@flagartfoundation

The FLAG Art Foundation

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@flagartfoundation

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A nonprofit exhibition space for contemporary art

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#pamxflag #genesisbelanger #aroseis #paulcézanne #paintingthefrenchriviera #hankwillisthomas #johnwaters #disturbinginnocence #untilthemooncomesoverthemountain #derekfordjour

Recent posts

𝗙𝗿𝗶𝗲𝗻𝗱𝘀 𝗼𝗳 𝗙𝗟𝗔𝗚: "Genesis Belanger: Heads or Tails," presented by Public Art Fund (@publicartfund) and curated by Melanie Kress (@mel_kress) is on view at City Hall Park in Lower Manhattan through November 15, 2026. The exhibition is free and open to the public. The installation marks the artist's first public commission. Belanger's (@genesisbelanger) "Double Standard," 2018, was previously on view in "A Rose Is," at FLAG from February 27-June 21, 2025. The group exhibition considered the rose in all of its symbolic and ritual complexity, ultimately seeking to complicate our familiarity with the flower as a vehicle for consumption and desire. Alongside Belanger, the presentation featured Louise Bourgeois, Alex Da Corte, Allison Janae Hamilton, Nicolas Party, Sara Cwynar, Kay Rosen, and Cy Twombly, among others. _ Images: Installation view of "A Rose Is" at The FLAG Art Foundation, 2025. Photography by Steven Probert #GenesisBelanger #ARoseIs 07 Nov 2026

Fishing Trip, 2026 Acrylic, charcoal, cardboard, oil pastel, glitter and foil on newspaper mounted on canvas 72 x 96 Next Wednesday night, November 11 from 6-8pm, please join me and renowned art historian Katy Siegel as we discuss my new painting and more. Seating is limited. RSVP at the link above. See you soon 🙏🏾 Thank you to the brilliant @donovanxramsey for your forthcoming commissioned essay On view November 11th- December 18th The FLAG Art Foundation Spotlight:Derek Fordjour @flagartfoundation 06 Nov 2026

𝗖𝘂𝗿𝗮𝘁𝗼𝗿𝗶𝗮𝗹 𝗡𝗼𝘁𝗲𝗯𝗼𝗼𝗸: The “bathers” motif constitutes one of the most enduring tropes in Western art history, transitioning from classical and mythological frameworks into a modernist vehicle for formal experimentation and social critique. For Paul Cézanne (1839-1906), this motif represents a lifelong preoccupation that yielded approximately 200 works across his career. In “Les Baigneurs (Bathers),” 1890-92, six elongated male figures are positioned at the edge of a riverbank; depicted with their backs to the viewer (and painter), they remain oblivious to the voyeuristic gaze. Concurrently, Mont Sainte-Victoire—another foundational motif within Cézanne’s lexicon—appears as a distant peak in the background. Whereas Cézanne’s female bather compositions are characterized by rigid, tightly structured triangular configurations, his male counterparts introduce an alternating rhythmic cadence across the canvas, wherein the figures twist, turn, and coalesce into a frieze-like arrangement. — Paul Cézanne’s “Les Baigneurs (Bathers),” 1890-92 (on loan from @stlartmuseum), is included in the exhibition “Painting the French Riviera,” co-organized by the Royal Academy of Arts, London (@royalacademyarts) in collaboration with the Cleveland Museum of Art (@clevelandmuseumofart), on view through January 31, 2027. — #PaulCézanne #PaintingtheFrenchRiviera 05 Nov 2026

𝗖𝗹𝗼𝘀𝗶𝗻𝗴 𝗦𝗼𝗼𝗻: "Spotlight: Hank Willis Thomas," featuring "Love Over Rules (column)," 2025, is on view through Saturday, November 7, 2026. Thomas's (@HankWillisThomas) presentation is accompanied by a new text from Ashley James, Ph.D. (@ohashuhlee), Curator of Contemporary Art at the Guggenheim Museum, New York, NY (@Guggenheim) and is available through the link in our bio. _ Images: Installation view of "Spotlight: Hank Willis Thomas" at The FLAG Art Foundation, 2026. Photography by Steven Probert Studio #HankWillisThomas 04 Nov 2026

