Archive for the 'NEWS' Category

Opening 4/30/16: Compass @ John Davis Gallery

April 2, 2016




Maria Walker


April 30 – May 22, 2016


The paintings compass
The painting’s a compass

Wood to canvas to paint
myself to the front to the back
the object to the room to the light
color to the paint to the cloth
cloth to the wood to the paint
the window to the floor to the wall
myself to the painting to a fellow

Shift, shift. North..


John Davis Gallery

362 1/2 Warren Street, Hudson, NY

Gallery hours: Thursday through Monday, 11:00 till 5:00 p.m., and by appointment



Opening 4/28/16: Aurora Concreta @ Cuevas Tilleard

April 1, 2016




Aurora Concreta

Emily Kiacz + Maria Walker

April 28 – May 27, 2016

Opening reception: April 28, 6-9 PM


Cuevas Tilleard Projects

THURSDAY – SUNDAY 12-6PM (and by appointment)




3/1-3/7/16: Spring/Break Art Show

March 31, 2016



Spring/Break Art Show


Large Glass, curated by Jennifer Sullivan, room 4028

Four Sided Triangle, curated by Emily Kiacz, room 4025

March 1st – 7th, 2016
Wed – Sun, March 2nd – 6th: 12-8pm
Mon, March 7th: 12-6pm


Skylight at Moynihan Station 
(Main Post Office Entrance)
421 8th Ave, New York, NY



Installation images: Trees Breeze Green @ F+V

October 18, 2015





























Opening 10/10/15: Trees Breeze Green @ FREIGHT + VOLUME

September 15, 2015




Trees Breeze Green



97 Allen Street, NY, NY

October 7 – November 4

Opening reception Oct. 10, 6 – 9


Freight and Volume is pleased to present Trees Breeze Green, the first solo exhibition in New York of paintings by Maria Walker.

The show’s title is taken from a poem by Walker, whose studio practice also includes poetry writing. These three words reflect a sensibility that is at once highly personal and formally rigorous, and that unites all of Walker’s artistic work. Their repeated “ree” provides a satisfying rhythmic foundation upon which the varying initial consonants place color deliberately and evocatively, creating gracefully moving space. As the rhyming “z” sound of the first two words dissolves into the fluid “n” of “green,” we see how this structure gives way to, and exchanges with, subject matter: the personal content of the phrase allows circumstance into the relationship between meaning and form. In the same way, Walker’s poured or dripped paint runs between the wooden outcroppings of the irregular stretchers, accepting at once the dictates of gravity, chance, and the artist’s personal experience.

Walker makes paintings by treating wood, canvas, and paint with equal attention. She assembles her stretchers from variously sized wooden boards and scraps leftover from the stretcher-building process. She also re-uses wood from her own discarded stretchers, which carry the memory (and paint stains) of previous paintings. The canvas and paint are applied as an extension of this underlying wooden drawing without privileging the surface. As a result, the paintings at times appear to be inside out, while others are reversible and can be displayed with either side facing forward, or standing freely on their own.

Walker’s three-dimensional stretchers develop their own internal logic, but they also often refer to external objects or events of personal importance. The Calendar Paintings record the events or non-events of Walker’s studio, confronting the passage of time and bearing witness to the studio rhythms by re-using any paint leftover during, say, a given month or a year. The stretcher’s protrusions organize the paint application into temporal units, à la a clock or a calendar, in groups of twelve or 52.

The Window Paintings refer to certain significant windows, from which they derive their dimensions (these include the windows in Walker’s studio, in her home, and in her mother’s or sister’s homes). They explore a variety of means of addressing the apparent tensions inherent to windows: between a thing we look through and a thing we look at, between spatial, perspectival view and flattened structure, and above all between the quality of light arriving to the eye from a distance, unpredictably broken and reflected along the way, and the matter-of-fact light directly reflected to us by quotidian objects near at hand, no less rich for its apparent straightforwardness. Walker’s work does not attempt to resolve these tensions; neither does it shy away from their personal, emotionally complex, and not-fully-describable elicitations.



Opening 6/10/15: In This Light @ Lesley Heller Workspace

June 5, 2015

In This Light: Stuart Arends, Heather Hutchison, Maria Walker

June 10 – July 11, 2015

Opening Reception: Wednesday, June 10, 6-8pm




Lesley Heller Workspace

54 Orchard Street, New York, NY 10002

212 410 6120

Gallery Hours:

Wednesday – Saturday 11 – 6

Sunday 12 – 6

Gallery will be closed July 4 and 5


The three artists of In This Light share many unique and authentic sensitivities, along with a desire to communicate the ineffable. Each of these artists achieve this aim with particular sensitivity and human relationship to the physicality of their materials, as well as a profound sensitivity to the phenomenological properties of light. Employing available light, their physically dense, and potentially cumbersome constructions appear to float, defying their own substantial presence, taking up residence in the realm of the sublime.

