Press Area and Downloadable Hi-Res Images of Exhibitions

Natalie Christensen and Jim Eyre: TOGETHER/APART
 
Rusty Scruby: Cube Network
Judy Chicago: From the Print Archives
Raphaelle Goethals: The Memory of Persistence | July 17-September 6, 2020
Solstice: Create Art for Earth | Physical: June 20-July 12, 2020 / Online: June 20-August 12, 2020
Greg Murr: New Work | January 31-February 23, 2020
Georges Mazilu: Madonnas, Angels, and Candles | September 6-29, 2019
Hung Liu: Catchers | July 19-August 9, 2019
Glitched | June 14 – July 10, 2019
Can’t Lock Me Up: Women Resist Silence | March 29-April 22, 2019

Can’t Lock Me Up: Women Resist Silence

Can’t Lock Me Up: Women Resist Silence showcases work by artists who refuse to remain silent about the ways women, globally, have been enslaved mentally, metaphorically, and physically. Turner Carroll Gallery is proud to exhibit women artists from throughout the world who speak the truth for themselves and for their sisters who might have a hard time finding their voice. This exhibition includes Iranian-born artist Fatemeh Baigmoradi, whose photographs with controversial members burned out of them help us remember a tragic history. Chinese-born artist Hung Liu has dedicated her life to painting disenfranchised women as quasi-imperial, transforming their pain into beauty by telling their stories with a grace they did not experience in their lifetimes. Lien Truong is a Vietnamese-American artist who uses traditionally feminine media such as painted silk, 24-karat gold thread, and embroidery to tackle international issues of domination and resistance in her paintings. Judy Chicago and Jenny Holzer both had to be loud and brash with their words and images when they started expressing these sentiments even before feminist art was defined. sheri crider creates art that expresses personal transformation of incarcerated women, and Monica Lundy’s paintings tell the stories of women forced into mental institutions for being “disobedient,” “promiscuous,” or “defiant.” Pakistani-born artist Ambreen Butt makes mandala-like images from the names of those killed in drone strikes in Pakistan.

March 29-April 22, 2019

Opening Reception Friday, March 29, 5-7 pm

Work in the exhibition may be viewed here.

For more information email us at info@turnercarrollgallery.com

Matthew Shlian: New Work | March 1-25, 2019

Matthew Shlian: New Work

Artist and designer Matthew Shlian, who describes himself as a paper engineer, gives patterns of life and motion to an otherwise flat form: paper. Shlian creates intricate three-dimensional geometric forms with exact folds and creases to form bas-relief sculptures. His works are often based on classic Islamic tile design principles, born out of years of study using geometry as a basis for patterning. The unit is as important as a whole and symmetry, proportion, light, shadow and repetition are all considered. There is an illusion of movement as the viewer’s eye quickly travels back and forth throughout the piece. In this tangible art form, Shlian creates various geometric forms in a very malleable and unpredictable process.

Opening Reception Friday, March 1, 5-7 pm

Work in the exhibition may be viewed here.

For more information email us at info@turnercarrollgallery.com

Greg Murr: Blooms | February 1-21, 2019

Greg Murr: Blooms

With the aid of digital deconstruction and recombination, peony blossoms in recent works have become a tool for bridging plant life with seemingly disparate cosmological phenomena such as dark energy, gravitational lensing, and the cosmic microwave background radiation. They are images meant to help us acknowledge that which resides outside our everyday field of reference—the observable world yet beyond our threshold of awareness—even as we return to the familiarity of the garden.

Rooted in ancient art and still prevalent today, depictions of blossoms, blooms, and other botanical elements can be found in many of the most significant art movements. There’s no way you can evade the emotive inspiration that comes from flowers. For centuries, humans have exchanged flowers as an expression of the entire emotional range, from “I love you” to “I’m sorry.” In a sophisticated language of color and form, these works by Greg Murr are ephemeral and emotional, with their poetic symbolism rubbing against the mechanisms of value, history, and trade.

Murr renders the grace of nature perhaps more beautifully than any other contemporary
artist. Each flower petal, is embued with the translucent, seemingly breathing, vitality of nature. In Murr’s blooms, each petal is rendered in delicate and exquisite transparency, giving the impression of an x-ray or film negative and suggesting the fleeting nature of beauty. When one gives the work the time and attention it deserves, flower petals that first appear grey or white come to life with the pale colors of nature, and the viewer begins to “see into” the image, where nature’s pinks, blues, and other gorgeous hues emerge.

