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Creative Time Announces Lineup for Eleventh Annual Creative Time Summit

July 17th, 2018

Creative Time Gala Honoring Julian Schnabel At Domino Sugar Factory 52Creative Time has announced the lineup for the eleventh edition of the Creative Time Summit, which will set up shop in Miami this year from November 1-3.  “Fifty years after the upheavals of 1968, we continue to grapple with a host of pressing issues, from the ongoing legacies of colonialism to climate change and xenophobia,” says Creative Time executive director Justine Ludwig.  “There’s no better place for this conversation than Miami, a home to so many incredible artists, activists, and thinkers. We couldn’t be prouder to host the summit here, or of the participants and the invaluable insights they’ll be bringing to bear on some of the most critical issues of our time.”
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New York Museums to Grant Free Admission for Library Card Holders

July 17th, 2018

Guggenheim, via NYTA new initiative by New York’s library systems will grant free access to a range of NYC institutions with a library card, the New York Times reports. “Some people are intimidated by museums,” says Linda Johnson, president of the Brooklyn Public Library, said in a phone interview. “They shouldn’t be shut out of all the wonderful cultural offerings that are available to New York City dwellers.”
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Liberté Nuti Joins Hauser & Wirth as Senior Director of Impressionist & Modern Art

July 17th, 2018

Liberte Nuti, via Hauser and WirthLiberté Nuti has joined Hauser & Wirth as International Senior Director of Impressionist & Modern Art, leaving her former post as International Director of Impressionist & Modern at Christie’s. “We are thrilled to welcome Liberté Nuti as a Senior Director in London,” Iwan Wirth says. “We look forward to this next chapter in Hauser & Wirth’s evolution as the gallery’s secondary market activity comes into sharper focus.”
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Robert Motherwell Painting Stolen 40 Years Ago Found Upstate

July 17th, 2018

Motherwell, via NYTA Robert Motherwell painting that disappeared from a New York warehouse in 1978 has been found, the New York Times reports. The painting was found in a garage upstate by the son of a mover who had worked for Motherwell.
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Sotheby’s Eric Shiner to Join White Cube

July 17th, 2018

eric_shiner, via Art NewspaperEric Shiner is leaving his place as senior vice president of contemporary art at Sotheby’s to serve as artistic director of White Cube gallery in New York. “This new role allows me to return to making sure the most relevant voices of our age are heard and celebrated,” he said in a statement.
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Venice Biennale Announces 2019 Edition

July 16th, 2018

Ralph Rugoff and Paolo Baratta, via Art NewsThe Venice Biennale has announced its opening dates for its 2019 edition, with the title May You Live in Interesting Times, an allusion to periods of uncertainty, crisis, and turmoil.  “At a moment when the digital dissemination of fake news and ‘alternative facts’ is corroding political discourse and the trust on which it depends, it is worth pausing whenever possible to reassess our terms of reference,” says curator Ralph Rugoff.
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Documenta Announces Selection Committee for 2022 Artistic Director

July 16th, 2018

Kassel, via Art NewsThe next iteration of Documenta will be held in 2022, with a selection committee for the next edition’s artistic director just announced. “Documenta is an essential forum for contemporary art and, as the legacy of Arnold Bode, a treasure that enhances the image of the city of Kassel,” says Kassel’s mayor, Christian Geselle. “I am very pleased to note that an international finding commission composed of outstanding experts has been chosen to find an artistic director for Documenta 15. And we are right on schedule.”
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LA Times Spotlights the Paper’s Impressive Former Collectoin

July 16th, 2018

Picasso, via LA TimesThe LA Times has a piece on the Pablo Picasso pieces that once hung in a special room at the paper, alongside a range of other works from the newspaper’s collection. “They gave us this gift of thinking highly enough of us to surround us with beautiful things,” says former bureau chief Geraldine Baum.
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Jacolby Satterwhite Joins Mitchell-Innes and Nash

July 13th, 2018

Jacolby Satterwhite, via Art NewsJacolby Satterwhite is joining Mitchell-Innes and Nash, Art News reports. “I was first introduced to the work at the Studio Museum in 2012 and was drawn to the rigorous and subversive nature of his practice, both aesthetically and conceptually,”says Lucy Mitchell-Innes. 
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Small Fire Breaks Out at Paula Cooper Gallery

July 13th, 2018

Paula Cooper, via Art NewsA fire at Paula Cooper Gallery’s Chelsea space has led to an inspection to make sure works in storage were not damaged by smoke, Art News reports. “The fire marshall is here trying to determine what caused the fire,” Cooper said. “It started this morning and it was contained. No one got hurt, fortunately, and it didn’t spread. It was contained in our storage room.”
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REFERENCE LIBRARY

New York – Adrian Piper: “A Synthesis of Intuitions, 1965–2016″ at MoMA Through July 20th, 2018

July 17th, 2018

Adrian Piper, A Synthesis of Intuitions (Installation View), via Art Observed
Adrian Piper, A Synthesis of Intuitions (Installation View), via Art Observed

Considering the canon of the conceptual movement over the course of the 20th Century, the work of artist Adrian Piper figures in a particularly resonant and explosive way.  Working at the forefront of the conceptual project from the late 1960’s onwards, Piper’s work has long confronted and framed questions of race, identity and discrimination in ways that push the viewer into a deep, lasting engagement with concepts and structures of institutionalized racism. This mode of practice, and the artist’s gradual movements towards it over the course of her career sits at the core of her current career retrospective at MoMA, an exhibition that manages to frame the artist’s work historically and socially, while using its conceptual payload to push the viewer into that same sense of identification.

