“I’m not interested in trends, and I never have been. I’m interested in artists who have studied the history of art, who understand art, and artists who go to museums and actually look at art, because that’s what I do.”
– Miss Sarah Gavlak, Crave Magazine, 2015
GAVLAK is a bi-coastal contemporary art gallery with locations in Palm Beach, Florida and Los Angeles, California. Founded by Sarah Gavlak in 2005, the gallery represents over twenty artists both nationally and internationally based. Since the beginning, GAVLAK has maintained a focus on women and LGBTQ artists. As with any business, the art market is ever changing, but in Miss Gavlak’s 18 years of business she has kept a razor sharp focus on what matters most to her; championing art history and the academic aspects of art to both aspiring and longstanding collectors.
While working in New York and visiting Palm Beach in the early 2000’s, Gavlak saw the need for a serious contemporary art gallery to serve the community of collectors in that area. Thus, in 2005, Gavlak relocated to West Palm Beach and opened her first gallery. The inaugural exhibition was of new works by Wade Guyton, and the show marked one of the artist’s first solo gallery exhibitions in America. GAVLAK Palm Beach also presented early exhibitions of artists Marilyn Minter and Aleksandra Mir, among others. In 2008, collector and Palm Beach resident Jane Holzer invited GAVLAK Palm Beach to move to one of her properties in the tony section of Worth Avenue. For the last ten years, that space on Worth Avenue was the home base for GAVLAK in Palm Beach. More recent solo exhibitions at GAVLAK Palm Beach include Andrew Brischler, Maynard Monrow, and Rob Wynne.
In 2014, Gavlak expanded to Los Angeles. GAVLAK Los Angeles opened in the very centrally located neighborhood of Hollywood, near other female-owned galleries such as Regen Projects and Tanya Bonakdar. GAVLAK Los Angeles has continued to thrive and evolve since its inception in the city four years ago. The gallery has shown solo presentations of works by mid-career artists such as Lisa Anne Auerbach, Judith Eisler, Francesca Gabbiani, Betty Tompkins, and Marnie Weber, as well as by emerging artists such as Alex Anderson, Andrew Brischler, and Michael Manning.
We are thrilled to relocate GAVLAK Palm Beach to The Royal Poinciana Plaza, as it will give the artist’s we represent an opportunity to bring ambitious exhibitions to Palm Beach.
North Gallery (front gallery)- Solo Exhibition- Gisela Colon: The New Minimal- Until Jan 29, 2019
The New Minimal exhibition centers on a dramatic installation of one of Gisela Colon’s signature large-scale Monoliths sculpted in iridescent carbon fiber utilizing aerospace technology. Colon will also present six wall sculptures from her groundbreaking series of biomorphic acrylic Pods, which are created through a unique proprietary fabrication method of blow-molding and layering color-impregnated acrylic materials, producing sculptures that emanate, refract, and reflect light, and contain a prismatic color spectrum. Many of the artist’s formal concerns overlap and at times challenge those of Minimalism and the Light and Space movement. Colon states, “Minimalism (both East and West coast) has historically been viewed as involving reductive forms that appear life-less, strictly material, inert, industrial and are devoid of organic qualities.
Center Gallery – Beverly Fishman: Synthetic Wonderland – Until January 29, 2019
Beverly Fishman’s Synthetic Wonderland presents vibrant polychromatic reliefs, accompanied by groupings of blown glass pills that explore contemporary global conditions of our pharmaceutical culture. Paralleling the visual allure of appropriated pill designs with her high gloss, uerthane painted reliefs, Fishman is not only focused on being subversive but also considers the “seductive nature of the pharmaceutical industry with the purist and transcendental language of high modernism”.
Inspired by the artists research into the use of design strategies by the pharmacuetical industry and peddlers of illegal drugs, each optically engaging and carefully crafted shape is assigned a condition denoted in the titles of the work such as anti-anxiety and depression. Fishman’s designs and geometric references come from structures of common pharmaceuticals, while their colors reference cosmetic skin tones, the realms of technology and industry, as indicated by non-natural, industrial hues, such as those produced by fluorescent and automobile paints.