Greg Murr is an artist with incredible museum and exhibition credentials. He earned his BA and MFA in the United States and was immediately recognized by major museum curators. In fact, the Whitney Museum of American Art in New York acquired a selection of Murr’s works for its permanent collection when Murr was only one or two years past his graduate program in Fine Art. Murr then went on to live and teach art in Venice, Italy. Later, he relocated to Berlin, Germany, where he works today, though his art is exhibited throughout the world.

February 1-21, 2019

Opening Reception Friday, February 1, 5-7 pm

Work in the exhibition may be viewed here.

For more information email us at info@turnercarrollgallery.com

Scott Greene: Environmental (Ex)change | November 9-30, 2018

Scott Greene: Environmental (Ex)change

Scott Greene’s paintings are bold and thoroughly relevant. Greene has always been known as a social commentator, using art historical iconography to signify human impact on the natural world. He has been described as a neo-Romantic painter, in that his painting style is nothing short of dreamy. His palette and his handling of paint rival that of European Old Masters. In a bait and switch type tactic, Greene lures the viewer into his works with their lush paint surface and beauty; the viewer then finds him/herself inside an otherworldly socio-political conundrum they are compelled to explore before leaving.

Greene has created a wholly new, scathing, ironic, sublimely beautiful body of work in response to the political divide around issues such as climate change, immigration, and basic human rights. The imagery is centered on a circus theme—apropos of our current society. One painting features a circus “tableau wagon,” painted with images of Mexican children separated from their families. Another painting depicts a locomotive hurling itself forward through a red, menacing sea upon which floats a red, white, and blue basketball. Clowns pile high upon a tiny clown car in yet another work.

Scott Greene writes about his newest body of work: “This is an intense time to be a painter of my sort. Nothing seems too ridiculous, all stories pale to reality. So this work is emotionally driven by extreme shifts to everything we know about being American citizens, whatever that is now. Clown cars, runaway locomotives, quaint cruelty on the prairie, all part of the illusion of power—the farce we now perform in.”

Greene’s career trajectory is just as bold as his subject matter. In just the last three years, Greene’s paintings have been exhibited in major museums throughout New Mexico including the Las Cruces Museum of Art, The Albuquerque Museum of Art, New Mexico Museum of Art, the Anderson Museum of Contemporary Art, and 516 Arts—Albuquerque’s Contemporary Museum. PBS aired a television special featuring Scott’s paintings and an interview about his artistic process and philosophy, in the fall of 2017.

This exhibition at Turner Carroll is held in conjunction with “Currency” at 516 Arts, Albuquerque’s contemporary art museum. “Currency,” curated by Dr. Josie Lopez, “examines the relationship between art and money by exploring the flaws of our current economic reality. Literary critic and philosopher Mikhail Bakhtin described the concept of Carnival as a subversive, disruptive, world-upside-down event in which the hypocrisy of everyday life was unmasked. During Carnival, social structures including those that defined class and status were disrupted by common people.”

Scott Greene began his art school education at the California College of Arts and Crafts in Oakland, California, and received his B.F.A. from the San Francisco Art Institute and his M.F.A. from the University of New Mexico, Albuquerque. Adopting the language and finish of classical painting, Greene often uses the composition of a historical work as a matrix for making a painting that humorously examines the relationship between politics, nature and culture.

In addition to New Mexico museums, Greene’s work has been included in exhibitions internationally and throughout the United States, including non-profit and museum shows at the Schneider Art Museum, the Palo Alto Art Center, the Triton Museum, the Arnot Museum of Art, and the Austin Museum of Art. Greene is the recipient of a Juror Selection Award from the Lubbock Fine Arts Center, and an Art Matters Fellowship. He completed a residency at the Roswell Museum in New Mexico and has works in the public collections of the Anderson Museum of Contemporary Art in Roswell and the McKesson Corporation in San Francisco. Greene’s work was recently featured in Environmental Impact, a traveling exhibition originating at Canton Museum of Art in Ohio.

November 9-30, 2018

Opening Reception Friday, November 9, 5-7 pm

Work in the exhibition may be viewed here.

For more information email us at info@turnercarrollgallery.com

The Hung Liu/Trillium Award Endowment Collection | October 26, 2018

The Hung Liu/Trillium Award Endowment Collection

Turner Carroll Gallery is pleased and excited to announce the Hung Liu award and creation of a scholarship through the Jordan Schnitzer Museum of Art. Twelve pieces have been curated by Turner Carroll and will be sold to fund this endowment. The award and scholarship will be given annually to an MFA student at the University of Oregon.

