Hamptons Art Galleries

Updated 05/30/2023 by: Ryan Lutz

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Halsey McKay Gallery | Denise Kupferschmidt | 6/4/22-7/4/22 | Hamptons'

Halsey McKay Gallery | Chris Duncan | 6/4/22-7/4/22 | Hamptons'

20220424 - 20220326 | Halsey McKay Gallery | Hamptons | Raymie Iadevaia-Raymie Iadevaia: Yonder
Halsey McKay Gallery a Hamptons is showing the works of Raymie Iadevaia starting 3/26/2022 and ending 3/26/22. This body of work from Raymie Iadevaia is titled Raymie Iadevaia: Yonder.Visit for more details: And please phone ahead to confirm the gallery hours and availabilityIadevaia’s oil paintings are densely packed with marks built up into sublime atmospheres and imagined spaces. Passages of paint—thick and thin scraped and scumbled over rubbed in stained and saturated—flutter in and out of focus in optical vibrations. His pictures induce a hallucinatory effect placing us in anxious dusks under brightly moonlit nights and rising to euphoric dawns populated by feral animals and unseen neighbors. In his own words: It’s all out there the world it’s endings and beginnings. The paintings are a journey through a gulf of cloudy and crystalline impressions. The paintings are worked like a stone you carry in your pocket rubbed compulsively between index finger and thumb until smooth. Feeling out the journey before seeing it. Earthing. A cast spell clanks against forgotten keys as you walk further down the trail. The paintings collect visions. Burning suns blanket the bladed edges of plants. Wild chaparral weaves into thick foregrounds. Long shadows dance like the tails of strange creatures beyond sight. Towering staircases aspire to the cosmic rocks in the sky. Ancient bridges connect the winds of a climate changing. Animals emerge from the middleground. They roam make nests look for things to keep them alive. Palm trees are a chorus junipers shimmer the cedar grove solitude. Meanwhile moons shatter the night a dust starts to settle as the wind picks up again. The paintings begin with a field of diffused color. Like closed eyes staring at the sun. The ambiguity of drifting toward sleep or waking from a dream. Lucid imagery comes forward from toned ground. The pupil morphs from large pools of dark water to the sharp point of a pine needle. The paintings are layered infusing the ingredients like a dimmer switch slowly turning toward illumination. Thickets of brushy knitted streaks and dense patches of variegated paint suffuse the surfaces. Like stuffing suitcases for the long journey ahead. Far away the distant cities imperceptible save for the faint glow of electric light. Like stars do they still exist or is it only the ghost of ascending shapes expired light from long ago? Are these paintings too vaporous trances of pigment? – Raymie Iadevaia Los Angeles March 2022 Raymie Iadevaia (b. 1984 Newport Beach CA) is an artist based in Los Angeles CA. He received a BFA from the California College of Arts and Crafts and an MFA from Art Center College of Design. Recent group exhibitions include 10 Years at Halsey McKay Gallery East Hampton; Run with the Wolves at The Pit Los Angeles; and Office Group Show at Bozomag Los Angeles.Courtesy of the artist and Halsey McKay Gallery

