A career-spanning six-location exhibition of painter Rochelle Feinstein opens in galleries across the US and Europe


There’s an African proverb that sums up the spirit behind painter Rochelle Feinstein’s new exhibition You again. “If you want to know the end, look at the beginning.” Spread across six different galleries in five cities in the US and Europe, the show is in some ways a retrospective of Feinstein’s work, but that description doesn’t quite do it justice .

The galleries – Bridget Donahue and Candice Madey in New York, Campoli Presti in Paris, Nina Johnson in Miami, Hannah Hoffman in Los Angeles and Galerie Francesca Pia in Zurich – show all work from Feinstein’s career and to date. And as is typical of the artist’s style, it is difficult to distinguish an earlier piece from a later one. Especially since some new works are attached directly to older ones. It’s as if Feinstein works outside of the cycle of time in which most artists live. There is no blue period, cubist period or lattice period. It’s all fair, Feinstein.

Rochelle Feinstein, Wonderful view (1995) Courtesy of Gallarie Francesca Pia

“You can’t really place anything about her in chronological order,” says gallery owner Candice Madey, Feinstein “kinda exists outside of time. She doesn’t work linearly, but more like a network of nodes, which is why this exhibition almost feels like an extension of her work. It’s fractured and kaleidoscopic, reflecting that aspect of her artmaking.”

While the shared exhibition model isn’t particularly new, it’s ideal for an artist like Feinstein and a pleasant reminder that mid-sized galleries can work together and host the kind of global exhibitions that megas like Hauser & Wirth and Gagosian can seemingly pull off on a whim out thanks to their complex infrastructure and administrative power. (Not to mention their juicy bank accounts.) The exhibition’s egalitarian nature doesn’t stop at sharing art or shipping costs. The six galleries also share profits, with 50% going to the artist, 30% to each gallery, and 20% going into a common pot.

The idea of ​​creating this recognition consortium arose from the inertia that the pandemic imposed on everyone. Conversations between friends and colleagues sparked an almost involuntary but intuitive need to work together to bolster Feinstein’s reputation and advance her work on a large scale. Some, like Madey, had worked with the artist for years. Donahue and Hoffman, on the other hand, were admirers but relatively new to the table. After making the decision to hold the exhibition in multiple locations, each gallerist selected a piece and from there began to build an exhibition around it.

Installation view from Rochelle Feinstein: You again at Bridget Donahue. Far left is Red Square (1992), that’s right, Sad Frame (2021) Photo by Gregory Carideo

“Each of the shows is different and presented me with a problem that I was able to solve. I love solving problems,” says Feinstein. “When the idea came up I thought it might be interesting to revisit the older work and delve into something, be it a formal matter or a topic, something I was thinking about at the time and into a similar mindset to enter – but now. It’s a way of looking back to stay in the present.”

The method shows. At Bridget Donahue, red square, made in 1992 and inspired by the fall of the Berlin Wall hanging alongside sad frame, a 2021 work that is formally similar but features supercharged red stripes by red square have been replaced by muted, dirty blacks and grays.

Feinstein’s practice and willingness not only to show older works, but to develop and expand on them, made it easy for gallerists, each with their own business, program style, and vision, to adopt an aspect of their work. This in turn gave the artist an opportunity to focus her energy and inspiration for new images.

Rochelle Feinstein, 2015/2015 (2016) ROCHELLE FEINSTEIN
2015/2015, 2016 Courtesy Hanna Hoffman Gallery, Los Angeles. Photo by Gred Carideo

“It is very reflective of her practice that this constellation of galleries was brought in to make the prismatic nature of her work readable,” says Hannah Hoffman. “As I looked at installation images from the other venues, each one is an exceptional representation of who Rochelle is as an artist, nuanced and layered. Not many artists would be that strong in this format. For people new to the work, there is an opportunity to immediately dive into the world of Rochelle Feinstein and understand what she has been doing for decades.”

The exhibition opens in January and February and runs through March and April in the six galleries.


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