Each steeped in the language and history of painting, these artists make use of nontraditional methodology with media and forms, while confounding and challenging traditional definitions of 2D, 3D, painting and sculpture. They utilize the physicality of their carefully chosen materials to the fullest, yet restrain the resultant imagery to its most essential.

The inherent properties of many of the pieces shown here allow for the viewers perception of the work to transform along with the source of ambient light, either by its changing direction or by a change in the light’s intensity. Light acts as a catalyst, generating the movement of the shadows being cast and reflections being projected, giving a kinetic aspect to each of these individual works and hinting at the passage of time. In this light, these works brush up against the metaphysical and philosophical, while dancing with the phenomenological.



Opening 6/12/15: Love Child @ Ortega y Gasset Projects

June 4, 2015

Love Child

Curated by Eleanna Anagnos

June 12, 2015 – July 26, 2015

Opening Reception: Friday, June 12, 6-9 pm




Ortega y Gasset Projects presents Love Child, an exhibition curated by Eleanna Anagnos. Inspired by a bi-coastal love affair between Anagnos and another abstract painter, Love Child highlights the dialogue and exchange that takes place when two creative people make something together. The show includes works by Eva and Adele, Anna Gaskell and Douglas Gordon, Nyeema Morgan and Mike Cloud, Rachel Debuque and Justin Plakas, Maria Walker and Jonathan Allmaier, Carrie Moyer and Sheila Pepe, Jennifer Coates and David Humphrey.

Often, artists refer to their own work as their babies. When an artist has an established practice (as the artists in this exhibition do), the community is familiar with these births. Less familiar are the love children made between two working artists. They are seemingly outliers of an artist’s practice. Unearthed, in this exhibition, they take center stage.

When two creatives negotiate the process and metamorphosis of an object, a new author comes forth. The work is the physical manifestation of a harmonious connection, and dialogue between these couples. The negation of authorship, the generosity involved in the give and take process of an intimate collaboration, the trust, the work and the understanding required is worth celebrating.

While much of the work in the exhibition is bread of a politically-driven stance, all of the work is playful.


“..the complete fusion in a praxis of two subjunctives, two subjunctives that metamorphose into a third; it is from this collusion that a new author emerges, an absent third person, invisible and beyond grasp, decoding the silence.” -from The Minds Eye by William S. Bouroughs and Brion Gysin


Eleanna Anagnos is an artist and curator based in Brooklyn, New York. She is interested in questions of space: what gets transmitted through it, how we perceive it, experience it and connect with it. By visually manipulating positive and negative space, her work challenges the viewer to pause, reflect and reconsider their sensory perception and preconceived notions of space. She has been with Ortega y Gasset Projects since May 2014. (BA Kenyon College; MFA Tyler School of Art)

Ortega y Gasset Projects is a gallery curated projects space in the Gowanus neighborhood of Brooklyn. Comprised of artists currently living in Connecticut, Illinois, Maryland, Massachusetts, New York, Ohio, and Tennessee, OyG operates a cross-country collective and an incubator for dialogue and artistic exchange.

Please contact with any questions.


Ortega y Gasset Projects

The Old American Can Factory, 363 Third Avenue, Brooklyn, NY 11215

Open Saturdays & Sundays 1-6pm



Interview with Gorky’s Granddaughter

May 21, 2015






Opening 2/26/15: Static Cling 2 @ BAM

February 25, 2015


Static Cling 2

Maria Britton, April Childers, Jonathan Cowan, Josh Faught, Karolina Gnatowski, Rachael Gorchov, Roxanne Jackson, Aaron Johnson, Robin Kang, Rosemary Mayer, Sheryl Oppenheim, Cosima von Bonin, Maria Walker

Co-curated by Maria Britton, April Childers, and Robin Kang

Brooklyn Academy of Music, Peter Jay Sharp Building, 2nd floor

Through June 2015

Opening: Thu, Feb 26, 6—8pm
Peter Jay Sharp Building
30 Lafayette Ave




2/12/15: Aritist Talk @ MICA Hoffberger School of Painting

February 8, 2015


Maria Walker, Artist Talk


Maryland Institute College of Art

LeRoy E. Hoffberger School of Painting


Thursday, February 12 at 10:30 AM


Fred Lazarus IV Center, Auditorium

131 W. North Ave., Baltimore, MD


Open to the public.



