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Red Grooms

March 12 – May 8, 2021

Selected Works Thumbnails
Keep Moving, 2017 

Keep Moving, 2017 
acrylic, ink, mixed media and epoxy mounted on wood 
35 1/2 x 49 x 10 3/4 in. / 90.2 x 124.5 x 27.3 cm 

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Walk On By, 2017  

Walk On By, 2017  
acrylic, ink, mixed media and epoxy mounted on wood 
34 1/2 x 45 1/4 x 4 1/2 in. / 87.6 x 114.9 x 11.4 cm 

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Room with a View, 2017, acrylic, ink, mixed media and epoxy mounted on wood 

Room with a View, 2017

acrylic, ink, mixed media and epoxy mounted on wood 
96 1/2 x 33 x 4 in. / 245.1 x 83.8 x 10.2 cm 

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Autumn in New York, 2017 

Autumn in New York, 2017 
acrylic, ink, mixed media and epoxy mounted on wood 
37 1/2 x 62 1/2 x 14 1/2 in. / 95.3 x 158.8 x 36.8 cm
Photo: Peter Sumner Walton Bellamy.

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A View of the Sea, 2017, acrylic on paper

A View of the Sea, 2017

acrylic on paper

51 1/4 x 65 1/4 in. / 130.2 x 165.7 cm

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The Strand, 2015-2017  

The Strand, 2015-2017  
acrylic, ink, mixed media and epoxy mounted on wood 
73 1/3 x 118 1/2 x 9 in. / 186.3 x 301 x 22.9 cm 

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Night Falls on Canal Street, 2016, acrylic, ink, mixed media and epoxy mounted on wood 

Night Falls on Canal Street, 2016

acrylic, ink, mixed media and epoxy mounted on wood 
40 1/2 x 28 1/4 x 5 in. / 102.9 x 71.8 x 12.7 cm 

Inquire
Manhattan Moves Up, 2016

Manhattan Moves Up, 2016
acrylic, ink, mixed media and epoxy mounted on wood 
29 x 23 x 5 3/4 in. / 73.7 x 58.4 x 14.6 cm 

Inquire
Vertigo, 2016   acrylic, ink, mixed media and epoxy mounted on wood 

Vertigo, 2016  
acrylic, ink, mixed media and epoxy mounted on wood 
33 x 24 x 7 in. / 83.8 x 61 x 17.8 cm 

Inquire
Harbor Lights, 2016, acrylic, ink and epoxy mounted on wood

Harbor Lights, 2016

acrylic, ink and epoxy mounted on wood

41 1/4 x 61 1/2 x 5 3/4 in. / 104.8 x 156.2 x 14.6 cm

Inquire
Lil' Red on Broome Street, 2014  

Lil' Red on Broome Street, 2014  
charcoal, acrylic and crayon on paper

33 3/4 x 35 1/2 in. / 85.73 x 90.2 cm 

Inquire
Bagels and Cream Cheese, 2011, acrylic on board

Bagels and Cream Cheese, 2011

acrylic on board

60 x 40 x 2 in. / 152.4 x 101.6 x 5.1 cm

Inquire
Mr. Bones, 2011, tempera and acrylic on board

Mr. Bones, 2011

tempera and acrylic on board

60 x 40 x 3 in. / 152.4 x 101.6 x 7.6 cm

Inquire
Eggs over Midnight, 2007, oil on canvas 

Eggs over Midnight, 2007

oil on canvas 
14 x 14 in. / 35.6 x 35.6 cm 

Inquire
The Client, 2007

The Client, 2007
oil on canvas
14 x 14 in. / 35.6 x 35.6 cm
framed: 15 1/2 x 15 1/2 x 2 in. / 39.4 x 39.4 x 5.1 cm

Inquire
The Funny Place, 2005, oil on canvas 

The Funny Place, 2005

oil on canvas 
50 x 40 in. / 127 x 101.6 cm 

Inquire
Chez Red, 2004, latex and acrylic on paper mounted on panel

Chez Red, 2004

latex and acrylic on paper mounted on panel

107 x 156 in. / 271.78 x 396.2 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Queen Peggy, 2004