This collection presents a unique opportunity to acquire a significant Hung Liu mixed media work, as well as seeding the award endowment. This endowment connects the planned major exhibition of Hung’s work—accompanied by a comprehensive monograph—with the acquisition of 55 Hung Liu artworks by JSMA for their permanent collection.

The idea for this award grew out of Hung Liu’s personal trajectory as an artist. She knows the tribulations of being a committed painter struggling financially and culturally. She is an immigrant from China who arrived in the U.S. to begin her graduate studies in art at UC San Diego with only two suitcases and $20. Because she had amazing mentors in her graduate program, including the great Alan Kaprow, Hung has been able to reach the highest tier of contemporary art. Her paintings are now in the collections the Metropolitan Museum of Art, SFMoMA, the Whitney Museum of American Art. In addition, the National Portrait Gallery is currently working on her retrospective that will open in May 2021.

Opening Reception Friday, October 26, 5-7pm

Work in the exhibition may be viewed here.

For more information email us at info@turnercarrollgallery.com

Natalie Christensen: Altering Perspective | September 7 – October 1, 2018

Natalie Christensen: Altering Perspective

Turner Carroll is thrilled to present the first gallery exhibition in Santa Fe, of Natalie Christensen’s psychologically poignant photography. Christensen is a photographer based in Santa Fe, is a frequent contributor to online contemporary and fine art photography magazines, and has won several regional awards and shown work in the U.S. and internationally including London, Dusseldorf, New York and Los Angeles. She is one of five invited photographers in the upcoming exhibition, The National 2018: Best of Contemporary Photography at the Fort Wayne Museum of Art and has been named one of “Ten Photographers to Watch” by the Los Angeles Center for Digital Art.

First trained as a Jungian psychotherapist, Christensen developed a love of photography and the psychological implications contained in “found” visual environments. As she immersed herself in her photographic art, she became keenly aware that the viewer’s perception of a naturally occurring visual vignette is determined by the way the viewer “frames” the vignette in their own mind, in the same manner, a photographer frames a visual vignette with their camera lens.

Thus, Christensen began finding natural and architectural vignettes in her newly adopted home of Santa Fe. Informed by her training in Jungian psychology, she frames each photograph to compel the viewer to immerse themselves in the psychological space she presents. Christensen’s newest photographs from her series depicting swimming pools and their surroundings will be included in the exhibition. Concepts of ritual/spiritual/psychological renewal and rebirth through descent into water and return to the land on which we humans live, invite the viewer to dive into their own interior perspective and perhaps emerge with one renewed and expanded.

“Christensen presents pieces of a world that was built for figures, yet none are present.” Angie Rizzo, Former Curator at Santa Fe’s Center for Contemporary Art, and current Programs & Exhibits Manager of Center, Santa Fe.

September 7 – October 1, 2018

Opening Reception Friday, September 7, 5-7 pm

Work in the exhibition may be viewed here.

For more information email us at info@turnercarrollgallery.com

Karen Yank and Agnes Martin: Student and Mentor | September 21-October 9, 2018

Karen Yank and Agnes Martin: Student and Mentor

This exhibition is extremely significant and personal. Simultaneous with an upcoming book project on Agnes Martin’s artistic and life philosophy, titled Travels with Agnes, Yank and Turner Carroll present an exhibition that reveals visual relationships between one of New Mexico’s most well-known contemporary artists—Agnes Martin, and the student she mentored for the last 17 years of her life—New Mexico sculptor Karen Yank.

Agnes and Karen met in 1987 at Skowhegan School of Painting and Sculpture, in Maine. They met at a critical time in both of their lives. Yank had just graduated from art school, beginning her artistic career. Martin was at the end of her teaching career, and chose Yank as the human receptacle for her philosophies about art and living. She regarded Karen Yank as her “true student” on a profound philosophical level. As in John Steinbeck’s Travels with Charley, Martin had taken off in her truck, driving all over the U.S., ultimately choosing New Mexico as her home. Yank had chosen New Mexico as home, as well. Martin and Yank continued their close friend and mentor relationship after their return from Skowhegan to New Mexico, for the remainder of Agnes Martin’s life.