Adrian Piper, A Synthesis of Intuitions (Installation View), via Art Observed
Adrian Piper, A Synthesis of Intuitions (Installation View), via Art Observed

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New York – Math Bass: “My Dear Dear Letter” at Mary Boone Through July 27th, 2018

July 14th, 2018

Math Bass, Newz! (2018), via Mary Boone
Math Bass, Newz! (2018), via Mary Boone

Currently on view at Mary Boone Gallery’s 745 Fifth Ave space, artist Math Bass has brought together a range of new sculptures and paintings that continue her equally meticulous and playful interpretations of the art object, twisting vaguely familiar forms and figures into foreign landscapes and minimalistic constructions. Read More »

Berlin-“Rose Painting” by Yngve Holen at Galerie Neu through July 14, 2018

July 13th, 2018

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Installation view. All images via Galerie Neu.

Rose Painting, the second solo show of Norwegian-German artist Yngve Holen, was recently on view at Galerie Neu in Berlin through July 14. This exhibition presented a series of rims, ‘gutted’ from five different sports utility vehicles and then 3D-scanned, scaled to a diameter of two meters, and optimized to be milled in CLT (cross-laminated timber). The resulting objects are flower-like wooden constructions that feature symmetrical lines organized around a center point. Rose Painting addresses the formal design languages of a utility object, questioning the fetish object and psychosocial design that punctuate the objects that clutter wealth distribution.
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The role of ornamentation in the above questions is central to this exhibition, which emphasized the process of creating the art object as much as the art object itself. The press release states, “Rims are typically made of aluminum, a material whose ambivalent value bears, on the one hand, the symbolic aura of modernity, while on the other, the ‘stain’ of a cheap substitute.” The artist’s choice to reproduce these rims in cross-laminated timber, this form is exaggerated in a form that is typically understood to be more valuable, traditional, and environmentally sustainable. In this way, these forms point to the symbolic and economic conditions of their proliferation, since the crisis of functionalism in the 1960s, and seek to “ride out the increasing aerodynamics of the contemporary chassis.”

 

 

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The reimagined rims are products of technical woodcarving, a process that expose the milling traces, tears, and cracks of an industrially prefabricated resource sculpted by a machine. With their rescaled form, the rims present these blemishes as a ‘natural’ byproduct, pointing to the current schizophrenic relationship to automobiles that strives for optimized car use and reduced emissions, while continuing to fetishize and covet the SUV. In a sense, the SUV epitomizes the frenzied materialistic collecting of ornaments and materials behind car culture. The large-scale vehicles are extremely popular despite their high consumption of gas and the danger they pose to other drives and pedestrians, as well as their inutility in the suburban or residential contexts in which they are frequently found.

 

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The design and possession of the SUV, like that of rims, illustrates the complex mechanisms of ornamentation, style, and economics motivating the circulation and production of automotive accessories. The title of this exhibition points to the function of the ornament to embellish an object, as well as invest it with value and suggestions of worth. The craftmanship implied in the title and objects of the exhibition stand in interesting and not entirely opposing relationship to the industrial processes of mechanical production implied by the rim.

-A. Corrigan

 

Related Links:

Exhibition Page [Galerie Neu]

London – Prototypes of Imagination by Katharina Grosse at Gagosian Gallery through July 27, 2018

July 9th, 2018

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Installation view. All images via the Gagosian Gallery.

Prototypes of Imagination, an exhibition of new work by Katharina Grosse, is on view at the Gagosian Gallery through July 27, 2018. Grosse is well known for her in situ paintings that respond to the environment in which they are produced, typically with explosive color rendered directly onto architecture, interiors, and landscapes.  Employing bold colors and ambitious movement, her works test the limits of boundaries and redefine space. Her mold-breaking paintings and intricate constructions have challenged the contained space of the canvas and, in this exhibition, the boundaries between imagination and reality.
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The artist’s use of an industrial spray gun has provoked comparisons of her work with street art or graffiti, as she coats the objects in her path, at times the walls and windows of the exhibition space, with bright color. These works can be seen as a meditation on the subjective and immersive experience of painting, as Grosse integrates events and experiences that emerge during the construction process into the artwork. In Prototypes of Imagination, Grosse seeks to “try out—and dramatically compress—the characteristics of reality” by building prototypes that can be reenacted and applied to other endeavors.