Queen Peggy, 2004
oil paint over aluminum construction, edition of 2
45 1/4 x 43 x 31 1/2 in. / 114.9 x 109.2 x 80 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Deli, 2003 ink and crayon on paper 

Deli, 2003
ink and crayon on paper 
22 1/2 x 30 in. / 57.2 x 76.2 cm 

Inquire
Headlights, 2002, acrylic on wood

Headlights, 2002

acrylic on wood

22 1/8 x 22 x 11 1/2 in. / 56.2 x 55.88 x 29.21 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Study for Tattoo Parlor, 1998, acrylic on board 

Study for Tattoo Parlor, 1998

acrylic on board 
53 x 40 in. / 134.6 x 101.6 cm 

Inquire
The Plaza, 1995

The Plaza, 1995
acrylic on a mixed media construction
69 1/2 x 91 1/4 x 18 in. / 176.5 x 231.8 x 45.7 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Easter Parade, 1994, mixed media construction

Easter Parade, 1994

mixed media construction

88 1/8 x 86 3/4 x 34 in. / 223.8 x 220.4 x 86.4 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
The Duck House, 1994

The Duck House, 1994
mixed media construction
56 1/2 x 58 1/2 x 28 in. / 143.5 x 148.6 x 71.1 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Strike, 1992 mixed media construction

Strike, 1992
mixed media construction
31 1/2 x 73 1/2 x 49 1/2 in. / 80 x 186.7 x 125.7 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Joltin' Joe Takes a Swing, 1985-1988

Joltin' Joe Takes a Swing, 1985-1988
oil on wood
61 x 62 x 62 in. / 154.9 x 157.5 x 157.5 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Walking the Dogs, 1981

Walking the Dogs, 1981
painted canvas, papier-mâché and metal chain on wood support
36 3/4 x 20 x 22 1/2 in. / 93.3 x 50.8 x 57.1 cm

Inquire
The Big Game, 1980-1982

The Big Game, 1980-1982
painted aluminum, edition of 3
94 x 109 3/4 x 16 in. / 238.8 x 278.8 x 40.6 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
From Ruckus Manhattan, Wall Street - Newsstand, Lamppost and Bum, 1976

From Ruckus Manhattan, Wall Street - Newsstand, Lamppost and Bum, 1976
mixed media construction
113 x 144 x 50 in. / 287 x 365.8 x 127 cm
Photo: Peter Sumner Walton Bellamy.

Inquire
Keep Moving, 2017 

Keep Moving, 2017 
acrylic, ink, mixed media and epoxy mounted on wood 
35 1/2 x 49 x 10 3/4 in. / 90.2 x 124.5 x 27.3 cm 

Walk On By, 2017  

Walk On By, 2017  
acrylic, ink, mixed media and epoxy mounted on wood 
34 1/2 x 45 1/4 x 4 1/2 in. / 87.6 x 114.9 x 11.4 cm 

Room with a View, 2017, acrylic, ink, mixed media and epoxy mounted on wood 

Room with a View, 2017

acrylic, ink, mixed media and epoxy mounted on wood 
96 1/2 x 33 x 4 in. / 245.1 x 83.8 x 10.2 cm 

Autumn in New York, 2017 

Autumn in New York, 2017 
acrylic, ink, mixed media and epoxy mounted on wood 
37 1/2 x 62 1/2 x 14 1/2 in. / 95.3 x 158.8 x 36.8 cm
Photo: Peter Sumner Walton Bellamy.

