February 1 to April 27, 2024
Wednesday, February 14, 6:30 PM: Sebastian Kaupert, Christian Rattemeyer, Adam Simon conversation
OSMOS Address
50 East 1st Street
New York, NY 10003
Open Thursday-Saturday, 12:00 PM - 6:00 PM
opening reception
Wednesday, November 8, 2023
6 to 8 pm
on view through January 20, 2023
OSMOS Address, 50 E 1st Street, New York, NY 10003
opening and conversation with the artist
Saturday, December 2
2 to 4 pm
on view until Sunday, January 7, 2024
ARTS&REC at OSMOS Station
20 Railroad Avenue, Stamford, NY 12167
programs@artsrec.org
osmos.address@gmail.com
917 362 5415
opening Wednesday, September 6, 2023
6:00-8:00pm
on view until November 4, 2023
OSMOS Address, 50 E 1st St, New York, NY
open Thurs-Sat, 12:00pm-6:00pm
opening Saturday, September 2
2:00-6:00pm
on view through Saturday, October 1
ARTS&REC is pleased to invite you to an exhibition opening of paintings by artist
Ivan Prerad (b. 1988, Zagreb, Croatia) made during his residency at OSMOS Station.
ARTS&REC at OSMOS Station
20 Railroad Avenue
Stamford, NY 12167
programs@artsrec.org
917 362 5415
Opening Thursday, July 20, 2023, 6 to 8 pm
On view Friday, Saturday, Sunday 10 to 6 and by appointment
For UPSTATE ART WEEKEND 2023, arts&rec at OSMOS Station is presenting a new exhibition by artists Jonah Freeman and Justin Lowe, entitled High Entropy Breakfast.
This exhibition is funded in part by generous support from the A. Lindsay & Olive B. O'Connor Foundation and a Delaware County Local Community Tourism Grant.
An exhibition curated by Cay-Sophie Rabinowitz and designed by Christian Rattemeyer with support from Scott Hill at OSMOS Station in Stamford to commemorate what Brooke and Peter did for the community year after year. The exhibition includes sketches, ephemera, filmed documentation, photographs, props, and relics from 26 years of Fourth of July gatherings.
Public opening: Saturday, July 1, 2023, 6 to 9 pm
Bring a dish to pass (in keeping with tradition)
Exhibition on view until July 17, 2023
For the first time in North America, the OSMOS exhibition at EXPO Chicago features Richard Bell’s newest statement & protest paintings alongside his early photo and text work—These works will travel to OSMOS Address, NYC, for a solo exhibition with Bell.
opening Thursday, April 20, 2023, 6-8p
on view until Thursday, June 25, 2023
Thursday-Saturday, 12p-6p (& by appointment)
Press Release | Checklist | CV
As an accompaniment to the exhibition Julije Knifer: Rules and Emotions, curators Ksenia Nouril, Ana Knifer, and Christian Rattemeyer will be present in conversation on the occasion of the launch of the monograph Julije Knifer: Collages for Meanders (OSMOS Books, 2022).
Join us on Thursday, April 6, 2023
6:30 - 8 pm
presented in collaboration with Peter Freeman, Inc.
————
photo: Julije Knifer book launch,
National Museum of Modern Art, Zagreb, Sept. 19, 2022
opening Saturday, March 11, 2023
on view until Saturday, April 15, 2023
Thursday - Saturday 12-6 pm (and by appointment)
OSMOS Station, 20 Railroad Ave, Stamford, NY
opening Thursday, March 9, 2023
4 to 6 pm
opening Thursday, January 26, 2023
5 - 7 pm
on view until March 4, 2023
Thursday - Saturday 12 - 6 pm (and by appointment)
Opening Sunday, November 20, 2022
exhibition preview: 12 - 5 pm
opening reception: 5 - 7 pm
on view until January 20, 2023
Thursday - Friday 12 - 6 pm (and by appointment)
Join OSMOS at the Printed Matter Book Fair this weekend, OCTOBER 13 - 16, 2022, at BOOTH E35; 548 West 22nd Street, NYC. Please be sure to note the times for our featured events:
SATURDAY, OCT 14 at 1 PM: OSMOS Magazine 23 Launch
SATURDAY OCT 14 at 4 PM: Bev Grant Book Signing
Richard Bell: Prelude to a Trial (Bell's Theorem), 2011
Bev Grant: Black Panther Party Free Breakfast Program, 1969
OSMOS Station, July 22 - August 28, 2022
Santiago de Paoli’s new paintings bring together cultural memories from his hometown of Buenos Aires with new experiences of his rural residence in Upstate New York. The small painting pictured, In the Field, presents a piece of corn, rendered as a luminous relief, driven into pure copper as outline and volume.
