EXHIBITIONS ON VIEW

  • Martin Creed: Work No. 2210: EVERYTHING IS GOING TO BE ALRIGHT

    May 28 – November 30, 2021

    One of Creed’s most iconic works, EVERYTHING IS GOING TO BE ALRIGHT is an expression of his desire to communication, connect, and provoke. For Creed, his art is “50% about what I make and 50% about what other people make of it.” Both playful and minimalist, EVERYTHING IS GOING TO BE ALRIGHT is visually spectacular in its neon audacity, yet it also encourages a more contemplative response. While the phrase is at first familiar and reassuring, it gently suggests that everything might not be alright, pointing to the heightened anxieties and inequities of this moment.

     

    Martin Creed, (b. 1968, Wakefield, UK) Work No. 2210 EVERYTHING IS GOING TO BE ALRIGHT (2015) Multicoloured neon 61 x 2127.5 cm / 24 x 837 5/8 inches Installation view, Parrish Art Museum, Water Mill, NY. Courtesy of the artist and Hauser & Wirth. Photo: Thomas Barratt. © Martin Creed. All Rights Reserved, © 2021 Artists Rights Society (ARS), New York / DACS, London

  • Affinities for Abstraction:
    Women Artists on Eastern Long Island, 1950-2020

    May 2–July 18, 2021

    Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020, is a freewheeling look at the work of 42 artists who have called the Hamptons home for a week, a season, or a lifetime. Organized by the Museum’s Lewis B. and Dorothy Cullman Chief Curator Alicia G. Longwell, Ph.D., the exhibition tells the sweeping story of artists with ties to the region who have expanded and exploited the language of abstraction.

    Affinities for Abstraction: Women Artists on the East End, 1950–2020, Installation View, Parrish Art Museum. Photo: Gary Mamay

  • Everything That Wasn’t White: Lonnie Holley at the Elaine de Kooning House

    April 24 – September 6, 2021

    Everything That Wasn’t White: Lonnie Holley at the Elaine de Kooning House presents 35 new paintings, works on paper, and sculpture created by artist and musician Lonnie Holley during his 2020 artist-in-residency at the Elaine de Kooning House in East Hampton.

     

    Everything That Wasn’t White: Lonnie Holley at the Elaine de Kooning House, Installation View. Photo: Jenny Gorman

  • Material Witness

    2021

    Material Witness presents four large-scale sculptures and paintings in which the materials used by the artist are inextricably connected to the meaning of the work itself. The exhibition features Simone Leigh’s Sentinel, 2019, on long-term loan from the FLAG Art Foundation, N.Y., plus works from the Museum’s collection by Ross Bleckner, Louise Nevelson, and Donald Sultan.

    Simone Leigh (American, born 1968) Sentinel , 2019. Bronze and raffia. 95 ½ x 80 x 50 inches. Collection of Glenn and Amanda Fuhrman Courtesy of the FLAG Art Foundation, N.Y. Installation view: Material Witness, Parrish Art Museum, Water Mill, NY. Photo: Gary Mamay

  • Field of Dreams

    August 20, 2020–August 31, 2021

    On August 20, 2020, the Parrish opened Field of Dreams, our inaugural sculpture exhibition created to extend the galleries outdoors and activate the Museum’s meadows with work that engages and responds to the Parrish’s architecture and landscape. The exhibition series is part of the Museum’s new Art in the Meadow initiative that enlivens the grounds with performances, projections, and works of art.

    Photo: Jenny Gorman

  • XS

    April 17, 2021 – August 29, 2021

    Veering from the norm of Museum exhibitions that are typically organized around artist, movement, location, or theme—XS focuses on dimension, presenting paintings and sculpture of diminutive size from the Parrish collection. Featuring 24 works from 1890 – 2010, XS invites visitors to engage with these Lilliputian pieces close-up, paying particular attention to detail.

    XS, Installation View, Parrish Art Museum. Photo: Gary Mamay

  • E Pluribus Unum

    April 18, 2021 – March 2022

    The photographs in E Pluribus Unum remind us of the power of photography to stir our emotions, record our history, and capture both large and small details and this selection from the Parrish collection reveals unity in diversity.

    E Pluribus Unum, Installation view, Parrish Art Museum. Photo: Gary Mamay

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