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Solo Exhibitions
Discover the captivating solo exhibitions of William Steiger at Hopkins Wharf Gallery.
| 2023 | Margaret Thatcher Projects, Whistle Stop, New York, NY |
| 2023 | Galería Ana Serratosa, Road Less Traveled, Valencia, Spain |
| 2020 | Margaret Thatcher Projects, New York New York, New York, NY |
| 2019 | Holly Johnson Gallery, Inventor, Dallas, TX |
| 2018 | Margaret Thatcher Projects, Ghosts in The Machine, New York, NY |
| 2018 | Koki Arts, Float, Tokyo, Japan |
| 2016 | Margaret Thatcher Projects, THRILLS New York, NY |
| 2015 | Margaret Thatcher Projects, Flight (Project Room), New York, NY |
| 2015 | Pace Prints, Explorations & Surveys, New York, NY |
| 2013 | Margaret Thatcher Projects, Lucky, New York, NY |
| 2013 | Koki Arts, Window Seat, Tokyo, Japan |
| 2012 | Gallery Ihn, In Plain View, Seoul, Korea |
| 2011 | Roy Boyd Gallery, Rolling Stock, Chicago, IL |
| 2011 | Pace Prints, Nickel Plate, New York, NY |
| 2011 | Margaret Thatcher Projects, Manufactory, New York, NY |
| 2010 | Marcia Wood Gallery, Whirl, Atlanta, GA |
| 2010 | Margaret Thatcher Projects, New Collages, New York, NY |
| 2008 | Margaret Thatcher Projects, Transport, New York, NY |
| 2008 | Holly Johnson Gallery, Destination, Dallas, TX |
| 2008 | Richard Levy Gallery, Sugarloaves, Albuquerque, NM |
| 2007 | Roy Boyd Gallery, Junction - paintings 1997-2007, Chicago, IL |
| 2006 | Margaret Thatcher Projects, Under a Telephone Pole, New York, NY |
| 2005 | Marcia Wood Gallery, dreamland, Atlanta, GA |
| 2005 | Kenise Barnes Fine Art, Draw Paint Draw, Larchmont, NY |
| 2004 | Margaret Thatcher Projects, Land : Mark, New York, NY |
| 2003 | Pentimenti Gallery, New Paintings, Philadelphia, PA |
| 2002 | Margaret Thatcher Projects, Signal, New York, NY |
| 2002 | Queens Museum of Art, 130 ft high, 65 thou gal, 1/2 mile deep..., Queens, NY |
| 2002 | Rudolph Projects, Paintings, Houston, TX |
| 2002 | Marcia Wood Gallery, New Work, Atlanta, GA |
| 2000 | Margaret Thatcher Projects, New Paintings, New York, NY |
| 2000 | Marcia Wood Gallery, New Work, Atlanta, GA |
| 1999 | Hackett-Freedman Gallery, Landscapes And Mechanical Interventions, San Francisco, CA |
| 1999 | Margaret Thatcher Projects, New Paintings, New York, NY |
| 1998 | Marcia Wood Gallery, American Landscapes, Atlanta, GA |
| 1996 | Condeso/Lawler Gallery, Paintings, New York, NY |
| 1996 | Hackett-Freedman Gallery, Recent Paintings, San Francisco, CA |
| 1994 | Condeso/Lawler Gallery, Paintings, New York, NY |
| 1994 | Hackett-Freedman Gallery, Recent Paintings, San Francisco, CA |
| 1992 | Condeso/Lawler Gallery, Paintings, New York, NY |
| 1991 | Hackett-Freedman Gallery, Paintings From New York & California, San Francisco, CA |
| 1990 | Condeso/Lawler Gallery, Paintings, New York, NY |
| 1990 | John Slade Ely House, New Work, New Haven, CT |
William Steiger’s work has been featured in over 35 solo shows, and numerous more group exhibitions. His oil paintings and collages focus predominantly on buildings and industrial structures, but also looks to the natural world. A graduate of University of California, Santa Cruz and Yale University, Steiger’s art brings a sense of being grounded in location, while also transporting a viewer to the exact spot he depicts. Steiger has exhibited in New York, Japan, Spain, and Germany—to name a few. His influences include Charles Sheeler, Charles Demuth and Ralston Crawford, to which he adds “a strange mix of nostalgia and existential angst,” according to Arts in America.
To accomplish this, Steiger often leaves his backgrounds stark white—isolating his subjects, but never putting them out of place. The Marcia Wood Gallery writes that, “Imagery becomes abstract and reductive yet the seemingly simpler compositions ultimately communicate more through their sparing directness. Limitless space implies endless narrative wherein forms rise from, and meld into, the landscape.” Certainly, this interplay is apparent in his New Yorker series, where his depiction of New York City zeroes in on a specific building—forgoing the skyline in favor of its make-up. Steiger’s careful brushwork makes the Wyndham Hotel’s famous neon sign pop in contrast to the neat, square windows and the missing buildings behind.
Steiger also renders the Maine landscape, featuring the lighthouses, boats, and pine trees of Penobscot Bay. With antique nautical maps and found paper, Steiger reproduces both the craggy rocks and the intricate structures of navigational buoys with his exquisite collages. His Herreshoff collection reproduces the bow of the boat from multiple angles, always pointed toward the center of a stunning vintage sailing chart. In his Maine-inspired works, Steiger incorporates and honors the industrial subjects of his previous paintings, and broadens his horizons to serener, more natural ones as well.
His newer works turn their eyes upwards, using star charts and dark paper to bring celestial bodies down to Earth. In Saturn, for example, the planet seems to glow. Steiger’s use of found-paper collage with acrylic and gouache makes the elements of the piece pop yet stay cohesive. White stars dot the otherwise dark background, but Saturn’s ring, in particular, draws the eye. While Saturn’s actual rings are made up of millions of pieces of ice, Steiger represents them as a single loop. He uses the texture of the paper—layers of cool, blue-green ridges—to effectively evoke the disparate, icy material.
Regardless of the subject, Steiger’s work is always distinctive and captivating. Currently, Steiger lives in New York City with his family. His work can be viewed at the Hopkins Wharf Gallery, on Instagram, and many other art galleries.
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