is a captivating gallery nestled in downtown New York, where objects that ignite our curiosity are showcased.
This project is slated to span a year.
We are proud to commit 2% of our proceeds to three cherished charities that resonate with our values and aspirations.
The Frame Gallery is pleased to present The Inmost Flame, a group exhibition of works that
have a spiritual significance and communicate to the soul. The show is by appointment only and
opens November 9th until December 15th, 2024, on 75 East Broadway, Unit #230, New York, NY. Curated by Lola Montes Schnabel, who...
The Frame Gallery is pleased to present The Inmost Flame, a group exhibition of works that
have a spiritual significance and communicate to the soul. The show is by appointment only and
opens November 9th until December 15th, 2024, on 75 East Broadway, Unit #230, New York, NY. Curated by Lola Montes Schnabel, who raises the question: what is the purpose of Art itself? Essentially putting one’s breath into an object to communicate with others, including those no longer here and the unborn. Art transcends the present to point us towards questions of the future.
Ideas travel. Mentors transport. These two related ideas are fused in this exhibition as each work was created by a person who has been a source of inspiration for the curator, with the evidence of their practice shown in this exhibition as reliquaries, objects that affirm their inner lives to Lola and, through their small scale, represent works she would travel with as talismans to place by one’s bedside – “things to reach for if the house was burning down.”
Carry-on works used to comfort one when on the road, in hotel rooms, to protect us. A true icon is one that has ‘appeared,’ a gift from above, opening the way to the Ideal and able to perform miracles.
Watching the grass grow and die and grow again
My father was never an artist, though it felt fitting for his final months, drawing would be his test for mental cognition, the symbol and medical proof that he was not to get better.
The medical system failed my father in many ways. Millions of Americans experience this every day. In the end, I wondered how many diagnoses and prognoses are made far too late because people don’t believe empathy is a learned skill; that somehow, like great artists, you’re either born with it or you aren’t. Listening is one of, if not the most, undervalued types of labor.
I was not born with empathy, but rather acquired it over years of practice. It is a practice, to be honed and nurtured, always developing. This show is about listening and hopeful change. I will never not be hopeful.
The Foster-Rose Method only requires a shared sense of willingness.
For 15 years I have worked diligently within various networks of service, supporting mental health, addiction recovery, post-incarceration employment, stable housing, and career-building guidance. These experiences have come together to build what I found to be a transformative and excavatory Method, one that is based in conversation, asking questions, understanding empathy as a learned practice, finding personal growth through shared vulnerability, and mutual aid. The Foster-Rose Method is transformative in ways other methods cannot access due to no monetary exchange; it is free, without hierarchy. This Method undoes itself every time the session ends, building itself back up whenever recreated or shared. It does not shy away from the existential dreads but faces them head on. Participants will receive a free 1 hour in-person session.
A show of selected new paintings is presented in dialogue with sessions running from September 15-30.
Matt Hilvers (b. 1990 Chicago, IL) lives and works in New York. A conceptual artist working primarily within painting and performance, paintings often utilizing allegory, language, and replication, and performance rooted in dance, finding where violence to the body meets infrastructure, at times using personal narrative and ephemera to build a larger world. Recent exhibitions include group shows at Gladstone Gallery (New York, NY), Kunstverein Munich (Munich, Germany), Chateau Shatto (Los Angeles, CA), and Cité Des Artes (Paris, France). Solo exhibitions at Karma (New York, NY) and Jeffrey Stark (New York, NY). With performances in public space and institutions such as Performance Space (New York, NY). His work is in many private collections abroad. Publications in the New York Times, Artforum, Artnet, New York Mag, Artnews, and Spike Art Magazine.
Foster Rose Method, 2024
Daichi Takagi (b. 1982 in Gifu, Japan) currently lives and works in Kanagawa. Takagi graduated from the Oil Painting Course, Department of Painting at Tama Art University, Tokyo. Here, he also completed the Master’s Degree Program, Graduate School of Art and Design.
With a grant by Japan’s Agency for Cultural Affairs in the framework of the Overseas Study Program for Artists, Takagi based himself in Amsterdam, the Netherlands, between 2018 and 2019. Before going to the Netherlands, his practice centered on forms and shapes of both painted images and paintings themselves, developing diverse work spanning from abstract attempts that thematize still life and landscape to pieces appropriating shaped canvases and grid structures. While in the Netherlands, he committed to a total reexamination of his painterly practice by then, beginning to engage with painting more from intuition, keeping a distance from theory and methodology. Takagi’s subjects also shifted to things observed in the artist’s immediate environment, such as trees, rain, water surface, windows, and birds. Through a range of brushstrokes and paint layers, his new paintings tactfully translate and appropriate the quality and ambience perceived in the actual space into forms of painterly expression.
