wanted to present a few things from my little alternate world: a painting I grew up with; recent discoveries; and the work of a few friends and amazing weavers I met on residency at the Haystack Mountain School of Crafts exactly one year ago…when such things were still possible.

I’ve worked with textiles for 35 years and my art has been contextualized as painting, sculpture, as not-painting, and not-sculpture. Today, there is much more interest in craft–ceramics, weaving, etc.—but I see it all really working together. I don’t pay too much attention to categories and here, I choose twelve works by ten artists that blur conventional boundaries. Some I haven’t met! What ties it all together is a sense of the domestic, textiles, and traces of the hand, weavings that reference painting, and paintings that reference textiles. It’s all DYI, well-crafted, utilitarian, humble, and beautiful.

The show opens with a picture I grew up with by David Ellinger (1913-2003), painted sometime in the 1950’s. Ellinger was an artist and an antique picker who painted the Pennsylvania German people and their ‘fracturs,’ furniture, theorem’s, and pottery all in the Pennsylvania German style. He was also a crossdresser and a performance artist; his drag name was Una Hale. All this in rural Pennsylvania in the 1930’s! Ellinger was ahead of his time and is now pretty much overlooked. History is on my mind these days. I am working on a show at Arcadia University, near where I grew up, which is in part devoted to his work. Ellinger’s painting shows a family shopping for fabric and it was my jumping off point for this show. All the work follows comes from this idea of the fabric store.

Violette Alby, Molly Haynes, and Aubrey Pittman-Heglund are contemporary artists who work with recycled materials; this is both an artistic and ethical choice. Alby writes: “Colors can heal and there is an energy that comes from cloth. I like to proselytize that we shouldn’t put one drop of fabric in the trash. We shouldn’t plant any more cotton, only recycle.” Pittman-Heglund’s weaving is titled “in hopes to reduce my contribution to unethical consumption in late capitalism.” Haynes (who, like Pittman-Heglund, has ties with Haystack) works with discarded rope from Maine lobster boats. I discovered Alby’s work at White Columns sometime around 2008 and bought a piece at their benefit auction. It’s nice to contextualize it with these more recent preoccupations of mine.

I selected a grouping of domestic objects: two rugs by Cynthia Sargent (1922-2006); a chair by Jim Drain; an enameled copper vessel by June Schwarcz (1918–2015); and a tablecloth and tea cosy by Aase Seidler Gernes (1927–2018). These works truly operate in the ‘space between art and life.’ I recently learned of Gernes, a once successful textile and fashion designer who married painter Poul Gernes and largely worked under his name; her work was essentially ignored. Gernes’s dresses, shirts, and aprons are like paintings in their own right, but operate in the space of everyday life. Until only recently is she finally getting the attention she deserves.

I discovered Sargent’s work in the exhibition “In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury,” curated by Zoë Ryan, at the Art Institute of Chicago. The title comes from Mexican furniture designer Clara Porset, who wrote, “There is design in everything…in a cloud…in a wall…in a chair…in the sea…in the sand…in a pot. Natural or man-made.” In 1950, Sargent moved from Woodstock, NY, to Mexico City to learn more about weaving and craft traditions; there, she contributed to Porset’s groundbreaking 1952 exhibition “Art in Daily Life.” Again, I only recently learned of Sargent’s work and it just blew me away!

Jim Drain’s 13 chairs were part of “Membrane,” his recent installation at the di Rosa Center for Contemporary Art in Napa, CA, and include webbing (made collaboratively with assistants in Providence, RI) that references craft-based artists Alexandra Jacopetti Hart’s “Macramé Park,” and Barbara Shawcroft. As noted in the show’s press release, ”Drain’s project riffs off of Northern California countercultural utopian design themes encompassing a mix of Buckminster Fuller’s geodesic domes, macramé textiles, and colorful tie-dyed motifs and draws from the rich history of craft and handwork centered in the Bay Area in the 1960’s and 70’s.”