Martin unabashedly advised Yank on her sculptural works. She reminded Yank that “we are unfolding flowers. We need to listen to life and let life tell us what is next, relinquishing control and opening ourselves to true inspiration.” In the early years of Yank’s career as an artist, Martin rejected the circle as “too expansive” because Martin, herself, had not been drawn to it as a vehicle for her own inspiration. One of the greatest insights in both Martin’s and Yank’s artistic development was Martin’s response to Yank’s circular, banded discs, created from steel in the late 1990s. Martin amazed both Yank and herself by declaring these circular shapes “Yank’s vision and her mature voice” in her art. Martin said the circle was an obviously good choice for Yank and not for her, because Yank’s use of metal made the circular works more object oriented than illusional. The expansiveness of the circular shaped sculptures helped reverse their object-ness and enable the viewer to enter into the various planes and energetic fields of the works.

Agnes Martin also shared much of her wisdom about how an artist could best conduct daily life. She pointed out to Yank some decisions she had made in her life that she later regretted. Some of the decisions Martin regretted are surprising, like her famous choice to cut herself off from society and live an isolated, solitary life. She encouraged Yank to fully engage, only pulling back from the outside world when she was deeply inspired to create her work, and then to partake again in the social life.

Toward the end of Agnes Martin’s life, she asked Yank to keep Martin’s artistic philosophies alive by conveying her teachings to younger artists. She believed Yank could continue her admonitions to younger artists to remain true to their artistic convictions and allow themselves to mature and unfold. She believed artists have to find meditative purity in their artistic practice, to achieve the peace and solid framework for their works. Martin wanted Yank to teach young artists generously, as she had taught Yank, as she grew from young to senior artist.

Yank has let Martin’s teachings ruminate in her mind since Martin’s death over a decade ago. She seen other books emerge about Martin, and she sees that Martin’s teachings have not yet emerged. She now feels like it’s not her choice, but her duty to her friend and mentor, to preserve Martin’s philosophies of art and life so other artists can benefit from her as she did.

Over the 17 years Martin and Yank spent together, Martin taught Yank to notice the small details of life, and to strive for contentment in every moment. “In my life Agnes and I had a unique relationship. May she live on through her paintings, her teachings, and those who truly understand her genius.”

September 21 – October 15, 2018

Opening Reception Friday, September 21, 5-7 pm

Work in the exhibition may be viewed here.

For more information email us at info@turnercarrollgallery.com

Raphaëlle Goethals and Wanxin Zhang: Biculturalism in Contemporary Art | August 24 – September 18, 2018

Raphaëlle Goethals and Wanxin Zhang: Biculturalism in Contemporary Art Sponsored by McManis-Wigh China Foundation.

An exhibition of two artists from divergent backgrounds and their personal explorations of intersectionality in cultural identities.

With her life cleft between two spaces—primarily New Mexico and Belgium—Goethals describes herself as a bicultural artist and her paintings as a physical response to how we are often “bombarded with information and increasingly used to a simultaneity of experiences.” Goethals often regards her works as contemporary adaptations to landscape paintings; rather than mapping a specific geographical region, Goethals delves into the human psyche and renders an exploration of the human mind, thought, and ways of understanding. Landscapes are often associated with a sense of national identity and Goethals indicates her lack of identification with a single space by alluding to a dynamic concept of belonging rather than the static qualities of a distinct scene.

She describes how “the seductively patient layering of material is extravagant, yet takes us to the essence, stripped away of any distractions and aiming for a clarity of thought.” Her subtle use of grids within her pieces also functions to ground viewers through a more linear construct and “anchors us in present time.”

Goethals works are produced using wax and resin; her cloudy surfaces are a product of placing a single layer and then additional ones over it, often using subtractive as well as additive processes by scraping away top layers to reveal a physical and metaphorical past below. In this way, Goethals reflects her fascination with the history of painting and process, which transcends both time and conventional understandings of language. This allows her to “establish her own vocabulary in the form of distinctive groups of paintings which evolve concurrently” and “through repetition of process and the sheer physical effort of applying countless layers in her work, she aims for a deep level of emotional resonance which can only be achieved once subject matter and narrative are out of the way.”

Much like Goethals, Wanxin Zhang has been profoundly influenced by a dual sense of cultural identity after moving to the United States from China in 1992 to pursue higher education and develop his work in San Francisco. Within his sculptural works, Zhang juxtaposes several tensions, playing on the differences between east and west and past and present—a product of living in two environments that differ in regard to culture, physical landscape, and methods of government. Zhang’s work also functions as a political tool against the oppressive regime of dictator Chairman Mao, something that Zhang sees as having existed in other areas of Chinese History. He describes, “when I visited the Terra Cotta Warriors of the Qin excavations, I immediately realized the feudalism and oppression from the Qin dynasty have never quite left the country”.

