Peter Freeman, Inc. is pleased to participate in the inaugural Paris+ by ArtBasel fair with a selection of works that are representative of the gallery’s program and its long-standing connection to the city of Paris. Highlights include a weaving by Helen Mirra, paintings by Mel Bochner and Catherine Murphy, and sculpture by Charles LeDray, Thomas Schütte, and Franz Erhard Walther. The gallery, both in New York and in Paris, has always represented artists and estates from all over and presented historically significant works in conversation with newer work by living artists.
Highlights include a weaving by Helen Mirra, paintings by Mel Bochner and Catherine Murphy, and sculpture by Charles LeDray, Thomas Schütte, and Franz Erhard Walther. The gallery, both in New York and in Paris, has always represented artists and estates from all over and presented historically significant works in conversation with newer work by living artists.
Peter Freeman partnered with Galerie Nelson in 2006 to establish what would eventually become Peter Freeman, Inc. Paris in 2013. For the first iteration of Paris+, the gallery’s important history and ongoing presence in France is reflected in several strong works from French gallery artists, including a drawing by Dove Allouche and an iconic work – what the artist called a Briquolage – by the late Robert Filliou, who played an important role in the Fluxus movement.
Important historic works, including a 1956 Ellsworth Kelly painting and one of only three original contact prints from Meret Oppenheim’s famous x-ray self-portrait, create a dialogue with recent work by gallery artists Fernanda Gomes and Silvia Bächli. Anchored by a large diptych of two skeletal figures from Paris-based artist Anne-Marie Schneider, a salon style wall of works on paper brings together a wide range of artists from Ellen Altfest and Ernst Caramelle to Agnes Martin and Richard Serra.
Finally, Matt Mullican’s historical map of pre-Haussmann Paris serves as a natural focal point for the exhibition, reflecting the city’s magnetism in its vibrancy and commanding presence. The work acts as a marker of place, situating visitors in a way that demonstrates the artist’s interest in organizing and categorizing the world around him.