Tag: Ben Godward

Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide: August, 2025

Contributed by Sharon Butler / This month, many galleries are taking a well-deserved break after a shitshow of a year. A few, though, are curating through the heat and hanging new shows. At Karma, Jane Dickson holds forth with a series of amusement park nocturnes. 5-50 presents in “Becoming Otherwise” – paintings by Jocelyn Fine, Will Hutnick, Geist Topping, and Peter Schenck that crackle with energy in LIC. Deanna Evans Projects’ “ExtraOrdinary” features unsettled scenes of American home life by Lisha Bai, JJ Manford, and Ann Toebbe. At Margot Samel, Glasgow gallery Kendall Koppe presents Laura Aldridge, while Essex Flowers mounts “Overhang 2,” a ro art services pop-up riffing on the idea of summer group-show abundance and community. At The Hole, on Bowery, don’t miss “Herbivore,” which includes work by Bushwick stalwart Ben Godward.

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Gallery shows

Meg Lipke and Jeff Williams: Enchantment without sublimation

Contributed by Ben Godward / Meg Lipke and Jeff Williams seem to dance through the fledgling Roundabouts Now Gallery – once a medical office conference room in an industrial park – in Kingston, New York. The central collaboration comprises a large sewn and stuffed canvas with ruin-like drawings enveloping three deliciously odd sculptural objects. This union casts a pervasive spell. Pushing the interior accretion forms further into the unreal are surfaces that appear to be made of dust or remnants of ashes. Spectral in their essence but protected in the upholstered pool, they look as if they could dissolve into a pile if touched. 

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Solo Shows

Vincent Szarek’s odysseys

Contributed by Ben Godward / Vincent Szarek’s current solo exhibition at R & R, a joint venture between Chart and Marvin Gardens at the juncture of Ridgewood and Bushwick, is his first in New York since moving back to the city from LA. The show is exquisite in itself and enhanced by an ideal location. His works are predominately black with hints of color that flash against the grey and brown industrial trappings of the space. Whereas the preserved vine-covered brick wall behind the largest painting echoes Old Europe, the pitted, patched, cracked, and grooved concrete hosting the central sculpture is pure Brooklyn/Queens. The swells of Szarek’s glossy surfaces flatter both settings, and vice-versa. 

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