Chase Contemporary

Chase Contemporary Chase Contemporary is a hybrid art business offering a wide selection of artworks by established and
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Chase Contemporary is a hybrid art business offering a wide selection of artworks by established and emerging artists and photographers.

Before graffiti had galleries, BLADE had the subway.Between 1972 and 1984, Steven Ogburn, known as BLADE, painted more t...
06/04/2026

Before graffiti had galleries, BLADE had the subway.

Between 1972 and 1984, Steven Ogburn, known as BLADE, painted more than 5,000 New York subway trains and became one of the defining names of the early graffiti movement.

This wasn’t studio work. No permission. No collector waiting. Just train yards at night, police, guard dogs, moving trains, and the third rail. But the risk had a reason, a subway car didn’t stay hidden. Once it left the yard, it moved your name through the city before galleries ever could.

That was the power of the train. It turned graffiti into something public, moving, unavoidable. By the time graffiti reached the art world, BLADE’s name had already crossed New York thousands of times.

Alfredo De Stefano doesn’t photograph the desert like it is waiting to be admired.He enters it. A place that already fee...
06/03/2026

Alfredo De Stefano doesn’t photograph the desert like it is waiting to be admired.

He enters it. A place that already feels stripped down to almost nothing. Heat, silence, distance, light. Then he interrupts it with something temporary.

Fire, cloth, a constructed form, a line of light. For a moment, the landscape changes, but that is ephemeral.

That is where the work becomes more than a photograph. De Stefano is not just building strange scenes in empty places. He is staging brief acts of memory in landscapes that erase almost everything.

The desert has always been central to him. Born in northern Mexico, he has spent decades returning to these extreme spaces, treating them not as backgrounds, but as territories marked by absence, fragility, and human impact.

His interventions are temporary by nature. The fire burns out. The ice melts. The light shifts. The object is gone. What remains is the image. Not just a desert landscape. Evidence that something happened there once.

Most automotive art celebrates the machine.Alfredo de la María became fascinated by something harder to capture: The spl...
06/02/2026

Most automotive art celebrates the machine.

Alfredo de la María became fascinated by something harder to capture: The split-second decisions. The danger. The atmosphere surrounding motorsport’s most legendary years.

Again and again, he returned to the races of the 1930s through the 1960s, an era when drivers pushed themselves and their machines to the limit with little room for error.

Instead of focusing on perfect details, Alfredo filled his paintings with motion, dust, light, and tension. The result feels less like looking at a race car and more like standing beside the track as it flies past.

Some artists painted the machine. Alfredo painted the adrenaline.

For decades, fame was carefully managed.Studios controlled the photographs. Publicists controlled the access. Most of wh...
06/01/2026

For decades, fame was carefully managed.

Studios controlled the photographs. Publicists controlled the access. Most of what the public saw was planned.

Ron Galella spent his career chasing the moments that weren’t.

Instead of red carpets and publicity shots, he pointed his camera at the seconds in between—the laugh, the glance, the cigarette break, the walk down the street.

Some people saw honesty.

Others saw a photographer going too far.

The debate followed him for decades.

But so did the photographs. Today, candid celebrity images feel completely normal. In the 1960s and 70s, they helped spark one of the biggest arguments in modern photography.

And Ron Galella was standing right in the middle of it.

Before Elliott’s Puckette paintings became recognizable, she spent years studying Spencerian penmanship, the rigid handw...
05/28/2026

Before Elliott’s Puckette paintings became recognizable, she spent years studying Spencerian penmanship, the rigid handwriting system taught across America before typewriters existed.

Every flourish had rules.
Every curve was controlled.
The entire system was designed to make communication disciplined, elegant, and perfectly clear.

Then she started pulling it apart.

Puckette became less interested in the words themselves than the tension underneath them: the hesitation of a curve, the pressure of a hand, the instability hidden inside something that initially looks controlled.

Using razor blades, she slowly stripped the alphabet away.