20220424 - 20220326 | Halsey McKay Gallery | Hamptons | Orlando Estrada-Orlando Estrada: Scenic Fire
Halsey McKay Gallery a Hamptons is showing the works of Orlando Estrada starting 3/26/2022 and ending 3/26/22. This body of work from Orlando Estrada is titled Orlando Estrada: Scenic Fire.Visit for more details: And please phone ahead to confirm the gallery hours and availabilityI often think about what the end of the world will look like. The apocalypse is often described spectacularly; as explosions and storms and venom and rot. I imagine it will actually be quite boring – a silent blip in the expansive history recorded in all of the scars on the Earth. The world has already ended many times before and with each end she re-emerges maybe more wise and palpably more complicated. If we are living in another end of the world I would tend this death well so the next world could be born even more wise palpably more complex and more beautiful than the one I’ve known before. The works in Scenic Fire grew out of a series of abstract sculptural landscapes I began to make in 2018. The gestural flame motif first appeared in the works in January of 2020 just weeks before the Covid-19 pandemic upended all of our lives. The flame acts as a through line in the works and is a symbolic reference to the creation and destruction myths of people from antiquity until today. The transformative element of fire engulfs these hallucinatory landscapes – a reflection on the fiery temperature of 21st century life. I am captivated by this carnivalesque world I am lucky enough to live to see. These works celebrate the mesmerizing fucked up and gorgeous mess humans have made here on planet Earth. – Orlando Estrada New York March 2022 Orlando Estrada is an interdisciplinary artist based between Miami FL and Brooklyn NY. Through his practice he explores concepts of post naturalism identity and the human condition. Working across sculpture drawing painting and installation Estrada analyzes societal metanarratives through the lenses of queer theory mysticism and science fiction. After a childhood spent in the otherworldly setting of a military base on the coastal cliffs of Puerto Rico relocating to Miami in his teens sparked the artist’s fascination with understanding the relationship between humans and the natural world. His ongoing series of sculptural landscapes depict dreamlike terrains using an experimental language of both natural and man-made materials. Using practical construction methods ingeniously upcycled consumer waste and 3D printing technology – cereal boxes broken cell phones artificial pearls bone fiber and many other unconventional art materials become power objects; elevating craft to the realm of the sacred. Charged with both childlike naivety and deep philosophical gravity Estrada’s talismanic works conjure up a mystic allure telling haunting fairytales filled with imperiled beauty and frenzied optimism for the future. Orlando Estrada’s work has been featured in solo and group exhibitions at the Bas Fisher Invitational Miami FL; Grace Exhibition Space NY NY; American Medium NY NY; Marinaro Gallery NY; Knockdown Center Queens NY; El Museo del Barrio NY NY; and David Castillo Gallery Miami FL. Estrada is a recipient of the apexart International Artist Fellowship and the Bruce High Quality Foundation University Emerging Artist Residency. Scenic Fire marks the artist’s first exhibition with Halsey McKay Gallery.Courtesy of the artist and Halsey McKay Gallery

20220814 - 20220313 | Queens Museum | Long Island | Suzanne Lacy-The Medium is Not the Only Message
With works touching on issues such as violence against women racism labor rights poverty and aging the exhibition spans four decades from Lacy’s earliest solo performances to more recent large-scale community-based works that bring together diverse participants to share their stories. The Medium is Not the Only Message takes a critical look at two fundamentals of Lacy’s practice: personal narrative and conversation. Throughout her career Lacy has explored individual agency and the production of selfhood in relation to collective networks as an approach to subverting oppressive cultural narratives and their attendant conditions. The resulting body of work rooted in intersectional feminism reveals a careful innovation of relationality and shared awareness. While constituted by these “soft technologies” the works also intervene in the “high-tech” systems that amplify cultural norms such as broadcast television. The exhibition’s title references media theorist Marshall McLuhan’s idea “The Medium is the Message” and reflects Lacy’s contrasting belief that ideas take hold over time through layered mechanisms and that these tools remain secondary to their content and the dynamic human experience of receiving it. In her characteristic approach discursive forms are facilitated by common platforms in order to expand the sense of self into the social realm through processes of co-creation and mutual learning. Works have been selected for their resonance to the local context of Queens and QM’s current commitments and relationships to community organizations artists advocates and other hyperlocal stakeholders. Projects are presented as artworks in the galleries and also serve as a departure point for community-engaged and education programming that will enrich and extend QM’s initiatives with Year of Uncertainty Community Partners the inaugural year of the Young Leaders Art & Social Justice Institute and other long-standing community-based work such as the New New Yorkers program. Modeled not only after the themes of these works but also after their strategic frameworks and collaborative organizational models these activations begin with a period of planning co-education and conversation with culminating public presentations concurrent with the exhibition in Spring/Summer 2022.