As part of Upstate Art Weekend 2022, OSMOS premiered Patrick Killoran’s Glass Outhouse. First shown in 2002 at New York’s Sculpture Center, Glass Outhouse consists of a standard portable toilet fitted by Killoran with transparent PVC walls and doors that allow the occupant to see out, without the public being able to see in. The piece explores the boundaries of the private and the public, whilst also existing as a fully functional work of art. This participatory sculpture will remain at OSMOS Station in Stamford, NY for visitors to use and experience for the coming season.
OSMOS Station‘s latest exhibition is by current artist-in-residence, Kevin Claiborne.
Claiborne is featured in OSMOS Magazine Issue 22 and in our current exhibition, back & write at OSMOS Address in New York City, open by appointment in July.
Kevin Claiborne (b. 1989) is an American multidisciplinary conceptual artist, whose work examines intersections of identity, social environment, and mental health within the black American experience. His show at OSMOS Station represents Kevin's interactions with and responses to the environment of rural upstate New York, and continues to develop his practice focused on photography, collage, and sculpture.
Fiona Banner, Richard Bell, Kevin Claiborne, Emory Douglas, Leslie Hewitt
back & write is a group exhibition featuring work by Fiona Banner, Richard Bell, Kevin Claiborne, Emory Douglas and Leslie Hewitt. These relevant artists have been key contributors to the OSMOS community. Over the past 20 years, OSMOS has exhibited, published, and/or produced projects with each of them, and we are now honored to assemble and share their word-and-image-based works in our project space for art gatherings, publications, and exhibitions in the East Village storefront that was once a saloon frequented by Emma Goldman and other radicals.
Michele Araujo, Larry Greenberg, Adam Simon, William Stone, Jude Tallichet
The title of this exhibition, which sounds like a warning, such as those found in construction sites or train stations, is more probably a reference to how the show evolved. A collection of unrelated artworks, which were imagined together in a space, gradually came to represent a continuum, albeit one with gaps: missing components, lacunae. One could imagine connecting works that have gone missing and which, were they still there, would provide thematic coherence.
Photographer, musician, and activist, Bev Grant will be celebrating the launch of her first monograph published by OSMOS Books, entitled, Bev Grant Photography 1968-1972, alongside the opening of her solo exhibition.
Untold Dreams by New York-based artist Steel Stillman is a site-specific installation of 74 photographs taken between 2018 and 2021, mostly in the northeastern United States.
Stillman often deploys his unsettling photographs in service of a deeply personal form of storytelling. Oscillating between diary, photo album, speculative fiction, and confessional, his photographic installations are layered, enigmatic and often suggest a disquiet under their calm surfaces.
Craig Hein’s small-scale paintings and wall objects are bright and whimsical, often juxtaposing symbols of child - hood with references to the body and nature. Through a playful exploration of themes of rootedness, belonging, and success, a deliberately anti-heroic scale, and frequent references to “winning,” Hein’s work is self-referential and gently subversive of the traditional seriousness of artistic processes.
Carolyn Carr’s installation of photographs and paintings, entitled American Landscapes and Portraits, reminds viewers to advocate for authentic participation in the sensory realms of nature. Carr’s works capture and reflect awareness, transition, migration, and at the same time, seem untethered from the specifics of time and a place. A tree, a flower bed or a meadow become abstracted interlocking rings in a collapsed color field on flax linen.
opening Sunday, July 25, 2021
on view until August 22, 2021
For the past years, Daniel Horowitz has been working on an extensive research project called Souvenir Futurs joining found photographic images from the Bibliothèqu e National e in Paris with hand-applied marks and cyanotypes into complex compositions.
opening April 29, 2021
on view until June 27, 2021
A two-person exhibition with recent works by American artist Adam Simon & historical works by German artist & graphic designer Anton Stankowski (1906-1998).