What remained still carries the authority of handwriting, but without ever fully delivering a clear message.

The paintings feel familiar for a reason.

They were built from a system we were once trained to trust.

In the 1980s, Sebastian Krüger was a punk-obsessed art schooler rejecting the abstract painting his teachers wanted him ...
05/25/2026

In the 1980s, Sebastian Krüger was a punk-obsessed art schooler rejecting the abstract painting his teachers wanted him to make.

Then he saw a magazine photo of Keith Richards. Not the music. Not the fame.

The face.

The wrinkles, the depth, the mileage. Krüger became obsessed with painting rock stars in a way that felt physically honest instead of polished. Faces stretched. Eyes drifted. Expressions twisted into something exaggerated, unstable, and almost too real.

At first, the work didn’t fully land with the Rolling Stones’ circle. But eventually, the drawings reached Keith Richards himself.

Weeks later, Krüger received a handwritten note praising the work, along with Keith’s personal phone number.

By 1990, he was backstage with the Stones. What made the paintings powerful was that they didn’t feel like celebrity worship. They felt like portraits of what fame actually does to people over time.

Krüger’s distorted hyperrealism eventually helped define a movement known as “New Pop Realism,” transforming caricature into massive fine-art canvases collected by musicians, celebrities, and major collectors alike.

The portraits looked insane. The rock stars thought they looked honest.

Street art is usually associated with rebellion, confrontation, territory, or spectacle. But for “Four Generations,” Gam...
05/23/2026

Street art is usually associated with rebellion, confrontation, territory, or spectacle. But for “Four Generations,” Gamma Acosta used the scale of a massive public mural to focus on something much quieter.

Using only freehand spray paint, Acosta painted women in his own family braiding each other’s hair across a multi story wall in downtown Longmont, Colorado. The image feels unusual at that scale because hair braiding is normally intimate, repetitive, domestic, and almost invisible outside the people experiencing it.

Instead of monumentalizing power or conflict, the mural monumentalized care, closeness, and generational connection.

Before they became mythology, they were just a generation changing culture in real time.Michael Cooper was inside that m...
05/22/2026

Before they became mythology, they were just a generation changing culture in real time.

Michael Cooper was inside that moment.

As London exploded through music, fashion, psychedelia, and counterculture, Cooper documented The Rolling Stones, artists, musicians, and the people reshaping pop culture from the inside.

Over time, he became one of the defining photographers of the era, eventually photographing the cover of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and settling himself into the scene as a trusted photographer for the cultural icons of the era.

His images helped define how the world remembers an entire cultural revolution.

While most of the art world stayed inside galleries, Franc Palaia moved into the streets.During the 1970s and 1980s, dow...
05/21/2026

While most of the art world stayed inside galleries, Franc Palaia moved into the streets.

During the 1970s and 1980s, downtown New York was collapsing under graffiti, underground nightlife, abandoned buildings, punk culture, and raw urban chaos.

Instead of treating that environment like something to avoid, Palaia saw it as the real center of cultural energy. Working across photography, film, performance, and later his “Photo-Sculptures,” he documented artists like Richard Hambleton and helped carry the visual language of the streets directly into contemporary art spaces.

Years later, much of that underground scene became art history. Palaia was already inside it while it was happening.

Most people assume Miguel Milló’s images are digitally manipulated. They aren’t.Before a single photograph is taken, Mil...
05/17/2026

Most people assume Miguel Milló’s images are digitally manipulated. They aren’t.

Before a single photograph is taken, Milló spends hours transforming real human bodies using clay, pigment, roots, flowers, and organic material layered directly onto the skin. The works exist physically first.

Only after the transformation is complete does the photograph happen. That process became central to Milló’s practice. The body stops functioning as portrait or subject and starts becoming surface, texture, and sculpture instead.

Many of the final images only exist briefly before the materials are removed again, turning the photograph into the final record of something temporary that physically existed in real life.

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413 West Broadway
New York, NY
10012

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Friday 10am - 6pm
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