Many of Zhang’s pieces thus challenge aspects of Chinese history and the government—seen from the perspective of an individual afforded greater critical liberty after having moved away from the reaches of Chinese censorship. Of the works displayed in the Turner Carroll Exhibition, Zhang focuses on the human body, casting the full form or segments of faces and busts in a way that takes traditional elements of sculpted portraiture or references to the Terra Cotta Warriors and manipulates them to make them his own. The figures are often rendered in color or covered with bright drips, suggesting some form of struggle and narrative achieved through layering pigment.

August 24 – September 18, 2018

Opening Reception August 24, 2018 from 5-7 pm

Work in the exhibition may be viewed here.

For more information please email us at info@turnercarrollgallery.com

Science as Art: Shawn Smith, Rusty Scruby, and Matthew Shlian | June 22 – July 16, 2018

 

Science as Art: Shawn Smith, Rusty Scruby, and Matthew Shlian

In conjunction with Smith and Scruby’s exhibition at Grace Museum in Texas, and Matthew Shlian’s Frederick Hammersley Residency and Wonder Cabinet at Tamarind Institute.

“After a certain high level of technical skill is achieved, science and art tend to coalesce in esthetics, plasticity, and form. The greatest scientists are artists as well.” Albert Einstein

The realms of science and art are often considered mutually exclusive; the right hemisphere of the brain is thought to control our artistic and creative abilities, while the left our mathematical and logical skills; science is viewed as linear and precise, whereas art is accepted as open to individual interpretation. However, in Turner Carroll Gallery’s exhibition, Science as Art, artists Shawn Smith, Rusty Scruby, and Matthew Shlian explore the intersectionality between science and art, using their works to deconstruct the categorizations generally used to dichotomize the two subjects. Here, science is used as a medium in the same way as paint or plaster, touching on subjects such as technology, mathematical relationships, and the natural world in a way that uses scientific principles and processes to evoke aesthetic beauty and provoke audience response within the various pieces.

Judy Deaton, curator of The Grace Museum writes of Smith and Scruby’s exhibition there: “Both science and art are human attempts to understand and describe the world around us. The subjects, materials, and methods have different traditions, but the motivations and goals are fundamentally the same. One of the most primitive innate ‘needs’ of humans is to understand the world around us, and then share that understanding. Both artists and scientists strive to ‘see’ the world in new ways, and communicate that vision. When scientists and artists communicate their insights successfully, the rest of us suddenly ‘see’ the world differently.”

Shawn Smith, one of the forty artists under forty curated into an exhibition at the Smithsonian and written about in a feature article in Wired Magazine, has lofty goals for how his work can change civilization. Smith uses “pixelated” sculptural works of extinct/almost extinct species to emphasize our own detachment from them. By rendering these animals as pixelated versions of their natural selves, he reinforces that contemporary human/animal interaction is often experienced only through technology, rather than in reality.

”My work investigates the slippery intersection between the digital world and reality. Specifically, I am interested in how we experience nature through technology. I grew up in a large city only experiencing the natural world through computers and television screens. With my work, I create three-dimensional sculptural representations of two-dimensional images of nature I find online. I build my objects pixel by pixel with hand-cut, hand-dyed strips of wood in an overtly laborious process in direct contrast to the slipperiness and speed of the digital world. Through this process of pixelation, details become distilled, distorted, or deleted. I am interested in how each pixel plays an important role in the identity of the object, the same way each cell plays a crucial role in the identity of an organism.” Shawn Smith

Rusty Scruby uses his aerospace engineering, musical composition, and mathematics background as the basis of his art. As propounded by the Grace Museum, “Pattern and repetition echo universal laws of science, physics and mathematics and Scruby’s drive to “map” the universe through unseen yet pervasive mathematical relationships. By interweaving complexity theory (random vs. rigid) with music theory (harmony vs. discord) inspired by mathematical repetition, Scruby reveals the tension between the whole and the sum of its parts, between human experience and reality.”

Art historian and gallery owner Tonya Turner Carroll first became aware of Matthew Shlian’s work when he gave an artist lecture at Albuquerque Academy in 2017. Tonya Turner Carroll attended the lecture, and when she saw Matt’s video of his Cranbrook thesis sculpture from 2006, Turner Carroll had the tingly feeling of wonder that made her know she had to show his work. What impressed her most about Shlian’s work was the joy with which he creates it. Though Shlian’s works–like Scruby’s and Smith’s–are unbelievably laborious and verge on compulsion, there is supreme beauty in his careful perfection of form.

