Plans have been unveiled for the Grand Palais’s €466m, three-year renovation, Art Newspaper reports. “At the end of 2020, just over a century after its creation, the Grand Palais will turn a page in its history and begin a transformation that will allow it to finally enter the 21st century,” culture secretary Françoise Nyssen says.
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In Sondra Perry’s first solo exhibition at Bridget Donahue, the linked subjects of representation and ownership are taken to task. The gallery, with all walls painted “Rosca Chroma Key blue”, is sparsely inhabited by a few black metal structures and one projected video, a stark arrangement that focuses the viewer’s attention tightly on the few elements there. Read More »
Currently on view at Regen Projects in Los Angeles, Catherine Opie returns to her home city for a show of new works that present the city in all of its fascinating, and occasionally frightening nuances. Continuing her photographic practice through a wide range of images and iconographies, the current show, The Modernist also features the artist’s debut filmic project.
“I like paintings that balance contradictions. I like paintings that look clear and simple at first glance and then sort of crumble under your gaze,” says painter, Thomas Nozkowski, the American painter whose work over the past several decades has spanned a range of styles and techniques, approaches and modes of seeing throughout his career. “And it’s even better if further looking enables you to put it together again, understand it in a new way.” Such modes of seeing and making pictures is presented this month at Pace Gallery in New York, running throughout the artist’s 50+ year career as a striking, and refreshing survey of his practice. Read More »
LaToya Ruby Frazier, Andrea Holding her daughter Nephratitioustide the Social Network Banquet Hall (2016 / 2017), all images via Gavin Brown’s
In her self-titled solo debut at Gavin Brown’s Enterprise, artist LaToya Ruby Frazier illustrates an American landscape where dualities intertwine, marring the boundaries separating joy from despair or abundance from nothingness. Her depictions of secluded interiors, occupied by domestic clutters and family histories translate into stories of struggle, while barren deserts under the California sun encapsulate human ardor. Spanning her two decade photographic practice, Frazier’s three-floor presentation at the gallery’s spacious Harlem location introduces one series on each floor. Complimented by the accents of the building’s previous life as a brewery, the photographer’s black and white gelatin silver prints explore dichotomies of public and private, meditating on the role of the camera lens as a witness of our profound and collective moments, be those experienced firsthand or communally mediated. Read More »
Spread across the rooms of Pace Gallery’s West 24th Street location, Louise Nevelson’s iconic wood sculptures draw the viewer through various geometric planes, familiar cultural forms and intriguing variations on a theme. The artist’s work has hung in the walls of Pace over 20 times in the past 50 years, and returns here with a particular focus on her pieces from the late 1950’s onwards, a point where her particular artistic voice was beginning to fully develop. Read More »
There is little doubt that Zach Bruder is seriously invested in space; both the tangible area delimited by the stretcher and the real and imagined places rendered on the canvas are of utmost importance to the Cleveland-born painter. The eight works included in Edening On, Bruder’s first solo exhibition at Magenta Plains in New York, flaunt the artist’s ability to render different spatial dimensions, finding a humorous irony and cohesive unity in their discordance. Read More »
New York – Rita Ackerman and Carol Rama: “Body Issues” at Marlborough Contemporary Through February 10th, 2018February 9th, 2018
Body Matters, currently on view at Marlborough Contemporary is a two piece art exhibition featuring the work of Rita Ackerman and Carol Rama. The juxtaposition of each artist’s works, which mine brusque gestures and varied approaches to the construction of the art object, creates a dialogue between the two artists, and an almost maniac motion of ideas and eras. The composition of each work inhabits a space amid the figurative and the abstract, where human form disappears and reappears with flashes of color and movement. The concordance of imagery of psychosexual fantasies, dark distortions and transgressive glitches initiates a conversation that honors and liberates the beauty of the female form. Read More »
For early entries in the art world’s annual calendar of art fairs, exhibitions and selling events, few can compare with the proceedings of Zona Maco during Mexico City’s annual art week. Now in its 15th year, the landmark fair for much of Latin American has grown even larger, expanding to host 170 galleries from around the globe within the confines of the Centro Banamex in the city, offering a program of conferences with international guests, a section with specialized publications and editorials, and the widest program of parallel activities with exhibitions at the most outstanding galleries and museums in the country.
New York: Heimo Zobernig: “chess painting” and “nework” at Petzel Galleries Through February 17th, 2018February 6th, 2018
Heimo Zobernig, Untitled (2017). All images courtesy Petzel Gallery.
Now through February 17, Petzel Gallery is currently hosting a pair of shows by Heimo Zobernig. Chess painting, on view at the gallery’s Chelsea location, recasts and re-creates the artist’s previous show at the MIT List Visual Arts Center in Cambridge, MA. Through an emphasis on the gallery’s architecture and spatial arrangements in each show, Zobernig facilitates a confrontation with the constructed, theatrical experience of visiting an art exhibition.
In chess painting, a show on view at the gallery’s 18th Street location, the artist makes use of discreet installations to draw visitor’s attention to the act of viewing. His large-scale, primed monochrome canvasses hang atop rolls of black photography paper. This black-and-white palette remains consistent throughout the exhibition, with repurposed mobile podiums adorned with cozy, black-and-white checkered faux-fur blankets. These platforms resemble daybeds, inviting visitors to relax and remain in the space of the gallery, furnishing the exhibition space with the promise of comfort and leisure.
Concurrently, more work by Zobernig will be exhibited at the gallery’s Upper East Side location through February 24. In nework, the artist exhibits nine new text paintings. Since 1986, Zobernig has used the sans serif typeface in his catalog and poster designs. In 1993, for a group exhibition, Zobernig subdivided the letters of the show’s title (REAL) into four fields using orange, brown, gray, black, and white in reference to Robert Indiana’s LOVE paintings. One year later, the REAL pictures were produced in the same colors. Eventually, Zobernig extended the color scale of the REAL images and began to incorporate the German word EGAL (“whatever”) into this work with lettering. In these, new works, the words EGAL and REAL overlap to fill the canvas and essentially interrupt and cancel each other out. The words are written into and on top of one another, thus their meaning disappears.
Zobernig’s work is situated within the impact of Modernism and emphasizes a questioning of the institutional mechanisms that contribute to the exhibition of artwork. Through an emphasis on the structure of the exhibition space, including the light, architecture, and structure of the gallery, Zobernig presents a holistic but subtly challenging experience of encountering the art work in the structure of the museum.
Zobernig was born in Austria in 1958. He has exhibited widely and in various international institutions, including solo shows in Cologne, Sweden, at the Reina Sofia in Madrid, the Kunsthaus Graz, and two solo exhibitions at the Fundação Calouste Gulbenkian in Lisbon. His work was presented in the Austrian pavilion at the Venice Biennale. He lives and works in Vienna.
— A. Corrigan
Exhibition Page [Petzel Gallery]
New York: Women’s History Museum: “OTMA’s Body” at Gavin Brown’s Enterprise Through February 25, 2018February 5th, 2018
Now through February 25, the Women’s History Museum presents OTMA’s Body, their first solo show at Gavin Brown’s Enterprise. Women’s History Museum, established in 2014, is the moniker of Amanda McGowen and Mattie Rivka Barringer, who often work in close collaboration with friends and other artists. The group typically combines performance, image making, and clothing design in their work, and recently began to incorporate sculpture, music, and video as well. This exhibition, on view through the end of the month, features clothing, jewelry, prints, and sculptural pieces. Read More »