Stephen Friedman Gallery

Stephen Friedman Gallery A contemporary art gallery that represents exceptional artists from around the world.

Caroline Walker’s major solo exhibition 'Mothering' is on view at Pallant House Gallery, having previously shown at The ...
16/02/2026

Caroline Walker’s major solo exhibition 'Mothering' is on view at Pallant House Gallery, having previously shown at The Hepworth Wakefield. ⁠
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Motherhood, particularly in its early days, weeks and months, seldom rhymes with stillness – instead, one may readily picture sleepless nights, bodily fluids and wailing. Artworks such as Walker's 'My Bottles and Pumps' (2024) explore this experience.⁠
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The piece speaks to the continual balancing act of parental care, paid work, and other responsibilities life may throw at parents. For centuries, maternal devotion has been depicted with women cradling children, infants suckling at the breast; here it is conveyed in breast pump valve, fl**ge and cap, stacked up silicone teats and bottle screw rings, the clinical plastic’s curves and translucency rendered in deftly loose brushstrokes. ⁠
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See the work on view until 26 April 2026. Click the 🔗 link to plan your visit and find out more: https://www.stephenfriedman.com/news/1274-caroline-walker-mothering/
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1. Installation views: 'Caroline Walker: Mothering’, Pallant House Gallery, Chichester, UK (2025). Copyright Caroline Walker. Courtesy the artist and Pallant House Gallery, Chichester, UK. Photo by Chris Ison.⁠
2. Caroline Walker, 'My Bottles and Pumps', 2024. Oil on board. 41 x 33cm (16 1/8 x 13in). Framed: 43 x 35 cm (16 7/8 x 13 3/4in). Copyright Yinka Shonibare. Courtesy the artist and Stephen Friedman Gallery, London and New York.⁠ Photo by Peter Mallet.

Please note our London and New York galleries will be closed today Saturday 31 January.Our London gallery will reopen as...
31/01/2026

Please note our London and New York galleries will be closed today Saturday 31 January.

Our London gallery will reopen as normal on Tuesday 3 February.

In solidarity with the National Shutdown Stephen Friedman Gallery in New York will be closed today Friday 30 January. We...
30/01/2026

In solidarity with the National Shutdown Stephen Friedman Gallery in New York will be closed today Friday 30 January.

We will re-open on Saturday 31 January for the final day of Santiago Yahuarcani: Flight of the White Heron Clan.

29/01/2026

Join us tonight at our London gallery, 6-8pm, for the opening of our group show: Geometry in Motion.⁠
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The exhibition bringing together paintings, sculptures and large-scale installations which explore concepts of geometry, seriality, and order by a selection of the gallery’s longstanding artists; Tonico Lemos Auad, Jonathan Baldock, Claire Barclay, Tom Friedman, Kendell Geers, Pam Glick, Channing Hansen, Ilona Keserü, Yinka Shonibare, Clare Woods and Luiz Zerbini.⁠
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On view 30 January–28 February 2026. Click the 🔗 link to plan your visit and find out more: https://www.stephenfriedman.com/exhibitions/212-geometry-in-motion-opening-thursday-29-january-6-8pm/
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All images copyright the artists. Courtesy the artists and Stephen Friedman Gallery, London and New York.⁠ ⁠
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1. Yinka Shonibare, ‘Little Rich Girls’, 2010. Victorian children’s dresses made of Dutch wax printed cotton. (Approx) 280 x 460cm. Photo by Stephen White & Co.⁠
2. Ilona Keserü, ‘Big Earth, Water’, 1985. Oil, embossed canvas, and stitching on canvas. 110 x 270cm. Framed: 116.3 x 276.5cm. Photo by Todd-White Art Photography.⁠
3. Tonico Lemos Auad, ‘Gargoyle’, 2018. Oak. 9.5 x 767.2 x 9.5cm. Photo by Mark Blower.⁠
4. Luiz Zerbini, ‘Crazy horse’, 2023. Acrylic on canvas. Three panels, each: 300 x 200cm. Overall: 300 x 600cm. Photo by Pat Kilgore.⁠
5. Channing Hansen, ‘Pattern 4’, 2018. Mixed media. 115 x 80cm.⁠
6. Claire Barclay, ‘Longing and Lasting 3’, 2015. Powder coated steel, fabric, thread and machined aluminium. 377 x 201 x 77cm.⁠
7. Pam Glick, ‘Box of Rain 10’, 2022. Oil and pencil on canvas. 182.9 x 182.9cm. Photo by Grace Dodds.⁠
8. Tom Friedman, ‘Untitled (Adventure)’, 2013. Wicker and paint. 99 x 213.4 x 29.2cm. ⁠
9. Jonathan Baldock, ‘Summer’, 2023. Hessian, felt and cotton thread. 302 x 302cm. Photo by Todd-White Art Photography.⁠
10. Clare Woods, ‘Trackwalker’, 2025. Oil on aluminium. 200 x 150cm. Photo by Todd-White Art Photography.⁠
11. Kendell Geers, ‘Title Withheld (Batons 64)’, 1994. Police batons. Overall: 235cm wide. Edition 3 of 3 + 1AP.⁠
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Suffused with wit and mischief, Lebanese artist Huguette Caland’s unique mode of abstraction is underpinned by the human...
27/01/2026

