Bloomberg has an article on Sotheby’s increasingly broad lending practices, which have grown from $682 million to almost $1 billion in recent years, a point that some consider extremely inviting for those looking to launder money. “One way to launder is to use art as a security for a loan,” says David Hall, former special prosecutor for the FBI Art Crime Team. “The level of scrutiny you’ll receive from a bank is much higher than you will receive from an auction house.”
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Spread across both of Gagosian’s Chelsea exhibition spaces, Richard Serra’s immense spatial investigations have returned to New York City, marking a continuation and expansion of the artist’s already tightly honed sculptural language. Consisting of a total of only four works, the gallery is showing Serra’s immense rolled steel work NJ-1 in its 21st Street space, while giving over its 24th Street gallery to a trio of Serra’s pressed steel installations, a pairing that sees him returning to his precise visual vocabulary while pushing its expressive limits.
Richard Serra, Every Which Way (2015), via Art Observed Read More »
Continuing his recent surge of output, Alex Katz has brought a new series of landscapes to Thaddaeus Ropac’s Paris Marais exhibition space. Bringing his attention yet again to the landscapes of Maine, the artist’s work here presents his calm, subdued style in a fitting conversation with the untouched curves and lines of Northern New England.
Gavin Brown’s 291 Grand Street location is playing home to the gallery’s summer exhibition this month, a cunning and often comical play on art history curated by painter Brian Belott. Inviting a group of artists to take their own improvisational runs on various artists from the last 100 years of painting and sculpture, the show plays on the memory of Glenn Gould, whose own takes on popular figures and music themes equally expressed his own artistic brilliance.
The concept of “the narrative” is one that feels increasingly relevant in a contemporary art context defined in part by gestures and approaches that owe much to the last 60 years of creative practice. Considering the work in relation to an isolated other, a sort of phantom context that either motivates, grounds or produces the work in question ultimately seems to be one such strategy for re-invigoration of the techniques used in creating the object itself. This is the strategy through which the current group exhibition at Pierogi’s LES Gallery space, False Narratives, presents its artists, compiling work that not only explores the construction of ulterior situations and modes for the work itself, but equally questions these narratives as unreliable.
Artist Sadie Benning has returned to New York for a strong summer exhibition this month, filling Mary Boone’s Fifth Avenue location and Callicoon Fine Arts’s downtown space with a series of mixed media pieces that continue a taste for colorful abstraction, formal evasiveness, and cartoonish figures, applied here towards the perception of and reflection on the presence of higher powers. Viewing the catastrophes and power struggles of modern society through the lens of the divine, Benning has realized a series of images depicting various gods and value systems in her signature blocks of color, lending a loose style to already weighty subject matter.
AO On Site, Marfa, TX – Robert Irwin: Debut of “Dawn to Dusk” Permanent Installation at Chinati FoundationJuly 26th, 2016
For the past two decades, Robert Irwin’s installation in the Texas town of Marfa has been something of a distant possibility, a long-rumored project commissioned by the Chinati Foundation, and focused around the dilapidated grounds of the former Fort D.A. Russell hospital where the organization makes its home. Now complete, the massive installation work, Irwin’s only permanent, free-standing composition, has transformed the space into a placid marker of time, a place where meticulous architectural geometries make masterful use of the West Texas sun and landscape in a prime example of Irwin’s unique sculptural vocabulary.
Now on view, Marian Goodman Gallery in London is presenting Scruff of the Neck, a series of site-responsive sculptures by artist Nairy Baghramian. This is Baghramian’s first major solo show in London since The Walker’s Day Off at the Serpentine Gallery in 2010, and continues the Berlin-based Iranian artist’s practice in creating formally inventive sculptures that operate in both physiological and mechanical dimensions, articulating and reflecting the artist’s interest in exploring the space of the body in a non-habitual way. Read More »
In STAGED, on view at Luhring Augustine, artist and musician Jason Moran explores the history of jazz in America, in connection with explorations of the relationship between music, language and communication. The show, on view at the gallery’s Bushwick location through the end of next week, marks his first solo exhibition, where his work as a musician is complimented by artworks and installations that reflect and expand upon his profound knowledge of jazz and jazz history.
Moran is best known as the MacArthur-winning jazz pianist and artistic director for jazz at the Kennedy Center. In recent years, however, he has worked with visual artists like Theaster Gates, Glenn Ligon, Kara Walker, Stan Douglas and Adam Pendleton to expand his repertoire beyond the concert hall. In 2015, Moran debuted sculptures and a series of works on paper at the Venice Biennale, works that now constitute part of STAGED, an ongoing project.
Negotiating the limits of historical and artistic investigation, the show examines the forces of performance and process that drive at the cultural and social history of jazz, the mingling of physical locations and the immense talents that graced their stages, in conversation across decades. Moran has created two installations based on historic New York City jazz venues that are no longer in existence: the Savoy Ballroom (opened in Harlem in 1926, now known as an emblem of the swing era), and the Three Deuces (a comparatively modest venue located in midtown prominent from the 1930s-1950s). These installations present a mix of both mythical imagining and historically accurate representation of these spaces, in which so much of jazz history took place. Moran’s installations recreate the stages of these institutions sourced from photographs taken at the height of their popularity. Over the course of the viewer’s time in the show, the piano will strike up into song, or voices will echo out from the Savoy’s ceiling, entering into a ghostly dialogue that transcends easy readings of time and space.
Memory and material residue feature prominently in this exhibition. Works are created by making runs on the piano with charcoal-covered fingers, or smearing the hands across piano rolls, as if the practice of musicianship was slurred across easy boundaries or notation, much in the way that Jazz so often upended the logical structure of early 20th Century music. The smudges and flourishes of these works seem distinctly musical, as if the performative energy of the piece had been captured, a record of musical engagement that is charged with its musicality despite its purely material dimensions.
In STAGED, Moran resurrects the material of musical history and negotiates the traces it leaves behind. This exhibition represents a stunning example of the productive and fascinating ways in which history, memory, art and research can intersect. Though it resists classification under the heading of contemporary art, the sculptural and visual dimension of Moran’s STAGED are striking examples of how the immateriality of music and history can be captured on paper and in space.
— A. Corrigan
Exhibition Page [Luhring Augustine]
A Modest Proposal, Hauser & Wirth’s summer exhibition curated by staff members Madeline Warren and Yuta Nakajima, adopts its eloquent title from Jonathan Swift’s namesake essay from 1729. Recognized for being one of the foremost satirists in English language, Swift vigorously mocked Ireland’s political climate at the time through his sharp wit in various forms of writing—perhaps most famously in the show’s namesake essay, where the writer suggests the poor profit off of their children by selling them as food to the wealthy. Read More »
In 2012, David Zwirner Gallery launched a novel concept for the summer group show. Called People Who Work Here, the gallery opened its floors to its own employees, launching an exhibition of works that underscored the depth of talent of those working for the international mega-gallery. Four years later, the gallery has picked up where the last exhibition left off, opening a new iteration of the show that welcomes over 35 artists to show their work at the gallery’s 19th Street location, just steps away from a massive new Jeff Koons sculpture in the gallery’s open garage exhibition space. Curated by Marina Gluckman and Jaime Schwartz in gallery’s Research and Exhibitions department, the show takes a playful look at the gallery’s skilled employee based, and offers subtle historical parallels with its own selection of artists.