Installation Images: The breeze at dawn has secrets to tell you @ Projekt722

November 16, 2014































Hyperallergic review of Off the Wall

November 14, 2014



Off the Wall / Fresco Painting

Hyperallergic review written by Patrick Neil

On view through November 29th, 2014

Hudson Guild Gallery, 441 West 26th Street, NY, NY



Installation Images: Impossible Atmosphere @ Sgorbati Projects

October 19, 2014



Studio Windows (Morning Study)






(L) Maria Walker, Studio Windows (Morning Study), (R) Anne Truitt, Para LVIII



AT.2002.001 (HIGH RES)

Anne Truitt, Para LVIII





(L) Anne Truitt, Para LVIII, (R) Kyla Chevrier, paled like a coin dropped into still yellow milk





Kyla Chevrier, paled like a coin dropped into still yellow milk





(L) Kyla Cheverier, (R) Maria Walker, Studio Windows





Maria Walker, Studio Windows



MW.20014.001 (HIGH RES) 2

Maria Walker, Studio Windows




Opening 10/18/14: The breeze at dawn has secrets to tell you @ Projekt722

October 11, 2014


The breeze at dawn has secrets to tell you
Maria Walker
Opening Saturday, October 18, 7 – 10 PM
October 18 – November 9
722 Metropolitan Ave., Brooklyn, NY

We are pleased to present The breeze at dawn has secrets to tell you, our first solo exhibition of work by Maria Walker. Walker has previously exhibited in two group exhibitions in the space: Camel Art Space’s Soft Edge, and Projekt722’s Temperature.

Walker makes paintings by treating wood, canvas, and paint with equal importance. She assembles her stretchers from variously sized wooden boards, and also culls wood from previous stretchers, which carry the memory (and paint stains) of previous paintings. The canvas and paint are applied as an extension of this wooden drawing without privileging the surface. As a result, the paintings at times appear to be inside out, while others are reversible and can be displayed with either side facing forward. Walker’s paintings demonstrate economy and backbone; in her work, nothing is wasted.

Walker’s three-dimensional stretchers develop their own internal logic, but they also often refer to real-world objects of personal importance, including Shaker furniture, the cello, trees, and particular windows (from her studio or Walker’s childhood home). In these works the paintings read simultaneously as object, memory, and picture plane. In other paintings, Walker works with the element of time, using her paintings as clocks or calendars, creating time-based visual documents of the studio practice.

Walker’s process can be compared to a writer’s notebook, wherein scraps of old correspondence, poems, or thoughts are continuously combined with fresh observations, memories, or plans. Indeed, Walker maintains a simultaneous practice as a poet, and we are very pleased to offer a limited-edition hand-sewn chapbook of her poems in conjunction with the exhibition. The show’s title is taken from “The Breeze at Dawn,” a poem by the 13th-century Sufi poet, Rumi. The poem speaks to Walker’s clear-eyed, materially grounded studio practice, and also to the sense of wonder that this process, and the resulting painting-objects, can entail.

The breeze at dawn has secrets to tell you.
Don’t go back to sleep!
You must ask for what you really want.
Don’t go back to sleep!
People are going back and forth across the doorsill
where the two worlds touch.
The door is round and open. Don’t go back to sleep!



Opening 9/4/14: Impossible Atmosphere @ Sgorbati Projects

August 28, 2014


Kyla Chevrier / Anne Truitt / Maria Walker
Opening Thursday, September 4, 6 – 8 PM
September 4 – October 11, 2014
525-531 West 26th Street, 4th Floor, NY

Sgorbati Projects is pleased to present Impossible Atmosphere, an exhibition of artworks by Kyla Chevrier, Anne Truitt, and Maria Walker. The exhibition was conceived in conversation with artist Gabriela Salazar. The work of influential sculptor Anne Truitt is employed as a starting point to explore the connectivity of painting and sculpture, and the relationship of atmosphere to form, color and surface.  

Salazar writes of the exhibition:

The mystery of paint, form, and vision coalescing in the corner of the inner eye to conjure space, light, and mood. How to force the inescapability of material into air, light, and shadow, while simultaneously reiterating—- insisting—- on materiality? Where do substance, structure, and sublimity abut? What captures, embodies, fractures the impossible precision of atmosphere?

