Art on the Block: Tracking the New York Art World from Soho to Bowery, Bushwick and Beyond

Ann Fenstrerstock, Palgrave Macmillan, January 1, 2013

The transgenerational was also at the core of three other independent-minded programs that go underway just before the New Museum opened – at Miguel Abreau, James Fuentes Gallery and Sean Horton's Sunday LES (...)


As Fuentes added to the small group of individualists to the south of the neighborhood, another young dealer added weight to the northern hub on Rivington Street. An out-of-towner with just a couple of years of Chelsea experience, Sean Horton took a 480-square-foot space on Eldridge Street just below Houston and called his gallery Sunday LES. The name had its roots in a variety of quirky personal notions including a Southern Baptist upbringing and a yen to explore the religious in contemporary art. It was also a sly aside to the Chelsea galleries who so mercifully shut up shop on Sundays and left the field open to younger and yet less established dealers. 


Horton was studio trained with an MFA from the Boston Museum School, and an alumni connection to Pascal Spengemann of Taxter and Spengemann led him to Nick Lawrence at Chelsea's Freight and Volume. There Horton got some valuable experience in the mechanics of the gallery business to supplement his strong eye for emerging (and overlooked) talent and his growing passion to curate. He stayed on Eldridge for a little under three years before being seduced back to Chelsea, not to a taxi garage but to the parlor floor of the Federal townhouse that Linda Kirkland had taken out of near dereliction back in 1997. He then spent a period on projects in Berlin, but New York was calling and by now he felt sufficiently equipped to retake Manhattan. When in 2012 he heard that Canada was vacating 55 Chrystie Street to move a bit farther north, he leapt at the chance of a bigger Lower East Side space and opened again with a program strong in young painters and under-recognized older artists. 


Original Publication