I discovered Bay Area-artist June Schwarcz’s  work at the Renwick Gallery in 2017. Schwarcz often works with copper screening, in which she treats metal like fabric. I think of metal as a hard, monumental material, but here it’s soft and domestic. She uses enamel–another technique associated with the decorative arts–to add color. Schwarz’s parts are stitched together, somewhat precariously, to create an informal painterly whole. I selected “Vessel” for its playful use of color and slightly crumpled form. Is it a basket or vase? Both and neither.

Jana Vander Lee and Joe Cunningham are also recent discoveries for me. A quilter and a weaver respectively, both are very painterly and speak to the hybrid nature of their media and the ability of formal languages to slip when trying to define what they make. In Lee, I see Russian constructivism, David Diao, Tomma Abts, and Lesley Vance. In Cunningham, I see Jonathan Lasker, Joanne Greenbaum, and Charline von Heyl. I recently ordered the exhibition catalogue for “American Fiber Art: A New Definition,” curated by Lee in 1980 at the Blaffer Art Museum in Houston, TX. All this work has been out there for some time now, and some 40 years later, it still needs “a new definition.”

This all speaks to the fluidity of influence. Things can be very close or very far; influence can travel across time or to different places: America, Europe, crafts, and “high” art.  As an artist, almost by definition, my likes and dislikes are broad, inconsistent, and always changing. This is what it means to be an artist and to be open to the complexities of the visual world. I grew up around Amish quilts and I guess my own sensibility is a kind of crazy quilt. When organizing this show, I immediately thought of Annie Albers, Sheila Hicks, the Gee’s Bend artists, Amish quilts, Sophie Tauber Arp, to name a few, but I wanted to move beyond only well-known names and call attention to some less well-known and younger artists, who I also am in love with today.

For more than 35 years, I’ve gone to the garment district of New York City to buy fabric for my work.  It’s an experience that is still tactile and personal, but also global; fabric and dealers come from all over the world. Here, bolts of fabric are cut by hand with gigantic scissors. You can barter! Today, I think of those shuttered stores… But this “Fabric Store” is open.


David Ellinger (1913-2003)
Untitled Fabric Shop, 1950s
Oil on cloth
Collection of Nancy Abel

Aubrey Pittman-Heglund (b. 1995)
in hopes to reduce my contribution to unethical consumption in late capitalism, 2017
Woven with strips of clothes from my spouse & I
127 x 254 cm
Courtesy the artist

Aase Seidler Gernes (1927–2018)
Tea Cosy, 1964 (front and back)
Courtesy Ulrikka S. Gernes
Wall Hanging, 1965
Courtesy Ulrikka S. Gernes

Joe Cunningham
The Higgs Explained, 2013
182.9 x 188 cm
Collection of the artist
Violette Alby (b. 1953)
Dry Clean Only (side A), 2008
Recycled fabri
Courtesy the artist
Dry Clean Only (side B), 2008
Recycled fabric
Courtesy the artist

Cynthia Sargent (1922-2006)
Hand-hooked rug
241.3 cm (diameter)
Scarlatti, designed 1958, produced 1968
121.9 x 198.12 cm

Jana Vander Lee (b. 1945)
Now and Forever/More, 1980
Cotton seine, wool, silk , linen, mohair, rayon, polyester, acrylic
312.4 × 497.8 cm
Courtesy the artist and Inman Gallery, Houston, TX
Molly Haynes (b. 1992)
Untitled (Haystack Lobster Weaving),2019
Salvaged marine rope
111.8 x 68.6 x 30.5 cm
Courtesy the artist

Jim Drain (b. 1975)
Membrane, 2020
Vintage aluminum lounge chair and webbing made collaboratively with assistants in Providence, RI
Dimensions variable
Courtesy the artists and the di Rosa Center for Contemporary Art, Napa, CA

June Schwarcz (1918–2015)
Vessel #2066 (Pitcher), 1995
Hammered, enameled, and patinated copper with electroplated texture
25.4 cm


