Announcement: Art On Paper NYC 2022

Abigail Ogilvy Gallery is proud to announce our inclusion in Art On Paper New York 2022. Located at Pier 36 in Downtown Manhattan, the fair will feature 100 galleries focused on top modern and contemporary paper-based art. We look forward to featuring artworks by gallery artists Wilhelm Neusser, Nathaniel Price, and Coral Woodbury.

Occurring during Armory Week NYC 2022, the dates of the fair are September 8 - 11.

We will announce further details soon. For more information about Art On Paper and to purchase tickets, click here.

VOLTA Basel, Switzerland

This September, VOLTA Basel returns for its 16th edition as part of Art Basel Switzerland, where Abigail Ogilvy Gallery will present new artworks by Brooklyn-based artist Austin Eddy and San Diego-based artist Natalia Wróbel.

Both artists create a visual dialogue through hidden shapes, scaffolding, and figures. For Eddy, his process produces semi-representational works that convey emotions and energies of situations and individuals; the paintings have been broken down to the basic building blocks of each story or thing being portrayed. In Wróbel’s paintings, she references mindfulness philosophy, neural networks, elements from nature, particle cosmology, classical, jazz, and electronic music, ancient architecture, lyric poetry, and theories about the interconnectedness of the universe to elicit meditative abstractions. The question “what is painting” is at the forefront of their exploration and experimentation. Through the tools of abstraction and other historical painting languages, they break down qualitative aspects of painting and challenge the art historical canon.

Dates: September 20 – 26, 2021
Location: Elsässerstrasse 215, Basel, Switzerland


Austin Eddy, Every Duck In Its Place While Moving From Here To There Forgetting Nothing, 2019. Oil, flashe, colored pencil, paper on canvas in artists frame. 22 x 26 in. (SOLD)

Austin Eddy was born in Boston, MA (USA) in 1986 and lives and works in Brooklyn, NY. He received a BFA in Painting from the School of the Art Institute of Chicago. Select recent exhibitions include: Althius Hofland Gallery, Amsterdam (2020), Galerie Sabine Knust, Munich (2020), Hermes Riders Lounge, Lyon, France (2019), Volta NYC (Plan B) (2019), Ampersand Gallery in Portland, OR (2018), David Shelton Gallery, Houston, TX (2017), Dallas Art Fair (2017), Code Art Fair, Bendixen Contemporary Art. Copenhagen, DK. (2016), Agnes B. Gallerie, Paris, FR (2016), and Left Field Gallery, Los Angeles, CA (2015). He recently completed the Liquitex International Residency in London, England (2018). Austin Eddy is the founder and curator of EDDYSROOM, a nomadic curatorial project launched in 2015.

Natalia Wróbel, Jigsaw, 2021. Oil paint on canvas. 24 x 36 in.

Natalia Wróbel is an artist based in Encinitas, CA after spending years in Boston, Amsterdam, and New York City. Originally from La Jolla, CA, Wróbel studied Studio Art and Art History at Dartmouth College in New Hampshire. She furthered her study at the Lorenzo de'Medici Institute in Florence and then the New York Studio School (NYSS). She received the NYSS Mercedes Matter Fellowship in 2012, and the Murray Art Prize in 2015. In 2017, Wrobel completed a painting residency at the Berlin Art Institute. Her work has been featured at international art fairs including Art Basel: Miami, Texas Contemporary, and Art SouthHampton, and has been an official selection at the Museum of Fine Arts Boston, and MassArt Auction. Her paintings have been featured in publications in the US and Europe, in coursework at The Massachusetts Institute of Technology (MIT), and are included in public and private collections around the United States, Europe, South America, Asia, and Australia.

The Person-less Portrait: SPRING/BREAK Art Show 2020

Preview artwork online

Abigail Ogilvy Gallery is thrilled to announce our second year of participation in Spring / Break Art Show, occurring March 3 - 9, 2020 in New York City. The two-person booth, titled The Person-less Portrait, will include a wallpaper installation and new paintings by Katelyn Ledford and videos by Marisa Adesman. The artwork on view is a part of the 2020 art fair theme, In Excess.

Marisa Adesman, Still from video: How to Make PERFECT Chocolate Chip Cookies!, 2018, 2 minutes 58 seconds

Marisa Adesman and Katelyn Ledford’s artwork uses absurdist logic, shock, and humor to parody the process by which one can enhance the delectableness of one’s own appearance. This presentation of their artwork takes self-absorption to a new extreme. By using themselves in their work, both artists explore the ways in which visual disorientation of the domestic space can work to destabilize and unmoor ingrained assumptions that have been historically limiting for women. They investigate the politics of the so-called “domestic goddess” – using their work to negotiate a new form of feminine identity. In Adesman’s videos and Ledford’s paintings, humor plays an important role to help digest uncomfortable and painful realities, all while emphasizing the joys and anxieties associated with social media.

Adesman and Ledford are obsessed with analyzing this hysterical realism and consumerism in the digital age. Both artists bring into question: at what point does our online persona end and reality take over – or is she now one and the same?