𝗛𝗮𝗽𝗽𝘆 𝗛𝗮𝗹𝗹𝗼𝘄𝗲𝗲𝗻 from FLAG, featuring filmmaker and “King of Filth” John Waters’s deeply unsettling “Playdate,” 2006. Exhibited in the group exhibition “Disturbing Innocence,” (October 25-January 31, 2015) curated by artist Eric Fischl (@fischlstudio), “Playdate” envisions Michael Jackson and Charles Manson as children; the lifelike figures feature toddler-sized bodies capped with the recognizable, fully mature heads. About the work, Waters literally asks the question, “Could they have saved each other if they had met on a play date before their lives went wrong?” Alongside Waters, the presentation featured over 50 historical and contemporary artists who question social constructions of youth, beauty, transformation, violence, sexuality, gender, identity, and loneliness. Inspired by Fischl’s childhood in suburban Long Island, NY, and his early career as an artist working in New York City in the 1980’s, “Disturbing Innocence” presented a subversive and escapist world at odds with the values and pretensions of polite society. _ #JohnWaters #DisturbingInnocence 31 Oct 2026

𝗖𝗹𝗼𝘀𝗶𝗻𝗴 𝗦𝗼𝗼𝗻: Part II of UNTIL THE MOON COMES OVER THE MOUNTAIN at the Parrish Art Museum in Watermill, NY, closes on Sunday, November 8, 2026. Following Part I of the exhibition at FLAG, the Parrish's (@parrishartmuseum) presentation focuses on formal explorations rooted in natural materials. Working with substances gleaned from the earth including minerals, fiber, and plant matter—the exhibition eschews pictorial depictions of land, turning instead to abstraction to examine personal and collective attachments to place. What emerges through line, form, color, and materiality are not literal landscapes, but meditations on memory, sensory experience, and the layered histories of land. _ Image: Installation view of UNTIL THE MOON COMES OVER THE MOUNTAIN at the Parrish Art Museum, Water Mill, NY (August 1–November 8, 2026). Photography by Jenny Gorman #UNTILTHEMOONCOMESOVERTHEMOUNTAIN #PAMxFLAG 29 Oct 2026

𝗨𝗽𝗰𝗼𝗺𝗶𝗻𝗴: "Spotlight: Derek Fordjour" at FLAG November 11-December 18, 2026. FLAG's Spotlight exhibition series includes new or never-before-exhibited artworks accompanied by commissioned pieces of writing. In this iteration, the Spotlight features a new painting by Derek Fordjour (@fordjourstudio) and a text by journalist and author Donovan X. Ramsey (@donovanxramsey). A conversation between the artist and Katy Siegel, Distinguished Professor and the Thaw Chair at Stony Brook University, will take place on Wednesday, November 11, from 6-8 PM; The conversation will begin at 6:30. RSVP via the link in our bio. _ Image: Photography by Catherine Patton #DerekFordjour 28 Oct 2026

𝗙𝗿𝗶𝗲𝗻𝗱𝘀 𝗼𝗳 𝗙𝗟𝗔𝗚: Robin F. Williams's first solo presentation in the United Kingdom, "Act Natural," is currently on view at P.P.O.W's Frieze London presentation through October 28, 2026. Williams's (@robinfrancescawilliams) "Language Model," 2026, was featured in FLAG's Spotlight program from March 18-April 25, 2026. Their work was accompanied by a commissioned text from fiction writer Ottessa Moshfegh. In Moshfegh's text, also titled "Language Model," she writes, "I imagine my in-utero experience much like I imagine death will be: floating through a zone of infinite darkness. It looks like outer space, only there are no stars, no planets. I was surgically removed from my mother’s body by a doctor at Brigham and Women’s Hospital in Boston one day in the spring of 1981. There’s something uncannily triumphant and deranged about that arrival, as if my journey into existence was fated but completely absurd. I somehow boarded a plane by accident. How did I get here? What’s the catch?" _ Image: Installation view of "Spotlight: Robin F. Williams" at The FLAG Art Foundation, 2026. Photography by Steven Probert Studio #RobinFWilliams 24 Oct 2026

𝗖𝘂𝗿𝗮𝘁𝗼𝗿𝗶𝗮𝗹 𝗡𝗼𝘁𝗲𝗯𝗼𝗼𝗸: 🤍💛A handful of visual affinities from London and Paris: Robert Ryman’s “Versions VI,” 1991, part of the late artist’s monographic survey “Robert Ryman: The Real Thing” on view at The Barbican Art Gallery (@barbicancentre) through February 28, 2027; Robert Ryman’s “Untitled,” 1999, currently on view at David Zwirner’s (@davidzwirner) Paris gallery; William Turnbull’s “05-1993 (White on Yellow),” 1993, at Karma’s (@karmakarma9) presentation at @friezeofficial, London; Agnes Martin’s “Innocent Love,” 1999, at Larkin Erdmann’s (@larkinerdmann) presentation at @artbasel, Paris; Derek Jarman’s “the Pleasures of Italy,” 1963, at Amanda Wilkinson’s (@amandawilkinsongallery) presentation at @friezeofficial, London; Fernanda Gomes’s “Untitled,” 2014, at Luisa Strina’s (@luisastrina) presentation at this year’s @artbasel, Paris; and Cy Twombly’s “Sperlonga Collage,” 1959, part of the exhibition “Cy Twombly: Sperlonga Drawings,” currently on view at Galerie Karsten Greve (@galeriekarstengreve), Paris. 20 Oct 2026