20220703 - 20220305 | Lewis Latimer House Museum | Long Island | Dario Mohr-Blood is Thicker than the Water that Separated U.S.
Inspired by the sense of family migration black excellence and Lewis Latimer's contributions to science through light "Blood is Thicker than the Water that Separated U.S." is artist Dario Mohr’s solo exhibition that features a series of dark room projection and LED light inspired works. Situated in the history of forced migration and collective loss of recollection in ancestral lineage Mohr’s artwork draws on his own challenges to connect with his West African heritage and identity as a first-generation Grenadian American. Through his work Mohr seeks to address the gap that exists of those who were historically held captive and other U.S citizens while representing the plight of many African Americans and Caribbean American people who have assimilated to European culture out of survival. Join us for the exhibition opening of “Blood is Thicker than the Water that Separated U.S.” which will be on view during open hours April 1 - July 3. Refreshments will be provided.

20220418 - 20211007 | MoMA PS1 | Long Island | -Greater New York
Delayed one year due to the COVID-19 pandemic this iteration offers an intimate portrayal of New York City forging connections between often under-examined histories of art-making in the city. Featuring the work of 47 artists and collectives Greater New York opens up geographic and historical boundaries by expanding familiar narratives around artists and art movements in New York. Bridging strategies of the documentary and the archive on the one hand and surrealism and fabulation on the other the exhibition considers the ways that artists record experiences of belonging and estrangement. Drawing connections across the interdisciplinary practices of international and intergenerational artists Greater New York examines the many ways that affinities are formed in relation to place and through time. The exhibition foregrounds the resilience of artists and artist communities in the city while marking ways these artists have both profoundly shaped New York and borne witness to its many transformations. As New York emerges from the COVID-19 pandemic the exhibition offers an opportunity to mourn celebrate and reconnect with artist communities. This iteration of Greater New York honors not only the persistence of artists many of whom have worked unrecognized over decades but their ability to help us make sense of the many ruptures—social political and ecological—that have shaped New York City in this critical and transformative moment. Artists: Yuji Agematsu (b. 1956); Nadia Ayari (b. 1981); BlackMass Publishing (est. 2018); Diane Burns (b. 1957 d. 2006); Kristi Cavataro (b. 1992); Curtis Cuffie (b. 1955 d. 2002); Hadi Fallahpisheh (b. 1987); Rotimi Fani-Kayode (b. 1955 d. 1989); Raque Ford (b. 1986); Luis Frangella (b. 1944 d. 1990); Dolores Furtado (b. 1977); Julio Galán (b. 1958 d. 2006); Doreen Garner (b. 1986); Emilie Louise Gossiaux (b. 1989); Robin Graubard (b. 1951); Milford Graves (b. 1941 d. 2021); Bettina Grossman (b. 1927); Avijit Halder (b. 1988); Bill Hayden (b. 1984); Steffani Jemison (b. 1981); G. Peter Jemison (b. 1945); E’wao Kagoshima (b. 1945); Marie Karlberg (b. 1985); Matthew Langan-Peck (b. 1988); Las Nietas de Nonó (est. 2011); Athena LaTocha (b. 1969); Carolyn Lazard (b. 1987); Sean-Kierre Lyons (b. 1991); Hiram Maristany (b. 1945); Servane Mary (b. 1972); Rosemary Mayer (b. 1943 d. 2014); Alan Michelson (b. 1953); Ahmed Morsi (b. 1930); Nicolas Moufarrege (b. 1947 d. 1985); Marilyn Nance (b. 1953); Tammy Nguyen (b. 1984); Shelley Niro (b. 1954); Kayode Ojo (b. 1990); Paulina Peavy (b. 1901 d. 1999); Freya Powell (b. 1983); Raha Raissnia (b. 1968); Andy Robert (b.1984); Diane Severin Nguyen (b. 1990); Shanzhai Lyric (est. 2015); Regina Vater (b. 1943); Stanley Wolukau-Wanambwa (b. 1980); and Lachell Workman (b. 1989).

Hamptons Art Galleries
Updated May 30, 2023 by Ryan Lutz

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