A selection of paintings, drawings, sculptures, ceramics and photographs in the classic combination of black and white (maybe a touch of silver or red). Catherine Howe Carborundum and Silver (Mantis), 2016 Acrylic, encaustic, metal leaf, carborundum grit on canvas 48" x 36" Copyright © Catherine Howe Erik H Gellert Awaken, 2016 Ceramic and housepaint 21" x 13" x 16" Copyright © Erik H Gellert Click here to go to the artwork Peter Demos Untitled (Larg

Visitors to the opening night reception on January 14 at David Richard Gallery’s new HQ on Pacheco Street were treated to a visual smorgasbord from around the world, around town and literally from around the corner. Paintings, sculpture, found objects, ceramics presented a multi-cultural and multi-generational kaleidoscope of things to look at and take in. Front and center was senior Royal Academician Paul Huxley, showing his latest body of work based on his installation at l

In Border Crossing, with seven artists each presenting a substantial body of work, there was indeed a lot to study. And happily, David Richard Gallery’s new and versatile space managed to accommodate all the diversity of visions. There was painting by Michele Bubacco and Paul Huxley; ceramic sculpture by Monte Coleman and Erik Gellert; mixed-media wall pieces by Chris Collins; and sculpture by Jack Slentz and Tim Cox, the latter also represented by a suite of paintings on alu

#ArtMiami #SallyAnderson #MicheleBubacco #PeterDemos #FredEversley #TomGreen #ChristianHaub #MatthewKluber #EdMieczkowski #MatthewPenkala #RichardRoth #GabrielJSchuldiner #JackRSlentz #JulianStanczak #Tadasky #LeoValledor #LarryZox #DavidRichardGallery

David Richard Gallery 2015 October 10 “Re-Op: ‘The Responsive Eye’ Fifty Years After”, currently on view at David Richard Gallery is the third in a series of presentations co-curated by Peter Frank, critic, curator and historian and David Eichholtz, gallerist, curator and historian that critically examines and reconsiders “The Responsive Eye”, the seminal exhibition organized by William C. Seitz at New York’s Museum of Modern Art in 1965. This particular installation explores