David Richard Gallery Podcasts

David Richard Gallery is pleased to present Joe Ramiro Garcia, Keep Off the Grass, his first solo exhibition in New York and debut with the gallery. Garcia’s paintings are narrative, derived from current events and inspired by art historical figures, while the imagery and palettes reference personal memories and emotions. Initially, the paintings appear Pop-inspired and a collaging of everyday, somewhat banal and often appropriated images. However, the paintings are highly technical in that they also incorporate a complex printing process to introduce certain imagery that provides not only layers of color and detail, but also content as a referent and/or memory trigger. The medium for the image transfer process is paint, not ink, so that every layer and detail in the composition is painted.

David Richard Gallery is pleased to present Julio Valdez, Water Paintings, in his first solo exhibition with the Gallery. The presentation includes a selection of 15 paintings created from 2012 through 2019 and one earlier painting from 2008 when the artist initially embarked on this ambitious and extensive body of work. The sizes of the paintings in this presentation range from 12 x 10.5 inches up to 54 x 76 inches. Some of the largest paintings were prepared for and included in the 58^th edition of the Venice Biennale where Valdez represented the Dominican Republic.

David Richard Gallery is pleased to present Julio Valdez, Water Paintings, in his first solo exhibition with the Gallery. The presentation includes a selection of 15 paintings created from 2012 through 2019 and one earlier painting from 2008 when the artist initially embarked on this ambitious and extensive body of work. The sizes of the paintings in this presentation range from 12 x 10.5 inches up to 54 x 76 inches. Some of the largest paintings were prepared for and included in the 58^th edition of the Venice Biennale where Valdez represented the Dominican Republic.

David Richard Gallery is pleased to present Julio Valdez, Water Paintings, in his first solo exhibition with the Gallery. The presentation includes a selection of 15 paintings created from 2012 through 2019 and one earlier painting from 2008 when the artist initially embarked on this ambitious and extensive body of work. The sizes of the paintings in this presentation range from 12 x 10.5 inches up to 54 x 76 inches. Some of the largest paintings were prepared for and included in the 58^th edition of the Venice Biennale where Valdez represented the Dominican Republic.

David Richard Gallery is pleased to present Wax and Wane by Kevin Umaña, his first solo exhibition in New York and with the Gallery. This exhibition of 17 new artworks created during 2021 is part of a larger body of work comprised of five different, but related and interdependent bodies of works that differ by size, supports and media. The various bodies of work include: 1) seven large canvases made of acrylic and oil media that also include a range of additions that model and provide tactile and sculpted surfaces to the individual geometric shapes; 2) four smaller paintings that experiment with novel supports, media and additions to the media as well as specific geometric shapes and compositions that have a direct dialogue with the larger paintings; 3) two flat-ish glazed ceramic wall pieces; 4) two hybrid paintings with additions of flat glazed ceramic fragments adhered to the canvas and integrated within the compositions; and 5) one painted, wooden, free-standing sculpture on a pedestal.  

David Richard Gallery is pleased to present Wax and Wane by Kevin Umaña, his first solo exhibition in New York and with the Gallery. This exhibition of 17 new artworks created during 2021 is part of a larger body of work comprised of five different, but related and interdependent bodies of works that differ by size, supports and media. The various bodies of work include: 1) seven large canvases made of acrylic and oil media that also include a range of additions that model and provide tactile and sculpted surfaces to the individual geometric shapes; 2) four smaller paintings that experiment with novel supports, media and additions to the media as well as specific geometric shapes and compositions that have a direct dialogue with the larger paintings; 3) two flat-ish glazed ceramic wall pieces; 4) two hybrid paintings with additions of flat glazed ceramic fragments adhered to the canvas and integrated within the compositions; and 5) one painted, wooden, free-standing sculpture on a pedestal.  

David Richard Gallery is pleased to present Wax and Wane by Kevin Umaña, his first solo exhibition in New York and with the Gallery. This exhibition of 17 new artworks created during 2021 is part of a larger body of work comprised of five different, but related and interdependent bodies of works that differ by size, supports and media. The various bodies of work include: 1) seven large canvases made of acrylic and oil media that also include a range of additions that model and provide tactile and sculpted surfaces to the individual geometric shapes; 2) four smaller paintings that experiment with novel supports, media and additions to the media as well as specific geometric shapes and compositions that have a direct dialogue with the larger paintings; 3) two flat-ish glazed ceramic wall pieces; 4) two hybrid paintings with additions of flat glazed ceramic fragments adhered to the canvas and integrated within the compositions; and 5) one painted, wooden, free-standing sculpture on a pedestal.  

David Richard Gallery is pleased to present Diverse Vocabularies by Roland Gebhardt in his second solo exhibition with the Gallery in New York. The common thread in this presentation is the artist’s ongoing systematic exploration of voids in various sculptural objects. The sculptures in this presentation are made of natural or painted wood and range from free-standing floor works to pedestal pieces and wall sculptures. There are 4 additional wall sculptures comprised of paper, cut voids and matte black paint all hung from wood cleats. The nuance, and first of two curatorial foci in the presentation, is how the voids are realized, either literally as a dimensional void (or cut) in the material of an object or, the shape of the void painted graphically in matte black paint on the surface of the object.