Thicket, 2021
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Watching the grass grow and die and grow again
Foster Rose Method, 2024
My father was never an artist, though it felt fitting for his final months, drawing would be his test for mental cognition, the symbol and medical proof that he was not to get better.
The medical system failed my father in many ways. Millions of Americans experience this every day. In the end, I wondered how many diagnoses and prognoses are made far too late because people don’t believe empathy is a learned skill; that somehow, like great artists, you’re either born with it or you aren’t. Listening is one of, if not the most, undervalued types of labor.
I was not born with empathy, but rather acquired it over years of practice. It is a practice, to be honed and nurtured, always developing. This show is about listening and hopeful change. I will never not be hopeful.
The Foster-Rose Method only requires a shared sense of willingness.
For 15 years I have worked diligently within various networks of service, supporting mental health, addiction recovery, post-incarceration employment, stable housing, and career-building guidance. These experiences have come together to build what I found to be a transformative and excavatory Method, one that is based in conversation, asking questions, understanding empathy as a learned practice, finding personal growth through shared vulnerability, and mutual aid. The Foster-Rose Method is transformative in ways other methods cannot access due to no monetary exchange; it is free, without hierarchy. This Method undoes itself every time the session ends, building itself back up whenever recreated or shared. It does not shy away from the existential dreads but faces them head on. Participants will receive a free 1 hour in-person session.
A show of selected new paintings is presented in dialogue with sessions running from September 15-30.
Matt Hilvers (b. 1990 Chicago, IL) lives and works in New York. A conceptual artist working primarily within painting and performance, paintings often utilizing allegory, language, and replication, and performance rooted in dance, finding where violence to the body meets infrastructure, at times using personal narrative and ephemera to build a larger world. Recent exhibitions include group shows at Gladstone Gallery (New York, NY), Kunstverein Munich (Munich, Germany), Chateau Shatto (Los Angeles, CA), and Cité Des Artes (Paris, France). Solo exhibitions at Karma (New York, NY) and Jeffrey Stark (New York, NY). With performances in public space and institutions such as Performance Space (New York, NY). His work is in many private collections abroad. Publications in the New York Times, Artforum, Artnet, New York Mag, Artnews, and Spike Art Magazine.
Thicket, 2021
Daichi Takagi (b. 1982 in Gifu, Japan) currently lives and works in Kanagawa. Takagi graduated from the Oil Painting Course, Department of Painting at Tama Art University, Tokyo. Here, he also completed the Master’s Degree Program, Graduate School of Art and Design.
With a grant by Japan’s Agency for Cultural Affairs in the framework of the Overseas Study Program for Artists, Takagi based himself in Amsterdam, the Netherlands, between 2018 and 2019. Before going to the Netherlands, his practice centered on forms and shapes of both painted images and paintings themselves, developing diverse work spanning from abstract attempts that thematize still life and landscape to pieces appropriating shaped canvases and grid structures. While in the Netherlands, he committed to a total reexamination of his painterly practice by then, beginning to engage with painting more from intuition, keeping a distance from theory and methodology. Takagi’s subjects also shifted to things observed in the artist’s immediate environment, such as trees, rain, water surface, windows, and birds. Through a range of brushstrokes and paint layers, his new paintings tactfully translate and appropriate the quality and ambience perceived in the actual space into forms of painterly expression.
Universal history of betrayal - Cassiopea (2), 2022
Natalia Gonzalez Martin (b. 1995) borrowing the formal qualities of icon painting, explores the inscriptions of a cultural heritage on one’s physical body and moral codes. The figures represented are often filled with historic symbolism, allowing us to pay attention to the traditions, gestures and habits we have inherited.
Natalia’s work merges the characters from old fables with the constant supply of images we are subjected to daily aiming to blur the boundaries between divine, secular and earth in order to gesture towards other ways of desiring, feeling or being in the world, attuned to these paradoxes.
The pieces are entitled by proverbs or sayings passed down orally, reflecting on a shared approach to life that has been accepted without comment or revision
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