Sherrie Levine, Bird Mask (2014) via Osman Can Yerebakan

Paula Cooper Gallery is currently presenting new works by one of the most iconic artists of The Pictures Generation, Sherrie Levine. The artist has been reinterpreting the set notions of ownership and authenticity in creative work for more than 30 years, while simultaenously commenting on the canonization process of art history.  Inspired by the pioneer Constructivist Aleksander Rodchenko’s three panel monochrome from 1921, Levine’s new exhibition, Red Yellow Blue, refers to the reduction of a painting to its most minimalistic forms and fundamental colors.  One of the most notable artists of a generation engaged with appropriation and representation of consumeristic and media-centric production, Levine’s works in the exhibition investigate the essence of art-making, and its creative limitations with reference to certain precedents. Regarding art history as a circular form instead of a linear one, Levine goes back to the roots of art production to redefine set concepts on issues such as death and mysticism throughout the works on view. (more…)

Dominique Gonzalez-Foerster, Ludwig II (M.2062) (2013), via Art Observed

Currently on view at 303 Gallery is French born artist Dominique Gonzales-Foerster’s exhibition, euqinimod & costumes. Being the artist’s first collaboration with the Chelsea gallery, the exhibition stands out as Gonzales-Foerster’s autobiographical investigation using clothes from her own wardrobe.

Dominique Gonzalez-Foerster, Euqinimod & Costumes (Installation View), via Art Observed (more…)

Vik Muniz, Beach (Postcards From Nowhere) (2014) Courtesy of the artist and Sikkema & Jenkins Co., New York

Sikkema Jenkins Co. is currently presenting Album, an exhibition of recent works by Brazilian artist Vik Muniz. Known for his bold and attention-grabbing works which he creates by incorporating an array of materials such as garbage, chocolate and diamonds, Muniz uses familiar images from art history as well as the collective memory of contemporary culture to create powerful large-scale assemblages that pay direct tribute to the history of painting and sculpture in equal measure.    In this exhibition, the artist focuses on memory, both collective and personal, using photography itself as a production tool. Separated into two series, Postcards from Nowhere and the eponymous Album, the work allows Muniz to investigate how memory is an endless notion that is in constant flux.

Vik Muniz, Wedding (Album) (2013), Courtesy of the artist and Sikkema & Jenkins Co., New York (more…)

Sigmar Polke, Untitled (Heron) (1966), via Michael Werner

Presented for the first time in almost twenty years, Sigmar Polke’s works on paper are currently installed at Michael Werner Gallery. Including a number  drawings that have never been exhibited before, Sigmar Polke: Early Works on Paper suggests a distinctive look at the German master’s less known drawings, ink compositions and sketched out ideas, through a collection of nearly a hundred works created by the artist in the 1960’s. (more…)

Michelangelo Pistoletto, Le orecchie di Jasper Johns (The Ears of Jasper Johns), (1966) via Osman Can Yerebakan for Art Observed

At the current Michelangelo Pistoletto exhibition The Minus Objects 1965-1966, on view at Luhring Augustine’s Bushwick location, what greets visitors is their own reflection, as a single piece from the artist’s signature Mirror Paintings series, sits at the entrance. But the exhibition looks deeper into Pistoletto’s work throughout his career, focusing on the artist’s sculptural objects created between 1965 and 1966.

Michelangelo Pistoletto, Sfera sotto il letto (Sphere Under the Bed), (1965-1966) via Osman Can Yerebakan for Art Observed

Bringing together a wide range of industrial materials such as wood, metal, newspaper and plexiglass along with glass mirror, the work carries an individualistic structure and an independent content: Pistoletto, by placing them in an uncommon harmony, orchestrates a coherent body of work composed of, in many ways, unrelated works.  Structures underlining a hybrid combination of contrasting materials create a bridge between different techniques. For example Scultura Lignea (Wood Sculpture) includes a classically styled wooden sculpture, erected inside an orange-colored plexiglass case. Letto (Bed) on the other hand, is an assembly of wide ranging materials including glass mirror, velvet, wood and iron that Pistoletto culls together to render the domestic symbol.