Adam Simon featured in OSMOS Magazine Issue 22
1986 Conversation between Volker Rattemeyer & Anton Stankowski (OSMOS Magazine Issue 08)
OSMOS is supporting photographer Bev Grant in publishing "Bev Grant: Photographs 1968-1972". This topic has never been more relevant and the work deserves a wider audience.
Please join us in making this stunning account of the countercultural revolution a reality.
opening November 6, 2020
on view until December 20, 2020
At OSMOS Address in New York City, Sandy Williams IV has installed a selection of mixed-media sculptures, including his Wax Monument series, the Unattended Baggage series, and Planned Obsolescence II, a new video performance sculpture, which was created by the artist in situ on November 6, 2020. At all times, the public will be able to view this installation at OSMOS Address through the street facing window. The space and show are open by appointment with strict protective measures being observed.
Saturday & Sunday October 10-11, 2020. Lindsay August-Salazar, Julian Fleisher, Glockabelle, Remy Holwick, Carter Mull, and special guests. On Saturday 11am to 1pm we had a Mark and Movement Workshop with Lindsay August-Salazar and Sunday 6 to 9pm performances by Glockabelle & Julian Fleisher.
Brian Kokoska builds hypnotic, soothing landscapes with didactic color blocking and layers, creating mysterious narratives structured around imaginary and real memories of folklore, friends, and lovers from his time exploring the Schoharie Valley, the Catskill and Adirondack Mountains, as well as his childhood upbringing in rural British Columbia and the Canadian Rockies. OSMOS Station’s exhibition titled Pastures of Plenty, is named after Woody Guthrie's 1941 song of the same title, which the artist recalls listening to as a child on his grandparents farm.
Robert Russell (born 1971) lives and works in Los Angeles, California. Russell’s representational paintings explore concepts of identity, memory, desire and authenticity. OSMOS Station presented an exhibition of his works with a public opening on Sunday, September 13, 2020 and by appointment in the following weeks.
Bev Grant is a photographer, documentary filmmaker and musician who has been an activist since the 1960s. OSMOS Station presented a selection of Grant’s photographs and on Saturday, September 5, 2020 at 6:30pm, the artist performed an hour-long slide presentation accompanied by her music, in Stamford, NY.
Bob Witz (born Tomah, Wisconsin, 1934) has resided more than 30 years in a cluttered Chelsea loft, but his childhood in “America’s Dairyland” has continued to influence his art, especially his choice of materials. Since the 1970s, Witz has been producing Milk Carton Sculptures covered with cardboard, layers of oil paint, and found materials, such as bottle caps, rubber bands, hair ties, bobby-pins and wire. All start out as found milk cartons - some become bronzes cast from molds of milk carton constructions. This show at OSMOS is his most comprehensive since 2012.
Los Angeles based artist Robert Russell produced a new series of “book paintings” for his second show at OSMOS Address in New York City. The exhibition, entitled Robert Russell: Revisits, featured oil on linen paintings. Russell’s captures present what seem to be recognizable artists’ monographs, but his accomplished brushwork renders them with such awkward angles and ambivalence to focus, that one is prompted to blink to re-register our ability and inclination to distinguish between the real and the invented.
Los Angeles based artist Robert Russell produced a new series of “book paintings” for his second show at OSMOS Address in New York City. The exhibition, entitled Robert Russell: Revisits, featured oil on linen paintings. Russell’s captures present what seem to be recognizable artists’ monographs, but his accomplished brushwork renders them with such awkward angles and ambivalence to focus, that one is prompted to blink to re-register our ability and inclination to distinguish between the real and the invented.
Darrel Ellis’ artworks were largely made by projecting negatives left behind by his father, a photographer from Harlem and the Bronx who died in police custody in 1958, over reliefs on his wall and floor. This allowed him to distort and mask out parts between the source image and the projected one, intervening performatively to elicit multiple generations of artwork. Ellis was artist in residence at PS1 (1979-81) and Whitney ISP student (1981-82). In this first solo show in 20 years, OSMOS presented drawings, paintings, and photography alongside archival research.