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As in prior shows, a single gigantic painting on loose cloth is at the center of this exhibition. The huge expanses of loose cloth that Grosse works on in the studio allow the artist to respond to the specific architectural conditions in which the work will be housed. Grosse can paint beyond and in response to the frame of the gallery, from the location of her studio. In this particular example, the work hangs from the ceiling, resembling a hulking organic form, almost breathing with vibrant, pulsating color and the spectral silhouettes that interlock and fade into each other. The work reveals inverted chromatic zones produced by stencils of vaguely biomorphic form, as well as painterly gesture balanced with a dizzying array of overwhelmingly vibrant layers that suggest spatial and temporal transformation.

 

 

 

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The other works in this exhibition, oriented around this centerpiece, are presented on stretched canvas and reveal a parallel effect of layered or scrambled form that tessellate and slide into each other. These pieces are punctuated by shifts in chromatic temperature, as well as forms created by stencils, folds, or other tools. These spaces of opacity or negative space are interrupted by solid geometries or ambiguous transparencies, creating a kaleidoscopic experience of color and movement that possesses a rhythm all its own. As the press release states, “each composition bears intimate traces of its creation,” thereby acting organically upon the limits of pictorial logic and showing the viewer the potentially hypnotic power of an encounter in the field of vision.

-A. Corrigan

Related Links

Exhibition Page [Gagosian Gallery]

Berlin-“One Day for Eternity” by Tatiana Trouvé at König Gallery through July 8, 2018

July 9th, 2018

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Installation View. All images via Anna Corrigan for Art Observed.

Tatiana Trouvé’s One Day for Eternity is on view at the König Gallery in Berlin through July 8. This is the artist’s third solo exhibition with the gallery. In this piece, Trouvé continues her exploration of memory, material, and space. The work is the most recent installation in a series entitled Les Indéfinis, which addresses the myriad transformations that an artwork undergoes, morphing from an idea into material, from material into an object of circulation. Read More »

London – America My Hometown by Edward Kienholz at Blain Southern through July 14, 2018

July 7th, 2018

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Installation View. All images via Blain Southern.

Now through July 14, Blain Southern London presents America My Hometown, an exhibition dedicated to the formative years of Edward Kienholz’s career in mid-century America. The works in the exhibition span the years of 1954-1967, at which point Kienholz was living and working in Los Angeles. This historical period was hugely significant for the position of the United States and the spread of capitalism globally, to which Kienholz responded directly in his work. The pieces produced by the artist during this time reflect a concern with the political turmoil and social anxiety that marked the political and social circumstances in which he lived.

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New York – Melissa Brown at Derek Eller Through July 6, 2018

July 6th, 2018

 

Melissa Brown, Swamp, 2018, courtesy Derek Eller Gallery.

Melissa Brown, Swamp, 2018, courtesy Derek Eller Gallery

“The fantasy that reality is changeable: it’s what keeps us alive,” writes Melissa Brown in an anecdotal text for the press release of “Between States,” her first solo exhibition at Derek Eller Gallery in New York. Brown describes a road trip from Tennessee down south to Summerville, Georgia to visit outsider artist Howard Finster’s Paradise Garden, a kitschy wonderland of mosaics and mirrors, the folk art equivalent of Antoni Gaudi’s Park Güell.

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New York – “Difference Engine” Curated by Cory Arcangel and Tina Kukielski at Lisson Gallery Through August 10th, 2018

July 6th, 2018

Difference Engine (Installation View), via Jodie Berman for Art Observed
Difference Engine (Installation View), via Jodie Berman for Art Observed

Meandering into spaces of contradiction and surrealist juxtaposition, artist Cory Arcangel has put on his curator cap for a show organized in collaboration with Art21’s Tina Kukielski, organizing an exhibition of works centered around modernity and technology, and framed equally by ideas of potential and hazard. Read More »

Paris – Anish Kapoor: “Another (M)other” at Kamel Mennour Through July 21st, 2018

July 5th, 2018

Anish Kapoor, Untitled (detail) (2018), via Art Observed
Anish Kapoor, Untitled (detail) (2018), via Art Observed

Currently on view at Kamel Mennour’s Paris exhibition space, artist Anish Kapoor has brought a strikingly powerful body of works, mixing styles and forms through a range of pieces to explore a unique and detailed perspective on humanity.  Much like previous works for the artist, twisting desire, power and image through rigorous visual systems, the show presents the viewer and work as inextricably linked, bound together through their shared states and momentary acts of convergence.

Anish Kapoor, Untitled (2018), via Art Observed
Anish Kapoor, Untitled (2018), via Art Observed

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AO Auction Results – London: Phillips 20th Century and Post-War Evening Sale, June 27th, 2018

June 27th, 2018

Martin Kippenberger, Ohne Titel (aus der Serie Das Floß der Medusa) (1996) final price: £8,446,500, via Phillips
Martin Kippenberger, Ohne Titel (aus der Serie Das Floß der Medusa) (1996) final price: £8,446,500, via Phillips

With another auction in the books, Phillips has rounded out a pair of high-profile evening sales in the British Capital of London this week, running through a well-managed auction that ultimately capped aa strong tally of £34,811,000, with all works selling.  Read More »