A View of the Sea, 2017, acrylic on paper

A View of the Sea, 2017

acrylic on paper

51 1/4 x 65 1/4 in. / 130.2 x 165.7 cm

The Strand, 2015-2017  

The Strand, 2015-2017  
acrylic, ink, mixed media and epoxy mounted on wood 
73 1/3 x 118 1/2 x 9 in. / 186.3 x 301 x 22.9 cm 

Night Falls on Canal Street, 2016, acrylic, ink, mixed media and epoxy mounted on wood 

Night Falls on Canal Street, 2016

acrylic, ink, mixed media and epoxy mounted on wood 
40 1/2 x 28 1/4 x 5 in. / 102.9 x 71.8 x 12.7 cm 

Manhattan Moves Up, 2016

Manhattan Moves Up, 2016
acrylic, ink, mixed media and epoxy mounted on wood 
29 x 23 x 5 3/4 in. / 73.7 x 58.4 x 14.6 cm 

Vertigo, 2016   acrylic, ink, mixed media and epoxy mounted on wood 

Vertigo, 2016  
acrylic, ink, mixed media and epoxy mounted on wood 
33 x 24 x 7 in. / 83.8 x 61 x 17.8 cm 

Harbor Lights, 2016, acrylic, ink and epoxy mounted on wood

Harbor Lights, 2016

acrylic, ink and epoxy mounted on wood

41 1/4 x 61 1/2 x 5 3/4 in. / 104.8 x 156.2 x 14.6 cm

Lil' Red on Broome Street, 2014  

Lil' Red on Broome Street, 2014  
charcoal, acrylic and crayon on paper

33 3/4 x 35 1/2 in. / 85.73 x 90.2 cm 

Bagels and Cream Cheese, 2011, acrylic on board

Bagels and Cream Cheese, 2011

acrylic on board

60 x 40 x 2 in. / 152.4 x 101.6 x 5.1 cm

Mr. Bones, 2011, tempera and acrylic on board

Mr. Bones, 2011

tempera and acrylic on board

60 x 40 x 3 in. / 152.4 x 101.6 x 7.6 cm

Eggs over Midnight, 2007, oil on canvas 

Eggs over Midnight, 2007

oil on canvas 
14 x 14 in. / 35.6 x 35.6 cm 

The Client, 2007

The Client, 2007
oil on canvas
14 x 14 in. / 35.6 x 35.6 cm
framed: 15 1/2 x 15 1/2 x 2 in. / 39.4 x 39.4 x 5.1 cm

The Funny Place, 2005, oil on canvas 

The Funny Place, 2005

oil on canvas 
50 x 40 in. / 127 x 101.6 cm 

Chez Red, 2004, latex and acrylic on paper mounted on panel

Chez Red, 2004

latex and acrylic on paper mounted on panel

107 x 156 in. / 271.78 x 396.2 cm
Photo: Peter Sumner Walton Bellamy.

Queen Peggy, 2004

Queen Peggy, 2004
oil paint over aluminum construction, edition of 2
45 1/4 x 43 x 31 1/2 in. / 114.9 x 109.2 x 80 cm
Photo: Peter Sumner Walton Bellamy.

Deli, 2003 ink and crayon on paper 

Deli, 2003
ink and crayon on paper 
22 1/2 x 30 in. / 57.2 x 76.2 cm 

Headlights, 2002, acrylic on wood

Headlights, 2002

acrylic on wood

22 1/8 x 22 x 11 1/2 in. / 56.2 x 55.88 x 29.21 cm
Photo: Peter Sumner Walton Bellamy.

Study for Tattoo Parlor, 1998, acrylic on board 

Study for Tattoo Parlor, 1998

acrylic on board 
53 x 40 in. / 134.6 x 101.6 cm 

The Plaza, 1995

The Plaza, 1995
acrylic on a mixed media construction
69 1/2 x 91 1/4 x 18 in. / 176.5 x 231.8 x 45.7 cm
Photo: Peter Sumner Walton Bellamy.

Easter Parade, 1994, mixed media construction

Easter Parade, 1994

mixed media construction

88 1/8 x 86 3/4 x 34 in. / 223.8 x 220.4 x 86.4 cm
Photo: Peter Sumner Walton Bellamy.

The Duck House, 1994

The Duck House, 1994
mixed media construction
56 1/2 x 58 1/2 x 28 in. / 143.5 x 148.6 x 71.1 cm
Photo: Peter Sumner Walton Bellamy.