In this short Life
Curated by Amy Smith Stewart, Senior Curator at The Aldrich Contemporary Art Museum
Posted to Instagram on May 18, 2020

“In this short Life”
By Emily Dickinson

In this short Life
that only lasts an hour
How much — how
little — is
within our


Felix Gonzalez-Torres (1967-1996)
“Untitled” (Golden), 1995
Strands of beads and plastic track
dimensions vary with installation
Solomon R. Guggenheim Museum, New York, through prior gift of Solomon R. Guggenheim;
The Art Institute of Chicago, through prior gift of Adeline Yates;
San Francisco Museum of Modern Art, through prior gifts of J. D. Zellerbach,Gardner Dailey, and an anonymous donor;
partial gift of Andrea Rosen in honor of Felix Gonzalez-Torres, 2008
© The Felix Gonzalez-Torres Foundation / Courtesy of Andrea Rosen Gallery, New York

Betye Saar (b. 1926)
Pair of Eyes, 5thc BC or later, Greek
Bronze, marble, frit, quartz, and obsidian
3.8 x 5.1cm
Purchase, Mr. and Mrs. Lewis B. Cullman Gift and Norbert Schimmel Bequest, 1991
The Metropolitan Museum of Art, New York

Zarina (1937-2020)
Flight Log, 1987
Cast paper with burnt-umber pigment, text printed
on Nepalese handmade paper and bound with silk cord
8 x 9.75 x 2.375  inches
Courtesy Luhring Augustine, New York
Beatrice Wood (1893-1998)
Gold Chalice, 1985
30.5 x 22.5 x 21 cm
Gift of John Deardourff and Elisabeth Griffith; © Beatrice Wood Center for the Arts/Happy Valley Foundation
The National Museum of Women in the Arts, Washington, DC

Kay Sage (1898-1963)
The Great Impossible, 1961
Watercolor and charcoal on cut-and-pasted paper with glass lenses and cut-and-pasted printed paper
32.3 x 23.5 cm
Kay Sage Tanguy Bequest
The Museum of Modern Art, New York

Hilma af Klint (1862-1944)
Group X, No. 1, Altarpiece (Altarbild), 1915
Oil and metal leaf on canvas
237.5 x 179.5 cm
The Hilma af Klint Foundation, Stockholm
Betye Saar (b. 1926)
Keep for Old Memiors, 1976
Pencil on paper, printed papers, and printed fabric sewn and pasted on fabric with lace, leaves, and feathers, mounted on painted frame with gloves
39.4 x 33 cm
Gift of Jo Carole and Ronald S. Lauder
The Museum of Modern Art, New York

Eva Hesse (1936-1970)Untitled, 1968
Graphite, brown wash, and gouache
12 1/8 x 12 3/16 in.
© The Estate of Eva Hesse, Hauser & Wirth Zürich LondonEmily Dickinson (1830-1886)In this short Life, c. 1873
Penciled poem draft inscribed on the inside of a torn-away envelope flap.
Dickinson, Emily. “In this short Life.” The Gorgeous Nothings: Emily Dickinson’s Envelope Poems, edited by Marta Werner and Jen Bervin, 1st edition, New Directions / Christine Burgin, 2013, p 252.

Welcome Home
Curated by Heidi Zuckerman
Posted to Instagram on May 15, 2020

When my kids and I play Monopoly, as we land on properties that we own, we say out loud to ourselves, “Welcome home.” While it’s tempting to think about the title of this “impossible” exhibition as being about our homebound quarantine, the idea is truly about returning, to our spiritual home and to ourselves, in order to come together. We all need community and for that community to welcome home all who show up and are present.

