Hollis Taggart

One morning in Denver as artist John Knuth was getting his exhibition ready at the David B Smith Gallery, the police knocked on the door to check he wasn’t housing a dead body. “They said, ‘We’ve got a report of a lot of flies in here. Is there a dead body or anything rotting?’” Knuth recalls to the Guardian over Zoom.

Before Sol Lewitt became a household name, he was a guard at the Museum of Modern Art (MoMA). So was Ralph Iwamoto. In the late 1950s, the museum’s staff included a cluster of artists who would go on to become stars: Lewitt, Dan Flavin, Robert Mangold, and Robert Ryman. Iwamoto was right there with them, sharing ideas and steadily building a visual language of his own. And yet, while their names were canonized, his slipped from public view.

New York’s Hotel Chelsea is no stranger to the art world. From Patti Smith to Jackson Pollock, countless creatives have visited and taken up residence in the bohemian establishment throughout its colourful history, sometimes paying their bills with art. This month, the hotel is opening Teruko, a Japanese restaurant from the chef Tadashi Ono inspired by one of its former residents: the late artist Teruko Yokoi.

Teruko Yokoi, an undersung Japanese-born Swiss abstract painter who spent much of her career in the US, was known for her work combining modern American abstraction with traditional Japanese aesthetics. This exhibition, on view May 1 through June 14, spans the artist’s career from the late ’50s to the early 2000s, focusing specifically on the Japanese dance-drama Noh as an influence on Yokoi’s practice.

The Japanese Swiss artist Teruko Yokoi lived and worked in New York’s Hotel Chelsea for three productive years until she moved out in 1961. She never returned, says her daughter, Kayo, who has managed her estate since her death in 2020. But next month, the abstract painter and collage artist will have a homecoming of sorts with the opening of a Japanese restaurant named after her and an exhibition at the nearby Hollis Taggart gallery.

Hollis Taggart is thrilled to announce its induction into the Art Dealers Association of America (ADAA)’s incoming class of 2025. The gallery is honored to join the nation's leading professional association of fine art dealers along with 11 other illustrious galleries. Thank you to the ADAA members for your support.

In the catalog announcing the late painter Dorothy Hood’s solo debut in Mexico City in 1943, Chilean poet Pablo Neruda describes her art as driven by inbuilt contradictions, tracing in it both a “savage silence” and a “desperate interrogation.” Showcasing her late-period work, Dorothy Hood: Remember Something Out of Time — the painter’s first solo show in New York in 43 years — proves Neruda’s insights prescient. 

orothy Hood, an adventurous Texan whose enthralling abstract paintings won her great renown in the Houston art world starting in the 1960s, had high expectations for herself. And in many ways, she achieved them: friends like Leonora Carrington and Frida Kahlo from her two decades living in Mexico, high-profile gallery shows across the United States, numerous museum acquisitions, a lifetime achievement award from the Women’s Caucus for Art. Some even call her Texas’s greatest 20th-century painter.

Hollis Taggart is pleased to present its first solo exhibition of the American artist Dorothy Hood (1918-2000) while announcing its representation of her estate alongside McClain Gallery of Houston, Texas. Hood was a pioneering figure of American Modernism who fused Abstract Expressionism with elements of surrealism and was heavily influenced by the two decades she spent immersed in the Mexican art scene while living in Mexico City and Puebla. Dorothy Hood: Remember Something Out of Time will reintroduce New York audiences to the artist, who has not been the focus of an exhibition here since the early 1980s.

We’re proud to present our list of the best art books of 2024 for your holiday reading, and perhaps to inspire your gifting this winter. Our editors and critics read across genre, subject, and pace this year, from memoirs and graphic novels to catalogs, artist books, and everything in between. Hyperallergic Editor-in-Chief Hrag Vartanian muses on the poignant work of photographer Diana Markosian in Father, while critic Alexandra M. Thomas recommends Nikki A. Greene’s book reframing the study of Black visual art and musical production. Read on for Reviews Editor Natalie Haddad on Trans Hirstory in 99 Objects, Associate Editor Lisa Yin Zhang on scholar Anne Anling Cheng’s essay collection, my love of Audrey Flack’s memoir, and more ordered by publication date in the list below. As always, we approach the “art book” category with flexibility, considering titles that seam the art world with its incalculable intersections with other fields. Let us know what your top books of 2024 are, and happy reading! —Lakshmi Rivera Amin, Associate Editor

Hollis Taggart is pleased to announce that the gallery will be representing the estate of the Cuban-American artist Rafael Soriano (1920-2015). In tandem with this, the estate has announced a catalogue raisonné devoted to the artist, edited by the art historian Alejandro Anreus. Both announcements follow two major museum acquisitions of the artist’s work, including three paintings acquired by the National Gallery of Art in Washington, DC, in August, and one painting acquired by the Whitney Museum of American Art last month. Hollis Taggart has also announced the gallery will be presenting a solo exhibition of Soriano’s work from June 5 through July 18, 2025. This will be the artist’s first solo show in New York City.

Hollis Taggart is pleased to announce the representation of the estate of the second generation Abstract Expressionist Charles Cajori, which will be launched with an exhibition of his work at the gallery later this month. Known for blending bold abstraction with figural experimentation, Cajori’s canvases display a mastery of color and dynamism. Charles Cajori: Turbulent Space, Shifting Colors is the first exhibition of the artist’s work in NYC in nearly in a decade, and will function as a “mini-retrospective,” featuring works from the early 1950s to the late 1970s.