Darrel Ellis’ artworks were largely made by projecting negatives left behind by his father, a photographer from Harlem and the Bronx who died in police custody in 1958, over reliefs on his wall and floor. This allowed him to distort and mask out parts between the source image and the projected one, intervening performatively to elicit multiple generations of artwork. Ellis was artist in residence at PS1 (1979-81) and Whitney ISP student (1981-82). In this first solo show in 20 years, OSMOS presented drawings, paintings, and photography alongside archival research.
"I began making these monument candles in the wake of a white-nationalist rally that erupted in protest of the proposed removal of a Robert E. Lee monument in Charlottesville, VA. After this event, many cities conducted a series of town-hall meetings in which residents were asked to voice their opinions concerning the future of these statues. In Richmond, after months of debate, we were told that these objects were federal property and that we did not have the power to remove them. I was somewhat surprised at how little agency we had over the public spaces that we occupy." - Sandy Williams IV in OSMOS Magazine ISSUE 19, Fall 2019, p. 69
Our Summer 2019 Program featured Guy Richards Smit, Marie Tomanova, Kay Rosen, Carolyn Carr, Wardell Milan, and Sandy Williams IV.
In 2018, OSMOS presented the first ever exhibition of Bev Grant’s extensive archive of documentary photographs. Focusing on political events of 1968, this exhibition traces the experiences of Grant on the frontlines of the Women’s Movement and other political movements of the time. Grant began taking photos as part of her participation in demonstrations, going beyond the Women’s Movement as she became a member of New York Newsreel, which gave her access to the Young Lords Party, the Black Panther Party, and the Poor People's Campaign.
While Duane Michals has previously stated that an artist’s political aspirations are “impotent,” this new body of work suggests a reconsideration of the artist’s role in speaking truth to power. Taking inspiration from Vladmir Tatlin’s Monument to the Third International (1919-1920) and employing the vocabulary of El Lissitzky's agitprop signs and Mikhail Plaksin's sculptures, Michals parodies the idiotic and absurd truisms pronounced by president Donald Trump to remind his audience to look a little deeper and to resist easy compliance.
While Duane Michals has previously stated that an artist’s political aspirations are “impotent,” this new body of work suggests a reconsideration of the artist’s role in speaking truth to power. Taking inspiration from Vladmir Tatlin’s Monument to the Third International (1919-1920) and employing the vocabulary of El Lissitzky's agitprop signs and Mikhail Plaksin's sculptures, Michals parodies the idiotic and absurd truisms pronounced by president Donald Trump to remind his audience to look a little deeper and to resist easy compliance.
Mike Bailey Gates, Payton Barronian, Claire Christerson, Logan Jackson, Peter Mix, Momo Meow, Ser Serpas
curated by Kenta Murakami
opening Monday, January 30, 2017
Rico Gatson, David Colman, Fiona Banner, Maynard Monrow, Andrea Bowers, Casey Legler, Emory Douglas
May 04, 2016 - June 30, 2016
This exhibition explored Modernist graphic design through the work of Klaus Wittkugel (1910–1985) in East Germany and Anton Stankowski (1906–1998) in West Germany, contrasting the image and meaning within competing social and economic systems. In the East, Wittkugel communicated socialist ideals through his posters, book covers, and propaganda in support of the state. In the West, Stankowski’s individualized aesthetic was guided by a constructivist approach, as photography was the basis for his posters, advertisements, and corporate logos.
This exhibition explored Modernist graphic design through the work of Klaus Wittkugel (1910–1985) in East Germany and Anton Stankowski (1906–1998) in West Germany, contrasting the image and meaning within competing social and economic systems. In the East, Wittkugel communicated socialist ideals through his posters, book covers, and propaganda in support of the state. In the West, Stankowski’s individualized aesthetic was guided by a constructivist approach, as photography was the basis for his posters, advertisements, and corporate logos.
In Michals’ 81 years, he has published over 50 titles featuring his own work. This exhibition looks back at his personal engagement with the raw materials, content, design and production of these volumes. For OPEN BOOK , Michals opened his archives to offer a behind-the-scenes view of his creative process.
In Michals’ 81 years, he has published over 50 titles featuring his own work. This exhibition looks back at his personal engagement with the raw materials, content, design and production of these volumes. For OPEN BOOK , Michals opened his archives to offer a behind-the-scenes view of his creative process.