Katelyn Ledford, Burned Out, 60 x 48 in., acrylic and oil on canvas, 2019

Marisa Adesman takes an interdisciplinary approach to explore the ways in which the grotesque body conflicts with our visual glossary for beauty and health. She aims to construct new ideals that celebrate, rather than shame, the female grotesque. This work also explores ideas of consumption – of media, food, and even one’s own image. One domain where women in particular strive to present their “best self” is social media and content-sharing websites. Adesman’s work calls out the ways in which these digital iterations of ourselves are so highly stylized, idealized, and fabricated that these depictions ignore and negate the entropic messiness of real life.

Katelyn Ledford also addresses the topic of this “every woman” that has emerged through social media. In her wallpaper installation, she tiles her own face into a repetitive pattern so that her unflinching gaze overpowers the viewer. From a distance, the face merges into a simple grid pattern, no longer human. In Ledford’s paintings, she considers the role of digital technologies and images in shaping the curated portrait of women at large and individually.  Her work combines hyper-realistic imagery of crying women, often self-portraiture, with warped advertisements and details from historical paintings. Ultimately, she seeks a mode of painting that can slow down the viewer and make them consider our image-saturated, online-obsessed, contemporary reality within the framework of portraiture.

The booth intentionally highlights the ways in which social media is now the endless search for the astounding.

Visit Spring / Break Art Show 2020 from March 3 - 9, 2020
625 Madison Avenue, New York, NY

VOLTA New York: Lavaughan Jenkins

Wednesday, March 4 – Sunday, March 8, 2020
Metropolitan West, 639 West 46th Street @12th Avenue, New York, NY

Lavaughan Jenkins, Studio visit 2019, Works in progress: plaster underlayers before he begins painting.

Abigail Ogilvy Gallery is proud to announce our second year of participation in VOLTA New York art fair with a solo booth presentation by Lavaughan Jenkins. The booth will feature Jenkins’ new large scale figures and works on paper that will be publicly exhibited for the first time. His paintings push the boundaries of medium by using oil paint to make 3-dimensional work—what he refers to as 3D Paintings, which imitate sculpture. The works are thick, multi-colored brush strokes smeared and built up to form an army of men that vaguely resemble the artist. The figures prod and extract memories of moments Jenkins has forgotten, bringing them to the forefront of his mind to be discovered and recovered. Intrigued by the novel ‘Man Walks into a Room’ by award-winning author Nicole Krauss, Jenkins investigates the “memory doctor” characters who observe others’ memories and retell them as not to be forgotten. He is drawn to the idea of wanting to recover things lost, the paintings are narrators, storytellers, “memory doctors” observing and reacting to his recollections as people from his life play parts in his work. As Jenkins works, the paintings tell their story back to him.

Artist Statement:
“I have cultivated a long relationship with painting—one that I challenge and redefine with each piece. My works demand attention and admiration of the viewer, rather than being polite and academic societal studies of art. I attempt to grasp complex human emotional ideas and memories, reclaiming them over time, and all the while never losing grip on present moments and emotions. My work is an ephemeral experience of being human and the realization that we create a lifetime of memories that fade and are replaced with newer ones.

The very materiality of paint consumes me. I apply the paint with anything I can get my hands on: brushes, palette knives, syringes, and Q-tips. All of these serve as tools for a diverse mark-making. Through scraping and adding, and repeating, I continuously work and rework the surface. The figures emerge, and at times spill over the edge of the canvas, allowing them to come in contact with the world beyond the painting, unrestricted as three-dimensional paintings. The depth of the work creates ever-changing shadows across the wall, nearly as important as the finished paintings themselves. Accidental spills creating boundless forms; this is what I love about painting. With each work brought from conception to completion, I am compelled to experience love’s conclusion and after effects. The process allows me to fall in love over and over again. As with love itself, sometimes a sensitive and delicate touch is required, yet other times they need to become abrasive and cruel. One must come to know when to allow what is murky, or dubious in nature, to be vivid in its own right. At other times, the paint must work like frosting on a cake, sweet and concealing that which is substantial. In that near concealment it becomes substantial itself. Still yet, there are times when the work must delve into grotesque distortions and excesses.”

- Lavaughan Jenkins

Lavaughan Jenkins is a painter, printmaker and sculptor, he was raised in Pensacola, Florida and currently creates his work in Boston, MA. With no prior experience in the arts, Jenkins moved to Boston in 2003 to study English Literature at Roxbury Community College where they suggested he take one “real” class and one “make believe” class – which was art. His Drawing professor urged Jenkins to instead enroll in an arts college, he did so, and received a BFA from the Massachusetts College of Art and Design in 2005. Since that time, Jenkins has become a recipient of the 2019 James and Audrey Foster Prize awarded annually by the Institute of Contemporary Art / Boston. In 2016, he was named Emerging Artist of the year at Kingston Gallery in Boston, MA, Jenkins is a recipient of the 2015 Blanche E. Colman Award and in 2002 received the Rob Moore Grant in Painting. He has exhibited his work most recently at venues such as The Institute of Contemporary Art/ Boston, Spring Break/Art Show (NYC), Fitchburg Art Museum, Abigail Ogilvy Gallery (Boston), Galerie C.O.A. (Montreal), Craig Krull Gallery (LA), Suffolk University Gallery (Boston), and Pine Manor College. Jenkins donates annually to the Massachusetts College of Art and Design Auction which supports student scholarships.