The space in which objects are placed is so important in exhibition making. How one feels in the physical space, the temperature, the lighting, the smells, and places to rest are all essential to both the viewing experience and to a sense of home. My exhibition is taking place in Ronchamp, the sacred building designed by one of my favorite architects, Le Corbusier. The exhibition kicks off with a cooking experience by Rirkrit Tiravanija. Visitors can lie in Hélio Oiticica’s hammocks, walk round Janet Cardiff’s ecclesiastic sound installation, view gorgeous paintings by Yves Klein, which references another past moment of art gathering and the stunning results of that performance, and Christina Quarles. And consider the Buddhist statue that serves as a poignant reminder that all of us already have everything we could ever need, inside of ourselves. Because, truly, the most essential definition of home is that of our own self.


Charles-Édouard Jeanneret, known as Le Corbusier (1887-1965)
Chapelle Notre-Dame du Haut, Ronchamp, France, 1950-55

Hélio Oiticica (1937-1980)
Cosmococa CC5-Hendrix War, 1973/2013
Slide series, hammocks, and soundtrack
Installation view, Schirn Kunsthalle Frankfurt, 2013Buddha Offering Protection, Gupta period (late 6th–early 7th century)
India (probably Bihar)
Copper alloy
47 x 15.6 x 14.3 cm
The Metropolitan Museum of Art, New York

Rirkrit Tiravanija (b. 1961)
Untitled (Free/Still), 1992/2012
Originally created for 303 Gallery on the occasion of Tiravanija’s 1992 solo exhibition “Untitled (Free),”
the artist converted a gallery into a kitchen where he served rice and Thai curry for free.
The MoMA’s 2012 recreation the work for Contemporary Galleries: 1980–Now,”
utilized its back office as a kitchen where curry
was prepared and served by the Museum’s restaurant staff daily from noon-3PM.

Janet Cardiff (b. 1957)
The Forty Part Motet, 2001 (excerpt)
Reworking of “Spem in Alium Nunquam habui”(1575), by Thomas Tallis
40-track sound recording (14:00 minutes), 40 speakers
Sung by Salisbury Cathedral Choir
Gift of Jo Carole and Ronald S. Lauder in memory of Rolf Hoffmann, 2002
The Museum of Modern Art, New York
Yves Klein (1928-1962)
People Begin to Fly (ANT 96), 1961
Oil on paper mounted on canvas
250.2 × 397.5 cm
The Menil Collection, Houston

Christina Quarles (b. 1985)
…Tha Color of Tha Sky (Magic Hour), 2017
Acrylic on canvas
139.7 x 223.5 cm
Courtesy of the artist, Regen Projects, Los Angeles, and Pilar Corrias Gallery, London

Suddenly, Last Summer
Curated by gallerist Lucien Terras
Posted on Instagram on May 8, 2020

Suddenly, Last Summer, a one-act play by Tennessee Williams written in 1957, was adapted for the screen in 1959 by film Director Joseph Mankiewicz (screenplay by Gore Vidal and Tennessee Williams). The story revolves around Catherine Holly (Elizabeth Taylor), a beautiful, young New Orleans socialite, who saw something dreadful happen to her cousin the previous summer in Italy, but the memory has been blocked. To keep it that way, her wealthy aunt Violet (Katherine Hepburn) plots to have Catherine lobotomized in order to preserve her delusions and lies about her gay son Sebastian.

Inspired by the title and the double interpretation of “last,” I am playfully wondering if summer 2020 is cancelled? Will the memories of last summer—bathing in the sun, lounging by a pool—remain memories forever locked in the past? Are we actually entering the last summer—confined inside, sun glaring behind glass, swimmers and diving boards on the wall, danger floating outdoors like a red warning? Henri Matisse and David Hockney, two of my favorites, are here in conversation with Elmgreen & Dragset and the young, Miami-based artist Fared Manzur. Cornelia Parker’s working replica of the hanging clock in St Pancras station’s DENT London Clock, is installed in such a manner to obscure time as commuters move throughout the station; it very much mirrors our warped sense of time and perspective during this pause.


