Persona

Misrach at its 540 West 25th Street gallery in New York. On view from January 17 to March 1, 2025, this will be the first presentation devoted to CARGO, a body of work that Misrach began in 2021 during the COVID-19 pandemic.</p><p>During the last week of the show, advance copies of CARGO (Aperture, May 2025) will be available to view at the gallery. Pace will also host a talk between the artist and Sarah Meister, Executive Director of Aperture.</p><p>Misrach is known for his poignant, large-scale color images that lean into social, political, and environmental issues while also engaging with the history of photography. In his radiant, contemplative works, Misrach—who is based in California—often examines the destructive impact of human interaction with the natural world. His works have examined man-made fires and floods, nuclear test sites, and animal burial pits in the American West; the petrochemical corridor in Louisiana; the landscape of the US-Mexico border; as well as more lyrical subjects like San Francisco’s iconic Golden Gate Bridge and his recent hydrofoil surfer series in Hawaii.</p><p><br></p>" />

exhibition of Nevelson</a>’s late works, curated by gallery founder Arne Glimcher, at its 540 West 25th Street location in New York.</p><p>On view from January 17 to March 1, 2025, this show will place Nevelson’s iconic monochromatic sculptures in black and white in dialogue with her collages—including several rarely seen and never previously exhibited masterworks—made in the 1970s and 1980s.</p><p>Like Mondrian’s, Nevelson’s compositions are based on a strict adherence to vertical and horizontal regularity. During the 1970s and 1980s, there was a significant development: Nevelson incorporated the diagonal into her vocabulary. A new, angular energy surfaced in many of the works she produced during this period, breaking the rules by which she traditionally composed her work.</p><p>These late works shed new light on her evolving aesthetic, bringing into focus a series of remarkably productive years of her practice in which she experimented with a new vocabulary of robust, muscular, and often minimal forms while staying true to her lifelong investigations of materiality, shape, and shadow.</p><p>Rooted in the legacies of Cubism and Constructivism, Nevelson’s artworks were widely celebrated during her lifetime for incorporating unexpected combinations of materials and forms. As part of her distinctive approach to abstraction, the artist often explored the myriad possibilities of collage—a technique she transposed into sculpture by means of compartmentalized elements and forms liberated from everyday meaning. Nevelson’s use of the collage aesthetic was formalist. Her art of scavenging and her affinity for the materiality of wood are linked to her personal life and her remarkable story.</p><p><br></p>" />

Keyser’s career</a> from the 1980s to the 2000s. The exhibition, which marks the first time the gallery has shown such an expansive selection of De Keyser’s oeuvre, follows David Zwirner’s celebrated presentations of the artist’s work in Hong Kong in 2021 and 2022, and, in 2016, Raoul De Keyser: Drift, his last solo exhibition in New York, which was first on view at David Zwirner London in 2015–2016.</p><p>Throughout the course of his highly influential career, De Keyser engaged in a singular investigation of the potential expression and pictorial capabilities of abstract painting. Made up of simple shapes and painterly marks, his works allude to the natural world and representational imagery while avoiding suggestions of narrative or reductive frameworks that limit experience and interpretation. De Keyser’s ability to find new and exciting ways to invigorate his surfaces resulted in his reception as a major influence for contemporary painters—“an artist’s artist.” Though De Keyser has been the subject of numerous surveys and solo exhibitions at museums and institutions in Europe since the 1970s, this exhibition will be a rare opportunity for New York audiences to experience the breadth of his practice, his beguiling sense of color, his deft and delicate surfaces, and his sometimes poetic, sometimes mysterious, sometime rigorously formal paintings.</p><p><br></p>" />