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Visions of Brazil: Reimagining Modernity from Tarsila to Sonia Ocula Report Visions of Brazil: Reimagining Modernity from Tarsila to Sonia 18 May 2019 : Fawz Kabra for Ocula

Bridging almost a century of Brazilian art, Visions of Brazil: Reimagining Modernity from Tarsila to Sonia at Blum & Poe in New York (30 April–22 June 2019), hosted in collaboration with Mendes Wood DM, offers a rereading of Brazilian Modernism through the works of artists practising at different times, from the 20th century through to the...

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Reiko Tomii Ocula Conversation Reiko Tomii

In 1969, Horikawa Michio, schoolteacher and member of the artist collective GUN (Group Ultra Niigata), filled out the customs paperwork to mail a one-kilogram river stone from Niigata, the proverbial 'backside of Japan', to President Nixon. In return, Horikawa received a thank you note for this 'most unusual Christmas gift'—a muted anti-war...

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Yun Hyong-keun in Venice: The Artist Behind the Paintings Ocula Report Yun Hyong-keun in Venice: The Artist Behind the Paintings 4 May 2019 : Sherry Paik for Ocula

'He was not a "political" kind of person. He just wanted to be honest and straight. But it was not easy in Korea to live like that,' writes curator Kim Inhye on artist Yun Hyong-keun. For much of his life, Yun lived in proximity to some of the most tumultuous moments in modern Korean history, from which he emerged as a pioneer of abstract...

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Ryan Sullivan

b. 1983, USA

Ryan Sullivan (b. 1983) lives and works in New York. He studied at the Rhode Island School of Design, Providence (RI). In 2015 he staged a major solo exhibition at the Institute of Contemporary Art, Miami — his first one-person exhibition in a US institution. Other solo exhibitions include his 2013 presentation at Hydra's Workshop, Hydra, Greece. In 2013, he was artist in residence at the Robert Rauschenberg Foundation, Captiva (FL), and artist-in-residence at the Chinati Foundation, Marfa (TX). Sullivan's work has been featured in group exhibitions including New Skin, Aishti Foundation, Beirut, Lebanon, 2016; Surface Tension, The FLAG Art Foundation, New York, 2015; New York Painting, Kunstmuseum Bonn, Bonn, Germany, 2015; Empire State, Palazzo delle Esposizioni, Rome, Italy, 2013; and Nothing Turned Itself Inside Out, White Flag Projects, St. Louis (MI), 2013. A new book on Sullivan's practice is forthcoming, published by ICA Miami and Dancing Foxes Press. The book will feature texts by Tim Griffin, Alex Gartenfeld, Christian Scheidemann, and a conversation with artist Laura Owens.

Featured Artworks

Untitled by Ryan Sullivan contemporary artwork Ryan SullivanUntitled, 2018 Paint on paper
51 x 41.2 cm
Sadie Coles HQ
Untitled by Ryan Sullivan contemporary artwork Ryan SullivanUntitled, 2019 Cast urethane resin, fibreglass, epoxy
137.2 x 119.4 x 3 cm
Sadie Coles HQ
Untitled by Ryan Sullivan contemporary artwork Ryan SullivanUntitled, 2018 Cast urethane resin, fiberglass, epoxy
243 x 177.5 x 4 cm
Sadie Coles HQ
Untitled by Ryan Sullivan contemporary artwork Ryan SullivanUntitled, 2018 Cast urethane resin, fiberglass, epoxy
213.4 x 152.4 cm
ShanghART

Recent Exhibitions

Contemporary art exhibition, Ryan Sullivan, one minute's music, one minute's time at Sadie Coles HQ, London
Closed
12 January–23 February 2019 Ryan Sullivan one minute's music, one minute's time Sadie Coles HQ, Kingly Street

Represented By

In Related Press

Three exhibitions to see in London this weekend Related Press Three exhibitions to see in London this weekend The Art Newspaper : 18 January 2019

Are an artist’s failures and mistakes concomitant with the power of their work? This is the question Ryan Sullivan appears to asks in his series of large, dynamic canvases that fill Sadie Coles HQ. One Minute’s Music, One Minute’s Time (until 23 February) includes works that reflect on spontaneity within painting, taking their form of abstraction...

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Ryan Sullivan Related Press Ryan Sullivan Artforum : 12 January 2019

Sullivan’s images are records of their production—indices of his processual improvisation. Spontaneous, yet informed by the contours of each preceding stroke.

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