Film still of Elizabeth Taylor in Suddenly, Last Summer, 1959

Henri Matisse (1869-1954)
The Swimming Pool, 1952
Matisse’s dining room at the Hôtel Régina, Nice, 1953
Photo: Héléne Adant

Fared Manzur (b. 1990)
orb before pour 0001, 2017-20
Acrylic on aluminum framed glass, aluminum structure
95.6 x 65.1 x 38.1 cm

Michael Elmgreen
 (b. 1961) and Ingar Dragset (b. 1969)
Couple, Fig. 12, 2016
MDF, PVC, aluminum, stainless steel overall
220.4 x 141.9 x 3 cm
David Hockney (b. 1937)
Rubber Ring Floating in a Swimming Pool, 1971
Acrylic on canvas
96.5 x 116.8 cm

Cornelia Parker(b. 1956)
One More Time, 2015
Aluminum, steel, and jesmonite
5.44 m (diameter)
Commission for St Pancras International, London

Elective Affinities
Curated by art collector Claude Reich
Posted to Instagram on May 4, 2020

Cy Twombly once said, “art comes from art.” With those words in mind, this small exhibition pairs works from various artists and art historical periods—from Édouard Manet to Harold Ancart—drawing attention to formal and visual links, some self-evident, others perhaps less so. My overarching belief is that great artists share a deep understanding of art history and the work of their predecessors. – Claude Reich


James Ensor (1860-1949)
The Intrigue, 1890
Oil on canvas
90 x 149 cm
Royal Museum of Fine Arts, Antwerp, Belgium
Cindy Sherman
Untitled #584, 2018
Dye sublimation metal print
9 x 158.8 cm

Henri Matisse (b. 1869-1954)
The Conversation, 1909-12
Oil on canvas
177 x 217 cm
State Hermitage Museum, Saint Petersburg, Russia
Barnett Newman (1905-1970)
Onement VI, 1953
Oil on canvas
259.1 x 304.8 cm
Fondazione Prada, Milan, Italy

Max Beckmann (1884-1950)
The Night, 1918
Oil on canvas
133 x 153 cm
Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany
Willem de Kooning (1904-1997)
Excavation, 1950
Oil on canvas
206 x 257 cm
The Art Institute of Chicago, IL
Édouard Manet (1832-1888)
Rue Mosnier with Flags, 1878
Oil on canvas
66 x 81 cm
The J. Paul Getty Museum, Los Angeles, CA
Wayne Thiebaud (b. 1920)
Fruit Stand, 1963
Oil on canvas
43 x 61.2 cm
Private collection

Robert Rauschenberg (1925-2008)
Canyon, 1959
Combine: oil, pencil, paper, fabric, metal, cardboard box,
printed paper, printed reproductions, photograph, wood,
paint tube, and mirror on canvas with oil on bald eagle, string, and pillow
207.6 × 177.8 × 61 cm
The Museum of Modern Art, New York, NY
Jean-Michel Basquiat (1960-1988)
Jim Crow, 1986
Acrylic and oil stick on wood
205.3 x 244 x 4 cm
Private collection

Brice Marden
Cold Mountain Studies 10, 1988-90
ink on paper
Private collection
Sigmar Polke (1941-2010)
Untitled, 2000
Acrylic and interference color on canvas
100 x 80 cm
Private collection
Pierre Bonnard (1867-1947)
Nude in a Bathtub, 1936
Oil on canvas
93 x 147 cm
Musée d’Art Moderne de la Ville de Paris, France
Vija Celmins (b. 1938)
Untitled (Night Sky #10), 1994-95
Charcoal on paper
43.5 x 55.9 cm
Private collection

Philip Guston (1913-1980)
The Line, 1978
Oil on canvas
180 x 186 cm
The Estate of Philip Guston
Harold Ancart (b. 1980)
Untitled, 2019
Oil stick and pencil on canvas
206 x 287 cm
Private collection