Suffused with wit and mischief, Lebanese artist Huguette Caland’s unique mode of abstraction is underpinned by the human form. Saturated with exuberant hues, ‘Visage’ (1973) playfully gestures toward its namesake, through soft contours and fluid lines that subtly conjure up the eyes, lips and curves. ⁠
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Multicoloured ribbons of hair dissolve into the edges of the canvas, while hypnotic shades of blue and green animate the eyes as they gently tilt. A pair of vivid red lips rests against a wave of pale blue, tracing the contours of the face with eccentricity and a quirk that borders on creature-like.⁠
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The solid expanses of colour that defines this work, along with those from her concurrent ‘Bribes de corps’ (“body parts”) series, invite parallels with Colour Field painting, a forceful counterpoint to the male-dominated movement. The magnified, corporeal imagery recalls the work of Imogen Cunningham and Georgia O’Keeffe, placing them firmly within the modernist tradition. ⁠
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Discussing her intuitive approach, the artist later wrote in 1987: “I’ve never analyzed my creative intention. I know only that I want to determine a point of emotion in the painting or drawing and that I am absorbed by an exploration of the sensual possibilities of the human body.”⁠
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See the painting as part of our solo presentation on Huguette Caland at Art Basel Qatar, opening on Tuesday 3 February. Find us at Booth D112. Click the 🔗 link to find out more: https://www.stephenfriedman.com/exhibitions/210-santiago-yahuarcani-flight-of-the-white-heron-clan-new-york-opening-friday-14-november-6-8pm/
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Huguette Caland, Visage, 1973. Oil on canvas, 120 x 120cm (47 1/4 x 47 1/4in) Framed: 123.4 x 123.4cm (48 5/8 x 48 5/8in). Copyright Huguette Caland Estate. Courtesy Huguette Caland Estate and Stephen Friedman Gallery. Photo by Archives Mennour.

Santiago Yahuarcani’s paintings illuminate Indigenous knowledge, Amazonian ontologies, and the cultural heritage of his ...
26/01/2026

Santiago Yahuarcani’s paintings illuminate Indigenous knowledge, Amazonian ontologies, and the cultural heritage of his ancestry, whose memory was challenged during The Putumayo genocide (1879-1914).⁠
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In ‘Escudo de chamán’ (Shaman’s Shield, 2024) a roaring leopard and a large coiled snake, embodying the spirit of the shaman, fiercely protect three members of the community. Two humans kneel on either side of a female lain horizontal, preparing to heal. The imposing serpent simultaneously summons help and wards off threats, while the jaguar's outstretched arms clutch spears, its long, curling tail enclosing the group within the safety of its limbs. Numerous sharp arrows ricochet off the protective guardians, shielding the bodies from harm. ⁠
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Of his artwork, Yahuarcani says, “I’m trying to capture my people’s spiritual practices on canvas. Things that in the past were forbidden to circulate. Before, there were Uitoto artists who painted our people’s customs: fiestas, dances, food. But nobody dared make paintings of spiritual matters. These are forbidden topics that you can’t talk about very much. Only on your own, through study, can you develop this knowledge”.⁠
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Final week to view the artist's solo show, 'Flight of the White Heron Clan' on view until 31 January 2025 at our New York gallery. Click the 🔗 link to plan your visit and find out more: https://www.stephenfriedman.com/exhibitions/210-santiago-yahuarcani-flight-of-the-white-heron-clan-new-york-opening-friday-14-november-6-8pm/
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Santiago Yahuarcani, 'Escudo de chamán', 2024. Natural dyes and acrylic paint on llanchama parchment. 115 x 126cm (45 1/4 x 49 5/8in). Framed: 137.8 x 144.8cm (54 1/4 x 57in). Copyright Santiago Yahuarcani. Courtesy Santiago Yahuarcani, CRISIS and Stephen Friedman Gallery, London and New York. Photo by Juan Pablo Murrugarra.