Exhibited is Anne Truitt’s Parva LVIII, 2002, a small, intimate sculpture measuring 12 1/8 by 12 by 3 inches, created two years before the artist’s death in 2004.  Through Truitt’s meticulous process of applying multiple layers of finely sanded gesso and pigment to a wood structure, color, while still resting on the surface, is relieved from its support.  Primarily a pale blue/green, Parva LVIII reveals the reductive nature of Truitt’s work, heightened not only by a shift in scale—- her practice most associated with larger, floor standing sculpture—– but also through the subtlety of a thin green line towards the base of the work.  The color of this line, nearly indistinguishable from the color above, almost tricks the eye to question its existence.

Kyla Chevrier will create a site-specific installation through the construction of vertical planes which interrupt the architecture of the gallery. The given conditions of the room as exhibition space are changed, and the experience of the viewer is altered. Dramatic interventions which structure programatic movement are balanced with the nuance of natural light as it is redirected against the colored surfaces of the installation. The colors are derived from Chevrier’s personal archive documenting the synesthetic relationship of color to specific people and places. 

Maria Walker presents work from her Window Series, an ongoing group of paintings based on the dimensions of her studio windows.  Walker’s paintings are continually bound by their fundamental materials—-wood, canvas and paint.  Here, the physical framework of the windows is recalled in the painting’s stretchers, reconfigured to shape unprimed canvas which is then stained with pigment.  The physical nature of the work is in contrast to the etherial qualities of their presence. The paintings, almost inexplicably, recreate the movement of light and air through the windows at a given time of day.

Opening 9/4/14: Off the Wall / Fresco Painting @ The Hudson Guild Gallery

August 10, 2014


Off the Wall / Fresco Painting 
Hudson Guild Gallery
441 West 26th Street, NY, NY 10001
September 4 – November 29, 2014
Opening reception: Thursday, September 4, 6- 8pm
Nadia Ayari
Michael Biddle
Daniel Bozhkov Christopher Carroll
Sean Glover
Elizabeth Mooney
Carrie Moyer
Walter O’Neill
Gabriel Pionkowski
Barbara Sullivan
Maria Walker

The exhibits presents a selection of contemporary artists who adhere to as well as push the limits of traditional fresco painting. Fresco is primarily a mural technique, but in the 20th century artists started experimenting with using the technique on easel-size portable frames independent of the wall.  Jose Clemente Orozco create portable frescoes in the 1930’s. In later decades, artists studying fresco at Skowhegan School in Maine explored a variety of formats to create frescos that were not on the wall.  These include methods originally developed to remove damaged frescoes from the wall.  Using a variant of the strappo method of attaching burlap to the wall to remove a fresco. artists invented a way to paint on the burlap. Other Artists have experimented with painting on a wide range of surfaces.

The artists choose to work in fresco not only for its historic connections but because of the unique challenges and specific surface.  Fresco painting requires the artist to paint with pure pigments on the freshly laid plaster before it dries.  One must use a delicate but sure hand. Because the color is bound directly into the surface, when it dries a crystalline surface forms over the color creating the unique quality of light and color.
Gallery hours: Tues – Fri 10am – 7pm, Saturdays 1pm – 4pm

La Vague Journal, Issue 3, July 2014

July 4, 2014


La Vague Journal
Issue 3, Pilgrim, July 2014

Maria Walker / Know You Hello You

Also featuring the poetry of: Alexis Almeida, Cassandra Eddington, Lori Ellison, Christine Shan Shan Hou, Claudia La Rocco, Rachel Moritz, Connie Mae Oliver, Elizabeth Robinson

Smithsonian Magazine, May 2014

April 25, 2014


Smithsonian Magazine, May 2014



Installation Images: Implicit Horizons @ Mixed Greens

February 19, 2014

"Implicit Horizon" Group exhibition at Mixed Greens

(from left): Letha Wilson, Richard Tuttle, Jarrod Beck, Maria Walker, B. Wurtz



"Implicit Horizon" Group exhibition at Mixed Greens


(from left): Letha Wilson, Maria Walker, Alex Ebstein, Maria Walker, Alex Ebstein




"Implicit Horizon" Group exhibition at Mixed Greens

(from left): Katie Bell, Letha Wilson, Maria Walker, Alex Ebstein



Opening 2/13/14: Implicit Horizon @ Mixed Greens

February 2, 2014



FEBRUARY 13 –MARCH 15 2014

Mixed Greens is thrilled to present a group exhibition of abstract works by Jarrod Beck, Alex Ebstein, Richard Tuttle, Maria Walker, Letha Wilson, and B. Wurtz. All six artists—a mix of emerging talent and established virtuosity—have a visceral approach to their materials that culminates in poetic results. Each uses everyday materials and simple gestures to allude to large, often complex ideas that remind the viewer of our vast landscape. Working in the space between painting, sculpture, assemblage, photography, and drawing, the artists have significant attachment to the physicality of the materials they use and carefully combine elements to have an impact that far exceeds the footprint of the work. Much is implied with quiet gestures that carry great gravitas.