Andy Warhol (1928-1987)
Twenty-Five Marilyns, 1962
Silkscreen ink, graphite and acrylic on canvas
208 x 140cm
Moderna Museet, Stockholm, Sweden
Peter Dreher (1932-2020)
Detail from the installation Tag Umm Tag Ist Guter Tag, February  1996
Oil on canvas
20.3 x 25.4 cm (each)


Final Notations
Curated by artist Hilary Harkness
Posted to Instagram on April 28, 2020

“Final Notations”
By Adrienne Rich

it will not be simple, it will not be long
it will take little time, it will take all your thought
it will take all your heart, it will take all your breath
it will be short, it will not be simple

it will touch through your ribs, it will take all your heart
it will not be long, it will occupy your thought
as a city is occupied, as a bed is occupied
it will take all your flesh, it will not be simple

You are coming into us who cannot withstand you
you are coming into us who never wanted to withstand you
you are taking parts of us into places never planned
you are going far away with pieces of our lives

it will be short, it will take all your breath
it will not be simple, it will become your will


Ellen Altfest (b. 1970)
Composition, 2015
Oil on canvas
24.5 x 27.8 cm

Rupi Kaur (b. 1992)
From the photo series period., 2015
With photographic assistance by Prabh Kaur

David Wojnarowicz (1954-1992)
Untitled, 1984
From the Metamorphosis series
Collaged paper and acrylic on plaster
24.1 x 24.1 x 24.1 cm
Private collection
Ivy Haldeman (b. 1985)
Crop, Open Book, Open Bun, Finger Tugs Do, Banana Phone, 2019
Acrylic on Canvas
61 x 41.9 cm

Zanele Muholi (b. 1972)
Ventersdorp, 2014
From the photo series “Isilumo siyaluma”
Menstrual blood on cotton rags, photographed digitally
Keith Haring (1958-1990)
Unfinished Painting, 1989
Acrylic on canvas
100 x 100 cm
Keith Haring Foundation

Alice Neel (1900-1984)
James Hunter Black Draftee, 1965
Oil on canvas
152.4 x  101.6 cm
The Metropolitan Museum of Art, New York


It’s wonderful being inside when you can think yourself out
Curated by Jim Hodges
Posted to Instagram on April 22, 2020

It’s wonderful being inside when you can think yourself out, curated by Jim Hodges, is the second of FLAG’s Instagram exhibitions, for which we invite artists, friends, and collaborators to organize thematic shows as visual essays. Each show features an eclectic range of artworks and objects, brought together without the restrictions of time or place.

Borrowing its title from Shelley Hirsch & David Weinstein’s Haiku Lingo, the exhibition begins with Martin Beck’s Directions, 2010, and Caspar David Friedrich’s Woman at the Window, 1822, which invite our imaginations to step through a threshold, extend outside solitude, and project into an unseen world.

Eleanor Antin’s CARVING: A Traditional Sculpture, 1972, records Antin’s rendering of her physical form over time; in The King of Solana Beach, 1974, Antin invents an alternate “self,” in the guise of a king, who roams through her kingdom greeting all of her subjects.

David Hammons’s to-be-realized Days End pays homage to Gordon MattaClark’s 1975 intervention into NYC’s Pier 52, one of a handful of derelict piers along the Hudson that were potent sites for artists and clandestine rendezvous for men. Hammons’s steel contour traces the outline of the original pier and echoes Matta-Clark’s hollow portal. What will we shine into this new opening?

Gestures of love and care are manifesting all around. James Lee Byars’s The perfect Love Letter is I write I love you backwards in the air, 1974, and Linda Montano’s Art/Life Counseling, 1984–91, a monthly performances staged in a window of the old New Museum on Wooster St. where Montano offered psychic readings and attentive listening to visitors. This work resonates with forceful necessity as so many are now searching for direction.