Join us in wishing a very Happy Birthday to Tonico Lemos Auad⁠! 🥳⁠⁠Tonico Lemos Auad’s practice investigates materiality...
25/01/2026

Join us in wishing a very Happy Birthday to Tonico Lemos Auad⁠! 🥳⁠
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Tonico Lemos Auad’s practice investigates materiality and process, examining how people navigate and negotiate the space around them. His work explores the personal and cultural significance afforded to everyday objects.⁠
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‘Índio / Jenipapo’ (2018) forms part of a series of tapestry-like weavings inspired by Auad’s interest in the history of crafts. The work’s rigorous composition and understated ex*****on are characteristic of his practice and long-standing engagement with textiles. The symbols and lines in ‘Índio / Jenipapo’ are inspired by indigenous face painting, particularly from the Carajás tribe of central Brazil. By extracting the mask from its original context, Auad translates Brazilian cultural heritage into his own artistic language, in both a celebration and investigation of craft's ability to reflect real life.⁠
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Commenting on his work, Auad said, “I try to always work with things… that are very present in our daily life. I think that immediately creates some response, some kind of intimacy and complicity.”⁠
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Auad will feature in our upcoming exhibition ‘Geometry in Motion’, open from Friday 30 January — Saturday 28 February 2026.⁠
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Click the 🔗link to find out more.⁠
https://www.stephenfriedman.com/artists/28-tonico-lemos-auad/
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Tonico Lemos Auad, ‘Índio / Jenipapo’, 2018. Woven cotton on linen in purple heart wood frame. 28.6 x 23.3cm (11 1/4 x 9 1/8in). Copyright Tonico Lemos Auad. Courtesy the artist and Stephen Friedman Gallery, London and New York. Photo by Mark Blower⁠.

Join us next Thursday, 29 January, from 6-8pm at our London gallery for the opening of 'Geometry in Motion', a new group...
24/01/2026

Join us next Thursday, 29 January, from 6-8pm at our London gallery for the opening of 'Geometry in Motion', a new group exhibition exploring systems, structure, and transformation.⁠
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Among the works on view is Channing Hansen’s '12-Manifold' (2017), a fractal collage generated through a computer algorithm capable of producing potentially infinite combinations of colour, fibre, and stitch.⁠
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Hansen’s practice sits at the intersection of craft, science, and technology. He is intimately involved in every stage of the making process—from sourcing raw fleece and dyeing fibre to spinning complex yarns that combine wool, alpaca, silk, mohair, and, in some cases, holographic polymers—before knitting and stretching the textile over its frame.⁠
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In '12-Manifold', areas of dense stitching are combined with more open knots resembling the patterns found in lace. These mesh-like regions of loose yarn reveal the support structure beneath as it peeks through the gaps in the fibre. Blending mathematical, aesthetic, and conceptual concerns, the work was inspired in part by artist Alberto Burri and his experience as a surgeon. Hansen explains that "the construction of these works is partly based on surgery theory, which is akin to collage in higher dimensional space. It involves cutting and pasting and swapping various parts of a topological surface called a ‘manifold'." ⁠
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Geometry in Motion is on view 30 January – 28 February 2026. Click the 🔗 link to plan your visit and learn more: https://www.stephenfriedman.com/exhibitions/212-geometry-in-motion-opening-thursday-29-january-6-8pm/
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Channing Hansen, '12-Manifold', 2017. Hand spun, hand dyed wool and redwood. 96.5 x 150cm (38 x 59 1/8in). Copyright Channing Hansen. Courtesy the artist and Stephen Friedman Gallery, London and New York.⁠
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For Art Basel Qatar 2026, Stephen Friedman Gallery is delighted to exhibit a solo presentation by Huguette Caland. The b...
23/01/2026

For Art Basel Qatar 2026, Stephen Friedman Gallery is delighted to exhibit a solo presentation by Huguette Caland. The booth juxtaposes two significant early works from the 1970s, alongside three paintings from her later series Faces and Places (2010s). The presentation demonstrates the artist’s enduring fascination with the human form throughout her 40-year-long practice.⁠
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Caland was born in Beirut, Lebanon in 1931. Her father, Bechara El-Khoury, became the country’s first president after Lebanon gained independence from France in 1943. Always a bold and independent figure, Caland chose to marry Paul Caland, the nephew of one of her father’s political rivals. In 1964, after the passing of her father, Caland enrolled at the American University in Beirut to study fine art. In 1970, she made the decision to move to Paris, leaving her family and lover behind to pursue art full-time. She later made her home in Venice, California in 1987. The artist returned to Beirut in 2013, where she remained until her death in 2019.⁠
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Caland's largest and most in-depth retrospective to date opened at Museo Nacional Centro de Arte Reina Sofía in Madrid in 2025 and is currently on view at Deichtorhallen in Hamburg until the end of April 2026. ⁠
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Visit us at Art Basel Qatar 2026, Booth D112, between Tuesday 3 – Saturday 7 February. Click the 🔗 link to learn more: https://www.stephenfriedman.com/art-fairs/94-art-basel-qatar-huguette-caland/
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1. Portrait of Huguette Caland, Los Angeles, 2012. Copyright Huguette Caland Estate. Courtesy Huguette Caland Estate and Stephen Friedman Gallery. Photo by L'Or Iman Puymartin.⁠
2. Huguette Caland, 'Visage', 1973. Oil on canvas, 120 x 120cm (47 1/4 x 47 1/4in) Framed: 123.4 x 123.4cm (48 5/8 x 48 5/8in). Copyright Huguette Caland Estate. Courtesy Huguette Caland Estate and Stephen Friedman Gallery. Photo by Archives Mennour.