It’s no wonder that many public collections who appreciate perfection of form have collaborated or commissioned Shlian to create works for them. Apple, University of Michigan, Queen Rania of Jordan, Cranbrook Academy of Art, Fidelity, Facebook, The British Film Institute, The National Science Foundation, MoMA, Google, Vogue and Christian Dior have all commissioned or collaborated with Shlian for works of art.

June 22 – July 16 2018

Opening Reception Friday, June 22 5-7 pm

Work in the exhibition may be viewed here.

For more information please email us at info@turnercarrollgallery.com

Walter Robinson and Jamie Brunson: Coded Language | May 18 – June 6, 2018

Walter Robinson and Jamie Brunson: Coded Language

*In conjunction with 21st Century Cyphers, at 516 Arts, a contemporary museum in Albuquerque, NM.

Walter Robinson and Jamie Brunson are two extraordinary artists from the San Francisco Bay area who have recently relocated to Santa Fe. Both of their works have been widely exhibited and collected in private and museum collections internationally. Currently, Robinson’s sculpture is on exhibit in Luxembourg, and Brunson recently wrapped up a museum exhibition in California. Though the two artists have been partners for several years, they do not collaborate. In fact, both their works and the visual language they each employ are radically different from one another.

In order to communicate with the world outside their own minds, both Robinson and Brunson have created distinct visual languages unique unto themselves. Walter Robinson’s visual language is sculptural, highly political, stemming from his upbringing in a multi-lingual family that included a cryptographer during the Cold War era. Robinson assembles visual phrases through amalgamations of found and hand hewn objects. Often, he incorporates cryptic messages in his works, using either word cross tactics, or by juxtaposing objects in a manner that frames a new view. Robinson’s newest work, “Tumbril”, addresses current societal issues such as consumerism, expansionism, and Manifest Destiny. “Tumbril” is defined as “A farm dump cart for carrying dung; carts of this type were used to carry prisoners to the guillotine during the French Revolution.”

In “Tumbril”, the cart is another form of consumption, and the cart is empty. The logos on the covered roof equate product placement. The companies featured are benefitting from the exposure as the cart, buying their way into our contemporary consciousness by adding themselves to this cart’s journey. The visual images on the patches are like logos for societal beliefs, which are marketed like actual consumable products. Whether we buy into the beliefs or ideologies behind these images represented on the patches or not, by consuming certain products or aspects delivered to us by those ideologies, we may be consuming and literally “buying” into them involuntarily, unknowingly, or subconsciously.

Jamie Brunson’s works are two dimensional paintings of her meditative experience. Rather than combining concrete forms into new structures (as Robinson does), Brunson uses color as her visual code. Taking her spectrum from her Kundalini yoga and meditation practice, Jamie Brunson uses hues as her visual “words”. A painting like “Matrix” combines hues of deep red and teal blue. The red represents strength of emotion, while blue is the cool calm of intellect as well as serenity. Blue and red represent the two poles of the electromagnetic spectrum of visible light. At the low end is blue; the high end is red. By combining these two colors in one painting, Brunson communicates the interconnectedness of all beings.

May 18 – June 6 2018

Opening Reception Friday, May 18, 5-7 pm

Work in the exhibition may be viewed here.

For more information please email us at info@turnercarrollgallery.com

Hung Liu: Women Who Work | March 16 – April 4, 2018

*In conjunction with Hung Liu In Print, at National Museum of Women in the Arts, Washington, D.C.
For more information please email us at info@turnercarrollgallery.com

Fausto Fernandez: Crossing Boundaries | February 2 – 24, 2018

For more information please email us at info@turnercarrollgallery.com

Holly Roberts: Looking Back, a Retrospective | February 9 – March 4, 2018

For more information please email us at info@turnercarrollgallery.com

Suzanne Sbarge – Meta/Morph | December 1-20, 2017

For more information please email us at info@turnercarrollgallery.com

Jamie Brunson and Nina Tichava – New New Mexico Abstraction | August 25 – September 12, 2017

For more information please email us at info@turnercarrollgallery.com

Hung Liu – American Dreams | June 28 – July 24, 2017

For more information please email us at info@turnercarrollgallery.com

Israeli Artist Drew Tal – Silent Worlds | May 11 – July 5, 2017

For more information please email us at info@turnercarrollgallery.com

Holly Roberts and Wanxin Zhang: Reconstruction | May 31 – June 19, 2016

For more information please email us at info@turnercarrollgallery.com

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