Corita Kent’s tomorrow the stars, 1966, is always on the threshold of a brighter reality. In difficult times, brilliance and creative impulses can rise to new heights. Today, we have opportunities for advancements and recalibrated values to make a better world for all. These are the stars I want to see come alive tomorrow. -Jim Hodges


Eleanor Antin (b. 1935)
CARVING: A Traditional Sculpture, 1972
148 silver gelatin prints in complete piece
Courtesy Ronald Feldman Fine Arts, New York
Photo: Hermann Feldhaus

Martin Beck (b. 1963)
Directions, 2010
Vinyl text
Dimensions variable
Private Collection

David Hammons (b. 1943)
Day’s End, 2020
Commissioned by the Whitney Museum of American Art in collaboration with the Hudson River Park Trust
Pier 52, New York, NY
Eleanor Antin (b. 1935)
Men from The King of Solana Beach, 1974
Set of 5 unique black and white photographs mounted on board
24 x 16.5 cm (each)
Richard Saltoun Gallery, London

James Lee Byars (1932-1997)
The perfect Love Letter is I write I love you backwards in the air, 1974

Corita Kent (1918-1986)
tomorrow the stars, 1966
Screenprint on nonwoven synthetic fabric
76.2 x 91.44 cm
San Francisco Museum of Modern Art
Eleanor Antin (b. 1935)
My Kingdom Is the Right Size, from The King of Solana Beach, 1974
Eight black-and-white photographs mounted on board and one text panel
15.24 x 22.9 cm
University purchase, Art Acquisition Fund and Charles H. Yalem Art Fund, 2000
Mildred Lane Kempner Art Museum at Washington University in Saint Louis

Caspar David Friedrich (1774-1840)
Woman at a Window, 1822
Oil on canvas
44 x 37 cm
Alte Nationalgalerie, Berlin

Linda Montano (b. 1982)
Art/Life Counseling, 1984–1991

Oh Love
Curated by Glenn Fuhrman
Posted to Instagram on April 13, 2020

Oh Love, curated by FLAG’s founder Glenn Fuhrman, is the first in a series of Instagram exhibitions in which artists, friends, and collaborators organize thematic shows as visual essays. Each show features an eclectic range of artworks and objects, brought together without the restrictions of time or place.

Jeff Koon’s Bourgeois Bust, 1991, starts off this exhibition with to me what has always been the quintessential depiction of pure LOVE. It has stayed firmly rooted in my mind’s eye since I first saw it in the early 1990s at Anthony d’Offay’s London gallery. It now resides at Tate as part of Anthony’s Artist Rooms donation. Oh Love covers almost 600 years of art history starting with Jan van Eyck’s full-length double portrait The Arnolfini Wedding, 1434. This work also holds a special place in my heart as I studied Art History in London at University College in the late 1980s and used to go stand in front of it often at the National Gallery. Four other favorites by Jordan Casteel, Patricia Cronin, Felix Gonzalez-Torres, and Jim Hodges complete the exhibition. –Glenn Fuhrman


Jeff Koons (b. 1955)
Bourgeois Bust, 1991
119 x 74.55 x 58 cm
Location: The Tate, London

Jan van Eyck (1390-1441)
Portrait of Giovanni(?) Arnolfini and his Wife, 1434
Oil on oak
82.2 x 60 cm
Location: The National Gallery, London
Jordan Casteel (b.1989)
Golden Girl, 2019
Oil on canvas
180.3 x 142.2 cm
Location: Private

Felix Gonzalez-Torres (1957-1996)
Untitled” (Perfect Lovers), 1991
Clocks, paint on wall
35.6 x 71.2 x 7 cm
Location: The Museum of Modern Art, New York
Patricia Cronin (b.1963)
Memorial to a Marriage, 2002
Carrara marble
Over life-size, 210.8 x 101.6 x 68.8 cm
Location: Cronin-Kass plot, Woodlawn Cemetery, Bronx, NY
(Photography: Tom Powell Imaging)

Jim Hodges(b.1957)
A Line to You, 1994
Silk, plastic, and wire with thread
535.9 cm
Location: Private Collection