David Richard Gallery is pleased to present Diverse Vocabularies by Roland Gebhardt in his second solo exhibition with the Gallery in New York. The common thread in this presentation is the artist’s ongoing systematic exploration of voids in various sculptural objects. The sculptures in this presentation are made of natural or painted wood and range from free-standing floor works to pedestal pieces and wall sculptures. There are 4 additional wall sculptures comprised of paper, cut voids and matte black paint all hung from wood cleats. The nuance, and first of two curatorial foci in the presentation, is how the voids are realized, either literally as a dimensional void (or cut) in the material of an object or, the shape of the void painted graphically in matte black paint on the surface of the object.

David Richard Gallery is pleased to present Color Field Paintings from the 1960s and 1970s: Aesthetic Transitions Through Process, Willem de Looper’s first solo exhibition with the gallery and his first in New York City since 1988. The presentation of 13 paintings from 1968 to 1976 covers a seminal period in the artist's career. De Looper (1932, The Hague, Netherlands – 2009, Washington, D.C.) maintained his focus on formal concerns using a process driven approach that yielded numerous color-based abstractions during these decades. The big shift during this period was his moving away from pouring and physically rolling and manipulating the paint on the canvas surface to bringing brushes and rollers into the process to guide the location, but not always the flow and final placement of the acrylic paint. Thus, the compositions transitioned from amorphous, billowy and free-flowing using mostly gravity and chance to drive his compositions to decidedly creating striated bands of color, often unbounded and melding from one to the other. The continued application of multiple thin layers of pigment and allowing underlayers and residue of previous passages to remain and peak through upper layers maintained a level of chance and surprise that was just as challenging to control and fresh to the artist as the tilting of the canvases and rolling the pigment in an attempt to guide the outcome.

David Richard Gallery is pleased to present Color Field Paintings from the 1960s and 1970s: Aesthetic Transitions Through Process, Willem de Looper’s first solo exhibition with the gallery and his first in New York City since 1988. The presentation of 13 paintings from 1968 to 1976 covers a seminal period in the artist's career. De Looper (1932, The Hague, Netherlands – 2009, Washington, D.C.) maintained his focus on formal concerns using a process driven approach that yielded numerous color-based abstractions during these decades. The big shift during this period was his moving away from pouring and physically rolling and manipulating the paint on the canvas surface to bringing brushes and rollers into the process to guide the location, but not always the flow and final placement of the acrylic paint. Thus, the compositions transitioned from amorphous, billowy and free-flowing using mostly gravity and chance to drive his compositions to decidedly creating striated bands of color, often unbounded and melding from one to the other. The continued application of multiple thin layers of pigment and allowing underlayers and residue of previous passages to remain and peak through upper layers maintained a level of chance and surprise that was just as challenging to control and fresh to the artist as the tilting of the can

David Richard Gallery is pleased to present Color Field Paintings from the 1960s and 1970s: Aesthetic Transitions Through Process, Willem de Looper’s first solo exhibition with the gallery and his first in New York City since 1988. The presentation of 13 paintings from 1968 to 1976 covers a seminal period in the artist's career. De Looper (1932, The Hague, Netherlands – 2009, Washington, D.C.) maintained his focus on formal concerns using a process driven approach that yielded numerous color-based abstractions during these decades. The big shift during this period was his moving away from pouring and physically rolling and manipulating the paint on the canvas surface to bringing brushes and rollers into the process to guide the location, but not always the flow and final placement of the acrylic paint. Thus, the compositions transitioned from amorphous, billowy and free-flowing using mostly gravity and chance to drive his compositions to decidedly creating striated bands of color, often unbounded and melding from one to the other. The continued application of multiple thin layers of pigment and allowing underlayers and residue of previous passages to remain and peak through upper layers maintained a level of chance and surprise that was just as challenging to control and fresh to the artist as the tilting of the canvases and rolling the pigment in an attempt to guide the outcome.

David Eichholtz joins Isaac Aden in his studio in New York to discuss his artwork for the exhibition "Immersion" at David Richard Gallery

David Eichholtz joins Isaac Aden in his studio in New York to discuss his artwork for the exhibition "Immersion" at David Richard Gallery

David Eichholtz joins Isaac Aden in his studio in New York to discuss his artwork for the exhibition "Immersion" at David Richard Gallery

David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.

David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.

David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.

David Richard Gallery is pleased to present Robert Walker’s newest series of paintings in Zhoosh, his first solo exhibition in New York and debut with the gallery. The presentation will include 14 works comprised of thirteen small-to-medium easel-sized, mixed media paintings on panel and one painting on paper. The imagery is dense and colorful, not quite vignettes nor a montage with a common thread or theme that delivers a particular story. Instead, they are episodes or burst of the artists thoughts, art historical references and moments of inspiration that create a cohesive visual experience. The images range from symbols and iconography that reference diverse cultures, religions and belief systems to formal concerns in art coming out of Modernism and Post-War abstraction.

David Richard Gallery is pleased to present Arlo Namingha, Stories and Conversation, his first solo exhibition in New York in 17 years and his debut with David Richard Gallery. The presentation includes 19 new and recent sculptures and wall reliefs in a variety of carved and polished stones and wood. Namingha’s artworks are clean lined and minimalist, reductions of complex imagery such as the landscape, pueblo buildings, people, animals, butterflies and fish as well as abstractions that include cultural symbols, the fifth world, timelines and Mother Earth.