In conjunction with Katie Bell’s solo show, Light Weight

Opening 1/4/14: [THERE] curated by Gabriel Pionkowski @FAWC

January 3, 2014




January 4 – 22, 2014

curated by Gabriel Pionkowski

Opening: January 4, 6 – 8 PM

Hudson D. Walker Gallery, Fine Arts Work Center, 24 Pearl Street, Provincetown, MA

Gallery Hours: Monday – Friday, 9 AM – 5PM

Opening 1/4/14: Sideshow Nation II @ Sideshow

January 2, 2014


Opening 11/15/13: Let’s Get Physical, curated by Rick Briggs at ventana244

November 4, 2013


November 15 – December 20

Curated by Rick Briggs

ventana244, 244 North 6th Street, Brooklyn, NY

Review on Hyperallergic

Opening 11/13/13: Maria Walker and Anneliese Schrenk @ 308at156 Project Artspace

November 3, 2013


Vol. 1 Coupé International: Maria Walker and Anneliese Schrenk

November 13 – December 13

Opening Reception: November 13, 7:00 – 9:30 PM


Project Artspace, 156 5th Avenue, Suite 308, NY NY

M-F 11AM – 6PM, by appointment only

Opening 10/24/13: Anarchistic Abstraction at UMW Galleries

October 13, 2013


Anarchistic Abstraction
October 24 – December 2

Opening Reception: October 24, 5:00 – 7:00

Peter Acheson, Ginnie Baer, Tom Bunnell, Sally Bowring, Paula Crawford, Steven Cushner, Don Crow, Jutta DeMay, Chris Gregson, Steven Griffin, Reni Gower, Rachel Hayes, Ron Johnson, Ray Kass, Amie Oliver, Tom Nakashima, Paul Ryan, Robert Stuart, Dan Treado, Maria Walker, Hilary Wilder, William Willis

University of Mary Washington

Ridderhof Martin & duPont Galleries, 1301 College Ave., Fredericksburg, VA 22301

M-F 10AM – 4PM, Sat 12 – 4PM, Sun 1 – 4PM

Opening 9/5/13: The Edge and a Little Beyond @ SOIL Gallery

August 25, 2013


The Edge and a Little Beyond


September 5 through September 28, 2013

Opening reception: Thursday, September 5, 6 – 8 PM

The Edge and a Little Beyond, curated by Julie Alexander, brings together six abstract artists whose work pushes beyond the edge of painting, playing with the basic structure of wood supports and stretched canvas through personal mark-making that embraces joy and uncertainty.

Valerie Brennan’s thick, trowelled surfaces lap the edge of her painted panels, expanding the space of the painting beyond its support. Jamie Powell cuts shapes from her canvases that reference childhood cartoons. Lorri Ott often forgoes the painting support all together, binding color and debris with poured resin. Julie Torres builds the painted object with insistent layers, often creating a meta-object. Susan Scott and Maria Walker take apart and reassemble the basic structure of painting, sometimes leaving it in a heap. The work, verging on sculpture, clearly comes from a painter’s mind.

SOIL Gallery
112 3rd Avenue South
Seattle WA 98104
Hours: Thur – Sun 12-5pm

Opening 7/27/13: Timeshares @ LVL3 Gallery

July 25, 2013


Saturday, July 27 , 2013 – Sunday, September 1, 2013

Calvin Ross Carl, Maria Walker, Josh Reames

Timeshares is a group exhibition featuring the work of Calvin Ross CarlJosh Reames, and Maria Walker. Carl reinterprets common forms from the American home and work environment through the lens of formal aesthetics. Reames makes abstract gestures that draw upon beauty and the ideal in a tropical setting. Walker deals with chance and space in her paintings allowing time to affect the relationship embedded within her materials. The luxury and flexibility that Timeshares allows exemplify the artists’ sensibility of a resort vacation. 

