James Cohan

See work by Richard Pousette-Dart in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 52 Walker Street location.

Richard Pousette-Dart (1916-1992) was an integral member of the New York School and one of Abstract Expressionism's earliest pioneers. Attempting to represent the “spiritual nature of the divine," Pousette-Dart utilized his unconscious to produce luminous and richly layered works, channelling an intuitive process known as psychic automatism. Beginning in the 1960s and continuing through the 1980s, Pousette-Dart shifted his practice from more linear compositions to overall chromatic fields. This laborious, calculated body of work features short brush strokes that create a network of individual interacting clusters of color. The effects achieve tactile surfaces, likened to the pointillism of Post-Impressionist painters such as Georges Seurat and Paul Signac.

Sky, Illumine, 1985-1986, represents the culmination of Pousette-Dart’s lifelong pursuit of spirituality in abstraction. Its heavily encrusted surface and cosmic composition, achieved with paint applied directly from the tube, reveal complex layers of color and emphasize texture and luminosity through varying peaks of paint.

🔗 Learn more about Richard Pousette-Dart and the other artists featured A slash of Blue / A sweep of Gray via link in bio.

📸: RICHARD POUSETTE-DART, Sky, Illumine, 1985-86, oil on linen, 37 x 53 in94 x 134.6 cm. © Estate of Richard Pousette-Dart 2026. Courtesy of Michael Rosenfeld Gallery, New York. Photo by Phoebe d'Heurle.

Since January 2001, Byron Kim has kept a singular weekly ritual: every Sunday, he looks upward, mixes paint to match a patch of sky and renders it on a small canvas. Inscribed across each painted field is a brief journalistic entry—sometimes mundane, sometimes momentous—that records the specific place, time, and thoughts of the day. The resulting Sunday Paintings are a chronicle of lived experience, by turns intimate and universal, in which clouds, children’s milestones, political upheavals, and personal reckoning share the same quietly radiant surface.

Kim has spoken of the series as his longest and most personal project, one that reflects his abiding question: “My work has mostly been concerned with the relationship of a part to the whole. How am I connected to the others in the world, and how are we all connected to the greater whole?”

See an entire year of Sunday Paintings in A Little Deepness, Byron Kim's solo exhibition at 48 Walker Street, on view through May 9, 2026.

🔗 Learn more about the artist and plan your visit via link in bio

📸: BYRON KIM, Sunday Painting (2/18/24), 2024, acrylic and pencil on panel, 14 x 14 in, 35.6 x 35.6 cm. Photo by GC Photography.

See work by Sylvia Plimack Mangold in A slash of Blue / A sweep of Gray, on view through May 9, 2026, at James Cohan’s 52 Walker Street location.

For more than four decades, Sylvia Plimack Mangold (b. 1938, New York) has been painting the trees that surround her home and studio in Washingtonville, New York. Known since the 1960s for developing a singular visual language rooted in figuration, Mangold’s paintings boil down nature to its purest ether. The large maple tree growing directly outside her studio window has provided Mangold with her exclusive subject for over ten years.

Describing the visual splendors of the tree as it changes over the course of days, weeks, months, and seasons, Mangold’s paintings are portraits of time’s passage. Her winter paintings reveal the complex latticework of the tree’s denuded branches against a bleached blue sky. While focusing here on the leafless winter maple, time remains the central subject of Mangold’s work, and experiencing time's passage through stillness.

🔗 Learn more about Sylvia Plimack Mangold and the other artists featured A slash of Blue / A sweep of Gray via link in bio.

📸: SYLVIA PLIMACK MANGOLD, Winter Maple, 2023, oil on linen, 45 x 50 in, 114.3 x 127 cm. © Sylvia Plimack Mangold 2026. Courtesy the artist and Pace Gallery. Photo by Phoebe d'Heurle.