𝗢𝗻 𝗩𝗶𝗲𝘄: "FRESH PAINT: Chase Hall" at the Parrish Art Museum through January 25, 2027. The eighth FRESH PAINT collaboration between FLAG and the Parrish (@parrishartmuseum) features Chase Hall’s (@hallchase) new painting, “The Affrilachian Mountains," 2026. Coined by Kentucky poet Frank X. Walker, "Affrilachian" describes African Americans native to or living in Appalachia. Between 1870 and 1930, tens of thousands of Black families migrated from the Jim Crow South to Appalachian coal mining towns seeking economic independence. Despite strict segregation, these high-concentration coal camps enabled Affrilachians to build robust, self-sustaining communities complete with churches, businesses, and schools that fostered a strong Black middle class. Depicting a ‘class picture’ of gathered miners, “The Affrilachian Mountains," 2026, furthers Hall’s longstanding interest in collective histories, endeavors, and accomplishments through photography and group portraiture. “FRESH PAINT: Chase Hall” is accompanied by a conversation between Hall and British writer, curator, and broadcaster Ekow Eshun (@ekoweshun). _ Image: Installation view of "FRESH PAINT: Chase Hall" at the Parrish Art Museum, Water Mill, NY (October 1, 2026-January 25, 2027). Photography by Jenny Gorman #ChaseHall #PAMxFLAG Image: Chase Hall, Detail of "The Affrilachian Mountains," 2026. Acrylic and coffee on cotton canvas, pitchfork, shovel, can, coffee canisters, tobacco pouch, and wire. Overall: 96 × 110 × 8 1/2 in. Courtesy the Artist and David Kordansky Gallery. Photography by Christopher Stach Image: Chase Hall, Detail of "The Affrilachian Mountains," 2026. Acrylic and coffee on cotton canvas, pitchfork, shovel, can, coffee canisters, tobacco pouch, and wire. Overall: 96 × 110 × 8 1/2 in. Courtesy the Artist and David Kordansky Gallery. Photography by Christopher Stach Image: Chase Hall, Detail of "The Affrilachian Mountains," 2026. Acrylic and coffee on cotton canvas, pitchfork, shovel, can, coffee canisters, tobacco pouch, and wire. Overall: 96 x 110 x 8 1/2 in. Courtesy the Artist and David Kordansky Gallery. Photography by Jenny Gorman 17 Oct 2026

𝗖𝘂𝗿𝗮𝘁𝗼𝗿𝗶𝗮𝗹 𝗡𝗼𝘁𝗲𝗯𝗼𝗼𝗸: “We are surrounded by curtains. We only perceive the world behind a curtain of semblance. At the same time, an object needs to be covered in order to be recognized at all.” The paradox of René Magritte’s statement (written to accompany his painting “Le palais des rideaux,” 1928)—that an object “needs to be covered in order to be recognized at all”—reflects how form, labels, or framing give objects distinct identities. It also provides a sly and unifying curatorial framework for the sprawling exhibition “This Is Still Not a Pipe: The Afterlife of Magritte,” organized in collaboration with the Fondation Magritte, curated by Jasper Sharp (@jasperdgsharp) and Bernard Lagrange (@berndogl), on view at @gagosian’s Grosvenor Hill gallery through December 12, 2026. — #RenéMagritte 16 Oct 2026

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DfcdBtSIOkS	𝗙𝗿𝗶𝗲𝗻𝗱𝘀 𝗼𝗳 𝗙𝗟𝗔𝗚: "Genesis Belanger: Heads or Tai…
DfZ5TZkqeMT	Fishing Trip, 2026 Acrylic, charcoal, cardboard…
DfX0lEThJnE	𝗖𝘂𝗿𝗮𝘁𝗼𝗿𝗶𝗮𝗹 𝗡𝗼𝘁𝗲𝗯𝗼𝗼𝗸: The “bathers” motif constit…

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shortcode	caption	likes	comments
DfcdBtSIOkS	𝗙𝗿𝗶𝗲𝗻𝗱𝘀 𝗼𝗳 𝗙𝗟𝗔𝗚: "Genesis Belanger: Heads or Tai…
DfZ5TZkqeMT	Fishing Trip, 2026 Acrylic, charcoal, cardboard…
DfX0lEThJnE	𝗖𝘂𝗿𝗮𝘁𝗼𝗿𝗶𝗮𝗹 𝗡𝗼𝘁𝗲𝗯𝗼𝗼𝗸: The “bathers” motif constit…

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