Opening Reception:
Saturday, July 27, 2013
6:00pm – 10:00pm


1542 North Milwaukee Ave., 3rd Floor, Chicago, IL 60622

Open Sundays 1:00-4:00pm, private viewings by appointment

Opening 7/13/13: Out of Bounds: Katrina Umber and Maria Walker

July 10, 2013

Umber Walker

Out of Bounds: Katrina Umber and Maria Walker

Organized by Samuel Zients

July 13-28, 2013

Saturday and Sunday 12-7pm, and by appointment

Opening Reception July 13, 5-8pm

397 Bridge Street, 7th Floor, Brooklyn, NY 11201

Out of Bounds brings together the work of Katrina Umber and Maria Walker, who first met and exhibited together at the Skowhegan School of Painting and Sculpture in 2011. Though working in different media and different parts of the country, both of these artists challenge our conceptions of boundaries and frames through their work in photography and painting, respectively.

The exhibition presents two bodies of work by Los Angeles-based artist, Katrina Umber. The first, Personal Affect Squares, are photographs of prescribed 15-inch squares on the walls of cells in a decommissioned county jail in Somerset County Maine, where inmates were allowed to display their personal effects, whether they be photographs, letters, or anything else. The images of these squares on walls washed in natural sunlight recall the documentary feel of WPA photography or the more austere paintings of Edward Hopper. Two of the prints in this exhibition are this same size, to mirror this personal space, and one is 30×24-inches, to mirror a Plexiglas window in the jail where inmates carved their own creative space. The second, Soft Mirrors, is a series of small chromogenic prints that have been soaked in water, which simultaneously deteriorates, revealing the many colored layers of emulsion, and remakes the original image. The artists likens this to a baptism, where the print enters the bath a photograph and emerges as an object.

The paintings of Brooklyn-based artist Maria Walker included here break down painting to its three fundamental elements—wood, cloth, paint—and then build them back up again. Walker constructs her own wooden stretchers in unorthodox shapes, resulting in structures that are nothing short of sculptural relief, recalling Louise Nevelson’s large wood-carved sculptures. She then stretches canvas, linen or dropcloth over, around, and sometimes woven through the sculptural stretchers. Paint is applied in methodical response to the painting object, with color decisions made based on chance, light, value, association, or through the recycling of leftover paint from other works in her studio. The paintings may end there, or the process may cycle back to reconsideration of the stretcher or the canvas. The results vary from vibrant, thinly painted squares to giant standing ladders laden with so much paint that they bleed together to a dark blue-black.

Boundaries are examined, questioned and redefined in the work of these artists, whether they are physical boundaries, as in Umber’s Personal Affect Squares and Walker’s wooden stretchers, or spiritual ones, as in Umber’s Soft Mirrors. In an increasingly spectacle-driven contemporary art world, in which bigger is better and it is claimed that limits do not exist, it is no wonder these two woman create work that engage boundaries so formally and confidently.

For more information, please contact Samuel Zients at or +1 917 439 2482.

Opening 5/4/13: Saturation Point @ Dutton

April 30, 2013


Installation Images: Dedee Shattuck Gallery

April 10, 2013


































Opening 4/6/13: Charles Miller and Maria Walker @ Dedee Shattuck Gallery

March 17, 2013


Charles Miller and Maria Walker

curated by artist Henry McMahon

Read the exhibition essay by Henry McMahon HERE


Dedee Shattuck Gallery

1 Partners Lane, Westport, MA

Gallery Hours: Wednesday – Saturday, 10 – 5, Sundays, 12 – 5

Opening 2/23/13: Nonobjective @ Garvey Rita Art

March 17, 2013


Nonobjective: Selected Works by Peter Acheson, Jeff Briggs, Zbigniew Grzyb, Sol LeWitt, Joel Longenecker, Andrew Masullo, Alan Shields, Judith Trepp, and Maria Walker

Garvey Rita Art

February 23 – March 30, 2013

322 Park Road, West Hartford, CT

Thank you to the Belle Foundation!

February 10, 2013

I am honored to be a recent recipient of a Belle Foundation grant.

The Belle Foundation for Cultural Development “actively support the arts, humanities and education through recognition of creative efforts and visionary ideas demonstrated by individuals in these fields”.

Thank you to the Belle Foundation and to my anonymous nominator!

Opening 2/24/13: Performing Methods—in context @ CB1 Gallery, Los Angeles

February 6, 2013


Performing Methods—in context

curated by Chris Oatey

Amélie Chabannes
Marc Philip van Kempen
Joey Kötting
Pascual Sisto
Maria Walker
Joe Winter

in conjunction with Chris Oatey: Performing Methods

February 24 – March 31, 2013
Reception for the artists: Sunday February 24, 5 – 7 p.m.