We are delighted to share installation views of Jonathan Baldock's new sculptural installation at sketch, London, 'The G...
23/01/2026

We are delighted to share installation views of Jonathan Baldock's new sculptural installation at sketch, London, 'The Gathering'. ⁠
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Presented within India Mahdavi’s luminous yellow interior, the installation continues the venue's commitment to transforming the restaurant into a living, ever-changing artwork, bringing together ceramic masks, sculptural flowers and cocoon-like forms.⁠
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Surrounding the bar and welcoming guests at reception, Baldock presents sculptural works from his 'Flowers' series. Drawing on personal history and his relationship with his mother and her garden, these works explore emotional landscapes shaped by memory and care. ⁠
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Suspended within the central dome, works from Baldock’s 'Warm Inside' installation introduce an atmospheric and soaring focal point. Created through labour-intensive processes of wool spinning, plant dyeing and basket weaving, the cocoon-like forms highlight the intimate relationship between body, material and craft. ⁠
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There is a fitting resonance in Baldock’s working methods: while the Maske works are typically created without a sketchpad, guided by instinct and immediacy, the flowers and cocoons often begin life as drawings. This balance between spontaneity and preparation subtly echoes sketch’s own ethos — a space where the unplanned and the meticulously conceived sit side by side, evolving in real time like pages in a living sketchbook.⁠
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Contact [email protected] to enquire about the works.⁠
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Click the 🔗 link in bio to plan your visit: https://www.stephenfriedman.com/artists/25-jonathan-baldock/
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Installation: Jonathan Baldock, 'The Gathering' at sketch, London (2026). Copyright Jonathan Baldock. Courtesy the artist and sketch London.⁠ Photos by Edmund⁠ Dabney.⁠
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Final chance to view Santiago Yahuarcani's solo exhibition 'Flight of the White Heron Clan' at our New York gallery, on ...
22/01/2026

Final chance to view Santiago Yahuarcani's solo exhibition 'Flight of the White Heron Clan' at our New York gallery, on view until Saturday 31 January.⁠
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Ahead of the exhibition closing, we look at the words of Yahuarcani, exploring his spiritual practice, the legacy of Uitoto artists and the sacredness of land. ⁠
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He explains, “I had conversations with my mother about the world. How did the sky appear? Where did man come from? We spent weeks discussing these stories and then I painted them. Before, these stories were never shared with anyone outside the community."⁠
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Click the 🔗 link to plan your visit: https://www.stephenfriedman.com/exhibitions/210-santiago-yahuarcani-flight-of-the-white-heron-clan-new-york/
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All images courtesy Santiago Yahuarcani, CRISIS and Stephen Friedman Gallery, London and New York. ⁠
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1. Santiago Yahuarcani, 2025. Copyright The Museum of Modern Art, New York. ⁠
2.⁠ Santiago Yahuarcani: Flight of the White Heron Clan, Stephen Friedman Gallery, New York (2025). Photo by ⁠Olympia Shannon.⁠
3. Santiago Yahuarcani, 'Espíritu de brujo', 2024. Natural dyes and acrylic paint on llanchama parchment. 80 x 125cm (31 1/2 x 49 1/4in) Framed: 99.7 x 137.8cm (39 1/4 x 54 1/4in).⁠ Photo by Juan Pablo Murrugarra.⁠
4. Santiago Yahuarcani, 'Saltamonte', 2024. Natural dyes and acrylic paint on llanchama parchment. 98 x 133cm (38 5/8 x 52 3/8in). Framed: 108.6 x 145.7cm (42 3/4 x 57 3/8in). Photo by Juan Pablo Murrugarra.⁠
5. Santiago Yahuarcani: Flight of the White Heron Clan, Stephen Friedman Gallery, New York (2025). Photo by ⁠Olympia Shannon.

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