Peter Halley, Barbara Bloom, Ashley Bickerton, Joan Wallace and Jeff Koons get together for a piece in the New York Times this week, dining at Katz’s and discussing the 80’s scene downtown. “SoHo had this hierarchy and the gallery structure, but when all these artists opened these fresh, young galleries, there was no hierarchy there,” Koons says of spaces in the Lower East Side. “It was really about showing exciting works. Things weren’t set up as business-oriented. I went through some of the SoHo galleries, but I was never completely accepted there. And as outsiders we finally had a place where we were embraced.”
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The word “mark” takes the center stage in Team Gallery’s ongoing group exhibition, featuring works by Erica Baum, Louise Fishman, Suzanne McClelland, Shannon Ebner, and Al Loving. Aptly and simply titled mark, the exhibition gathers a group of two dimensional works in print and painting that loosely investigate the impact of visual culture on personal and collective memory. Initiated through varied linguistic and social traits of the word finding to its current use and connotations in modern English, the various approaches here explore differing meanings of the “mark,” each of which serve as tactics to examine societal codings of information, ethics, and culture. Read More »
Taking over the large main room of Bridget Donahue this month, artist Sean Raspet has assembled a strangely minimalist arrangement of objects along the walls of the space. Small white machines jut out into space, each humming quietly and dispensing a subtle scent. These timed micro-diffusers are each emitting a scent designed by the artist, an experiment in scent reception that plays on his interests in synthetic compounds and their phenomenological capabilities. Read More »
Jeff Koons and Gagosian Gallery are facing a lawsuit over three allegedly undelivered sculptures by the artist, filed by collector and MoMA trustee Steven Tananbaum. “Behind the ostensible façade of Jeff Koons’ art world triumphs and record-breaking auction prices,” a filing by litigator Aaron Richard Golub charges, “lurks a well-oiled machine, more specifically an established, archaic System as old as the hills applied to the art world to exploit art collectors’ desire to own Jeff Koons sculptures.” Read More »
Notching her second exhibition with Casey Kaplan Gallery, artist Sarah Crowner has returned to the dealer’s Flower District space for a show of new paintings and a site-specific installation that underscores her continued interest in the language and lineage of the natural world in modern painting. Drawing on any number of figurative and abstract histories of painting the world around us, Crowner’s work is a refreshingly nuanced interpretation, one that draws similar graceful curvatures and natural forms from cut and sewn canvases. Read More »
Diving into the language and history of painting, artist Richard Aldrich’s new exhibition at Bortolami Gallery comes up to the surface with a diverse series of finds, spanning a range of practice that underscores his unique and energetic practice. The show, which combines both sculptural interventions and a range of canvases mixing text, drawing and oil painting, offers an impressive look at the artist’s recent work, and leaves the viewer grasping for steady ground. Yet, as the case with many great artists, Aldrich seems to fundamentally understand the joy in a little hard work, and the conceptual twists his pieces carry make their often confounding arrangements particularly rewarding for intrepid viewers ready to crack open a puzzle.
Expanding a body of work already recognized for its exceptionally whimsical, imaginative fusions of form, color and context, artist Cosima von Bonin is currently showing a series of new works on view this month at Petzel in New York. The artist’s eighth show with the gallery, What if It Barks is also perhaps her most ambitious for the space, continuing her unique formal interventions on a grand scale with AUTHORITY PURÉE, her first full scale installation at Petzel’s 18th Street location. Read More »
Walking from Ted Stamm’s current exhibition at Lisson Gallery to Dan Flavin: in daylight or cool white at David Zwirner, the sharp angles of the two artists’ works seem to echo each other, representing two bodies of minimalist experimentation with a similar interest in form, and riffing on the shape of their canvas, whether that canvas be paper, neon, or stretcher. Stamm’s show is perhaps the more grounded in the traditional language of art-making, yet equally pushes his works to the semantic breaking points of the art object. Read More »
For his first show in New York since his solo exhibition at the New Museum in 2016, Anri Sala presents two new major installations at Marian Goodman Gallery that continue his interest in utilizing sound and music to question experience.
In a decade-spanning exhibition at Upper East Side’s Almine Rech Gallery, Kim Tschang-Yeul exhibits a body of water drop paintings that have become something of a calling card for the Korean artist. Pursuing the singular idea of depicting water drops in ever-shifting narratives, the artist has built an elaborate series of works in this form over the past few decades, exhibiting his meticulously-illustrated oil on canvas compositions to a broad audience in Europe, Asia, and America. The exhibition emphasizes the artist’s unending quest to expand this signature style to implement political, personal or artistic narratives into simple, yet poetic presence of oozing water. Using the drop’s magnifying ability and translucent ethereality in diverse formats, Kim merges techniques of hyperrealist painting with cues from abstraction, particularly with his direct reference to monochromatic painting. Read More »
Currently on view at Galerie Perrotin’s spacious Lower East Side headquarters is a body of new works by digital artist Artie Vierkant. The show continues Vierkant’s interest in the shifting modes of perception and criticality as the art object moves from a concrete object in the gallery space to an image of documentation online. Filling the gallery with a series of his Image Object works, Vierkant’s pieces open an extended engagement between the object and its digital referents, ultimately seeking to break down connections between the two. Read More »