CB1 Gallery

207 West 5th Street, Los Angeles, CA

Gallery Hours: Wednesday – Saturday, 11 – 6; Sunday 1 – 6, or by appointment

One night exhibition 2/9/13: LOVE at The Willows

February 6, 2013


(collaboration, Maria Walker and Jonathan Allmaier)

hosted by Emily Weiner φ Sharona Eliassaf

February 9, 2013, 7:00 to 11:00 p.m.

Laura Piasta ♦ Johan Björck
Ragnheidur Gestsdottir
Clare Grill
Saira Mclaren ‡ Mike Hein
Fran Hostrom
Meredith James × Jonathan Ehrenberg
Benny Merris Δ Alhena Katsof
Lucy Stein
Amelia Midori Miller ♥ Augustus Nazzaro
Kevin Stahl
Maria Walker ♡ Jonathan Allmaier
Guðmundur Thoroddsen ξ Arna Óttarsdóttir
Sharona Eliassaf
Michael Hix ☎ Emily Weiner

The Willows
Hosted by Sharona Eliassaf and Emily Weiner
37 Willow Street, Apartment 3, Brooklyn

Opening 1/5/13: Sideshow Nation @ Sideshow

February 6, 2013


Sideshow Gallery

Gallery Hours: 12 – 6, Thursday – Sunday

319 Bedford Ave, Brooklyn, NY

Brooklyn Rail review of “The escape from the banal…”

January 16, 2013


The escape from the banal everyday life to the world of the ideal 

full review: Brooklyn Rail Review

by Kara L. Rooney

“In the case of Maria Walker, the exposure of her painting’s traditional support—the wood frame that makes up its skeletal core—is translated into sculptural relief. She states, in a clever series of poems written for the exhibition catalog: “What are the Materials of painting? There is the wood. There is the cloth. There is the paint.”* Basic materials, direct in their simplicity and listing. Here the symbol set does not pretend to be that which it is not: it is truth. The transcription of this idea, Walker’s “Untitled Stand #2” (2012), is underwhelming, faded, awkward—fabulous. A signifier of the reality it strains, almost too successfully, to express.”

Opening 11/10/12: Temperature @ Projekt722

November 1, 2012

Jonathan Allmaier, Korakrit Arunanondchai, Tatiana Berg, Mira Dancy, Jess Fuller, Ted Gahl, Rachel Klinghoffer, Arthur Pena, Matt Rich, Leigh Ruple, Joseph Sossi, Maria Walker


722 Metropolitan Ave., Brooklyn, NY

November 10 – December 9
Opening November 10, 6 – 9 PM

Opening 11/2/12: The escape from the banal everyday life to the world of the ideal @ NURTUREart

November 1, 2012

The escape from the banal everyday life to the world of the ideal
curated by Brooke Moyse

Jonathan Allmaier, Tamara Gonzales, EJ Hauser, Stephen Truax, Maria Walker

NURTUREart Gallery
56 Bogart Street, Brooklyn, NY


November 2 – November 30
Opening Friday, November 2, 7 – 9 PM

I have several poems included in the publication for the show, which is viewable online by clicking HERE. Critics’ Picks review of Four Rooms

October 23, 2012

Maria Walker

review by Christopher Howard

08.16.12-09.09.12 John Davis Gallery

The rugged, ragged work of the Brooklyn-based artist Maria Walker—painted wooden-slat constructions, acrylic-soaked canvases straining over irregularly shaped stretchers, and postcard-size frescos fused onto burlap and mounted on square panels—is well suited for the raw concrete rooms of John Davis Gallery’s gutted carriage house. With their tough, unfinished beauty, the fourteen pieces shown here evoke a romantic preoccupation with the passing of time yet are never overly sentimental. Walker’s work also feels nostalgic in light of recent art history, recalling in particular the elegant experimental approaches to painting from the 1970s (Elizabeth Murray, Ron Gorchov), and the manneristically mutilated work by Steven Parrino from the past three decades—but with much less angst

Her process is key to her work: The largest painting, Summer—Summer Solstice, 2011–12, involved a patient system of staining an unprimed canvas over the course of a year, pouring rich, diverse hues of paint inward from the stretcher bars’ bulky and mountain perimeter, with its dozen protrusions underneath the cotton. She produced the smaller, equally multicolored Calendar 1–65 (Skowhegan, ME), 2011, over two months, and the monochromatic baby-blue Birthday 32, 2012, even quicker, in a day, with a circle of twelve jagged blocks underneath the saturated fabric liner symbolizing a clock’s hours.