Strike, 1992 mixed media construction

Strike, 1992
mixed media construction
31 1/2 x 73 1/2 x 49 1/2 in. / 80 x 186.7 x 125.7 cm
Photo: Peter Sumner Walton Bellamy.

Joltin' Joe Takes a Swing, 1985-1988

Joltin' Joe Takes a Swing, 1985-1988
oil on wood
61 x 62 x 62 in. / 154.9 x 157.5 x 157.5 cm
Photo: Peter Sumner Walton Bellamy.

Walking the Dogs, 1981

Walking the Dogs, 1981
painted canvas, papier-mâché and metal chain on wood support
36 3/4 x 20 x 22 1/2 in. / 93.3 x 50.8 x 57.1 cm

The Big Game, 1980-1982

The Big Game, 1980-1982
painted aluminum, edition of 3
94 x 109 3/4 x 16 in. / 238.8 x 278.8 x 40.6 cm
Photo: Peter Sumner Walton Bellamy.

From Ruckus Manhattan, Wall Street - Newsstand, Lamppost and Bum, 1976

From Ruckus Manhattan, Wall Street - Newsstand, Lamppost and Bum, 1976
mixed media construction
113 x 144 x 50 in. / 287 x 365.8 x 127 cm
Photo: Peter Sumner Walton Bellamy.

Red Grooms, The Funny Place, 2005.
© Red Grooms, Member of Artists Rights Society (ARS).
 

Red Grooms, The Funny Place, 2005.
© Red Grooms, Member of Artists Rights Society (ARS).
 

Press Release

You see, at first, I was intrigued by the myth of the city. Like I told you, that was the first thing. But after that and after I was actually in New York it just became the place. You know, I never even thought about it, I still don’t, I don’t think about it much. It’s just that this is the place where I am. I mean, I’m not that much involved in the personality of this place as something outside of me. Although now almost as a joke I can see it better. As a foreigner, it takes years, a lifetime even to understand New York, it seems. 

— Red Grooms, interview with Paul Cummings, 1974 (via Archives of American Art)

The Directors of Marlborough New York are pleased to celebrate the work of Red Grooms with a survey of his multidimensional visions realized between 1974 and now. The exhibition will open on Friday, March 12, 2021 and will remain on view through Saturday, May 8, 2021. Composed of over 30 paintings and “sculpto-picto-ramas,” the exhibition will explore the artist’s unique methods of execution and reverberating sensibilities. The accompanying publication documenting the installation will feature a text by Thomas Micchelli, noted contributor to The Brooklyn Rail and Hyperallergic.

For over six decades, Red Grooms has embraced all things New York and served as a major chronicler of its famously frenetic lifestyle. Always vibrant, inventive, and witty, Red has reinforced the pride that New Yorkers have for their city. As somewhat of an outsider—originally from Nashville, with early sojourns to Provincetown and Chicago—Grooms has been able to clearly witness what makes the city so unique.

Red Grooms was born in Nashville, Tennessee in 1937 and has lived and worked in New York since 1957. Grooms emerged in the early sixties as a practitioner of performance art, indie film, and happenings at the dawn of Pop Art. He quickly became noted for his immersive installations such as The City of Chicago (1968), The Discount Store (1971), Ruckus Rodeo (1975) and Ruckus Manhattan (1976). The present exhibition will follow his evolution since those early installations with a number of key works.

Notable exhibitions include Red Grooms: A Retrospective, organized by the Pennsylvania Academy of Fine Arts (1985), the Whitney Museum of American Art (1987), Red Grooms at Grand Central (1993), and a traveling exhibition of his graphic work organized by the National Academy of Design (2001-04), which traveled for 3 years and 8 venues, the Yale University Art Gallery (2013) and most recently, Red Grooms: Traveling Correspondent (2016) at the Brooks Museum of Art in Memphis. 

The artist’s works have graced numerous public collections including the Museum of Modern Art, New York, the Modern Art Museum, Fort Worth, the Hirshhorn Museum, Washington, D.C., the Museum of Contemporary Art, Los Angeles, the Metropolitan Museum, New York, the Art Institute of Chicago, the Moderna Museet, Stockholm and many others.

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