Andrew Kuo and dealer Pascal Spengemann are profiled in GQ this month for their ongoing clothing collaboration, creating bootlegged homages to Marc Chagall and Claude Monet, among others. “My memories of the Met store and museum shops growing up in New York were a big part of my experience with art, not necessarily the actual object,” Kuo says. “Like my mom wearing a Marc Chagall shirt all summer. It’s less cynical and more emotional, I think, to kind of dredge up all of these memories of your experiences with art and reframe it as something affordable, fun, whatever.”
Read More »
Currently on view at Sadie Coles HQ in London, My Head is a Haunted House explores the weird and eerie from a range of perspectives, mixing together works from a broad group of artists. The show, curated by writer Charlie Fox, is an intriguing investigation of materiality and motive, swapping pathos for a suspended sense of presence, and a concrete subject for a creeping sense of a body, either present or withdrawn. Read More »
Los Angeles – The Harrisons: “Counter Extinction Work” at Various Small Fires Through August 24th, 2019August 19th, 2019
Currently on view in Los Angeles, gallery Various Small Fires has compiled a selection of works from the careers of Newton and Helen Mayer Harrison, affectionately referred to as “The Harrisons.” A visionary pair who embraced early warning signs of a global ecological catastrophe, The Harrisons have used their lives and careers as a spring board for investigations and experimentations in just how artists mights provide alternatives and opportunities for global preservation in the face of global climate change and political indifference. Read More »
On view for the summer months at Lehmann Maupin, a group show compiling the work of Angel Otero, Donald Moffett, Carrie Moyer and many more. The exhibition, co-organized by Curator Michael Goodson and Lehmann Maupin Curatorial Director Anna Stothart and spanning both of its Chelsea locations, combines a group of artists centered around more traditional formal, material, and spatial concerns, while also explicitly engaging with social, political, and psychological areas of influence to expand the established narrative traditionally used to answer the question, “Where does abstraction come from?” Read More »
35 years ago, gallerist Lisa Spellman opened 303 Gallery, a space that would stand as a cornerstone of the New York art world over the coming decades, and which still stands as an icon of distinctive artistic practices, conceptual rigor, and a little bit of New York style. Now, with the gallery celebrating its three and a half-decade milestone, it has launched a publication and exhibition culling together works and perspectives from the length of its run as a gallery.
Currently on at David Kordansky’s Los Angeles exhibition space, Shadows and Silhouettes brings together a selection of sculptures and paintings by Betty Woodman, the artist’s first solo show in a gallery since her death. Meandering through the last years of the artist’s live, the show takes particular interest in the technical issues of constructing the work, and how these moments and movements in space can work in conjunction with the artist’s hand to complete the object. Read More »
Having first shown the late Allan Sekula’s nuanced and incisive photographic and conceptual work at its London Gallery this spring, Marian Goodman has once again tapped the artist’s archive for a wide-ranging exhibition of his works at its New York space this summer, compiling works from a range of different projects the artist has embraced over the years, and moving between film, performance and photography. Read More »
“What is the weird?” queries Karma in the exhibition text for its summer group show, which brings together the work of Henni Alftan, Matt Hilvers, Ruth Ige and Andrew Sim. Quoting from Mark Fisher, the show’s press release seems to trace a subtle line around the show as a whole: “When we say something is weird, what kind of feeling are we pointing to? I want to argue that the weird is a particular kind of perturbation. It involves a sensation of wrongness: a weird entity or object is so strange that it makes us feel that it should not exist, or at least it should not exist here.” Read More »
Mining a unique fusion between graphic design, painting and other tenuously associated aesthetic fields, artist Harland Miller’s work, on view this summer at White Cube’s Hong Kong location, lends itself to a striking and detailed interrogation of the language of design, and the design of language. Miller draws on a wide range of cultural references, including ’60s and ’70s graphic design and the bold, upbeat covers of post-war psychology books, yet set these graphical icons in conversation with the language of American painting, explicitly drawing links between the energetic abstraction of the era and the graphic design that seemed to bubble up alongside it.
Harland Miller, Boss (2019), via White Cube Read More »
Exploring the convergence of varied aesthetic concepts and interesting overlaps between their artists respective practices, Paula Cooper Gallery’s summer show has opened, presenting a selection of sculptures and installations by Sam Durant, Liz Glynn, Walid Raad, Kelley Walker, and Meg Webster. Titled Non-Vicious Circle, the show draws its title and conceit from the 2014 mobile by Sam Durant on view. Read More »
New York – “Painters Reply: Experimental Painting in the 1970s and now” at Lisson Through August 9th, 2019August 7th, 2019
In September of 1975, Artforum published a special issue on painting. In addition to articles such as “Painting and the Struggle for the Whole Self” and “Painting and Anti-Painting: A Family Quarrel”—in which Max Kozloff said “brush wielders were afflicted by a creative halitosis”—were the responses to a questionnaire polling 21 painters on the state and prospects of the medium. Decried for a distinctly fatalist bias towards the medium, the issue seemed to present the painted canvas as an object moving towards artifact, an icon of the post-war era that was swiftly losing its potency. Read More »