Walker acknowledges the source of her support materials by adding a figurative element—the tree—into many of her works, especially her three-dimensional structures. A painting of a barren grayish-brown trunk and branches, March Tree, 2011–12, is wrapped around a skewed stretcher that stands upright. The object casts a long winter shadow, composed of wooden slats arranged on the floor behind it, which are messily painted sky blue and leaf green. Another work, Return, 2011–12, abandons painting entirely: The artist removed an unsatisfactory canvas from its supporting brace, leaving behind a rough but elegant sunburst pattern to hang on the wall.

Interview with Painter’s Bread

October 22, 2012

Read my interview with Mike Rutherford of Painter’s Bread HERE.


Installation Images: Four Rooms at John Davis

October 14, 2012


Room 1:




Room 2:






Room 3:







Room 4:











Opening 9/7/12: Floor Routine @ Bodega in Philadelphia

September 7, 2012

Floor Routine

Ethan Cook, Maria Walker, John Roebas


253 N. 3rd St., Philadelphia

Opening September 7, 6 – 9PM

September 7 – October 21

Saturdays and Sundays, 12 – 4PM

Opening 9/8/12: HKJB @ Galerie Laroche/ Joncas in Montreal

August 29, 2012

Opening 8/18/12: Maria Walker @ John Davis Gallery

August 10, 2012

Maria Walker, Four Rooms

John Davis Gallery, Second Floor Carriage House

 August 16 – September 9

Opening Reception: Saturday, August 18, 6 – 8 PM

Also on view: Alison Fox, Leonid Lerman, JJ Manford, Deirdre Swords, and Stephen Reynolds

362 1/2 Warren Street, Hudson, NY

Hours: Thursday – Monday 11 – 5 PM or by appointment

Artist of the Week Interview at LVL3 Gallery

June 19, 2012

Thanks to LVL3 Gallery for the featured interview! :

Artist of the Week: Maria Walker

Opening 5/25/12: Homecoming @ Brown University

May 23, 2012

Homecoming: First Annual Alumni Exhibition

Brown University, List Art Center, 1st floor

May 25 – June 22

Opening: Friday May 25, 5 – 7

curated by Heather Darcy Bhandari ’97 and Ann Tarantino ’97

Jonathan Ehrenberg ’97, Orly Genger ’01, Kevin Kramp ’02, Maria Walker ’02, Saya Woolfalk ’01

Opening 4/20/12: Potential Images @ 1708 Gallery in Richmond

April 30, 2012

Potential Images

Ivin Ballen, Guy Ben-Ari, Michael DeLucia, Michael Dotson, Brendan Smith and Maria Walker

1708 Gallery, 319 West Broad Street, Richmond, VA

April 20 – June 9, 2012

1708 Gallery is pleased to present Potential Images. Curated by Emily Smith, Executive Director of 1708, Potential Images surveys current practices in contemporary painting, from a DIY aesthetic to an interest in new media. Featuring Ivin Ballen, Guy Ben-Ari, Michael DeLucia, Michael Dotson, Brendan Smith and Maria Walker, the works in Potential Images demonstrate both an embrace of the quiet and handmade and an awareness of the neo-baroque and the sublime. Underlying much of the work is an awareness of the history of painting and the theories and arguments that have accompanied this story.

1708 Gallery will host a preview on Thursday, May 3, with a Curator’s talk at 6:30. There will also be an opening reception on Friday, May 4, 2012. Potential Images will be on view through Saturday, June 9.

Opening 4/14/12: Immaterial Ergonomics @ Space 4 Art in San Diego

April 4, 2012

Immaterial Ergonomics

Brice Bischoff, Ryan Perez, Matt Sheridan, Maria Walker

Space 4 Art, 325 15th Street, San Diego, CA

April 14 – May 26, 2012

Opening April 14, 6 to 10 PM

Immaterial Ergonomics brings together four artists from both coasts who share an affinity for material transcendence. Their innovative, contemporary work represents a range of hybrid practices: sculpted canvases, painted videos, printed sculptures and digital processes, which turn traditional mediums on their head. The four artists share a goal: to head toward representational objects, only to sidestep the familiar at the last moment. And drift past. The work will be celebrated with an incredible reception that includes high-caliber music performance art by UC San Diego art teacher Michael Trigilio, and a one-night-only installation by San Diego artist Anna Chiaretta Lavatelli.


Installation images: Maria Walker, Sun You at Open Space in LIC

March 27, 2012