Small and mid-size galleries in New York are being hit hard by the COVID-19 crises, with many facing an uncertain future. Now, the pandemic has claimed its first victim, Lesley Heller Gallery on Manhattan’s Lower East Side.
In an email today, April 21, Heller announced the permanent closure of her eponymous gallery after 10 years of activity at 54 Orchard Street.
“I am extremely proud of the exhibitions the gallery has put on throughout its many iterations, and I am honored to have worked with so many incredible artists and dedicated collectors,” she wrote.
Heller, who could not be reached for this article, opened her first gallery, the Workspace, in 1994 in SoHo. After 10 years of activity, she moved to the Upper East Side and reopened as Lesley Heller Gallery. The gallery was one of the first in the neighborhood. In 2010, she launched the Lesley Heller Workspace, which presented solo exhibitions by represented artists in the front gallery, and guest-curated group exhibitions in the back gallery. The program ran for seven years, exhibiting works by influential artists like Lynda Benglis, Sol LeWitt, Elisabeth Condon, Deborah Brown, and others.
Lesley Heller Gallery’s announcement will likely be followed by other closures of galleries around the city.
In March, the New Dealers Alliance (NADA), circulated a petition that implores the city and local government to provide relief to small and mid-size galleries.
“If no action is taken, these businesses will not survive and many artists and art workers will be left without a system of support,” the petition warned.
In an updated petition later in March, NADA called for a rent freeze to help galleries survive this period, but these pleas have not been answered.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.