Michelangelo Pistoletto, Scultura lignea (Wood Sculpture), (1965-1966) via Osman Can Yerebakan for Art Observed

Leigh Ledare, An Invitation: Tuesday, July 26, 2011 (2012) Courtesy of Mitchell-Innes & Nash

On view through April 26th at Mitchell-Innes & Nash is Leigh Ledare’s new exhibition, articulating socially issues commonly held as taboo or obscene through a wide spectrum of mediums including archival materials, text, film and photography. Famous for his photography series, Pretend You’re Actually Alive, in which he photographed his mother through an arguably sexualized gaze, Ledare aims to examine the set perception on the photographer as a subject and the model as an object. (more…)

Heidi Bucher, Untitled (Herrenzimmer), (undated) via Osman Can Yerebakan

Known for her ongoing focus on the relationship between the body and architectural space, the late Heidi Bucker is being commemorated with an exhibition at the Swiss Institute. The exhibition, running through May 11th at the gallery’s SoHo space, stands out being the first solo exhibition of the artist in the United States in more than forty years.

Heidi Bucher, Untitled (9 Objects), (1972-1987), Courtesy Migros Museum für Gegenwartskunst, Zürich (more…)

Sarah Lucas, Dacre (2013) via Osman Yerebakan

Britain introduced many significant female artists in the 90s during its highly touted YBA (Young British Artists) era, woman who presented feminine sexuality not as an object, but as a subject in itself. Commonly interpreted as a tool or a meta for male artists, female sexuality was reformed into ‘a maker’ that creates art alongside a group of female artists (with inspirations from pioneers such as Louise Bourgeois or Georgia O’Keeffe), instead of being the object that the hand works on. Artists like Tracey Emin, Sam Taylor-Wood and Sarah Lucas presented bodies of works that came from the essence of being a woman by explicating femininity in unorthodox ways.

Sarah Lucas, Priapus (2013) and Chicken Knickers (2014) via Osman Yerebakan (more…)

Katharina Fritsch, St. Michael (2008), via Matthew Marks

Simple yet explanatory, Sculpture is Matthew Marks Gallery’s current exhibition, bringing together the most recent three dimensional works by artists Katharina Fritsch, Robert Gober, Jasper Johns, Charles Ray, Ellsworth Kelly and Martin Puryear. Adopting the newest in the medium as its main concept, this group exhibition presents an opportunity for gallery goers to view and compare current modalities in the art of sculpture. (more…)

All photos by Caroline Claisse for ArtObserved.

The last visitors have filtered out, the gallerists have begun packing up and preparing sold works for buyers, and another year of the Frieze London Art Fair  has concluded, following another action-packed week of new works, special commissions, sales, auctions and openings that once again placed London at the center of the contemporary art world’s cross hairs.

Work by Pierre Huyghe at Esther Schipper (more…)

Artist Damien Hirst at Blain Southern Gallery. All photos by Caroline Claisse for Art Observed.

As Frieze London prepares to open its doors to the press and VIPs tomorrow morning in Regent’s Park, gallerists around the city are aiming to pull out all the stops in attracting collectors during the week’s events.  Such seemed to be the case with Blain|Southern‘s Candy, a blockbuster exhibition of works by Felix Gonzalez-Torres and Damien Hirst focusing on the artists’ shared material and aesthetic interests in the sugary snack as artistic medium, which opened last night.

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Josh Kline, Forever 27 (2013), Courtesy 47 Canal

Quality of Life is Josh Kline’s first solo exhibition since 2011, and directly follows his having organized this summer’s high-profile Pro-Bio group show at MoMA PS1. The exhibition acts as something of a statement of intent for the New York artist and deals with themes increasingly familiar within Kline’s growing body of work, looking at the commodification of identity and youth, alongside the forging of new, posthuman understandings of the body.

Josh Kline, Quality of Life (Installation View), via Sasha Patkin for Art Observed (more…)

Rudolf Stingel, Untitled (Franz West) 2011, (Installation View) (2013)

Rudolf Stingel, the Italian-born, New York-based artist, is currently presenting an installation covering the entire of the Palazzo Grassi, the regal Venetian estate of billionaire  collector François Pinault. The exhibition is curated by the artist himself in partnership with Elena Geuna, the former director of Sotheby’s Europe. The project was designed specifically for the 3-story, 5,000 square meter building located on the Grand Canal in Venice. What’s more, the exhibition marks the first time the entire museum has been devoted to a single artist.

Rudolf Stingel, Rudolf Stingel (Installation View) (2013)

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Bashir Makhou, Giardino Occupato (Installation View) (2013) All photos by Sophie Kitching for Art Observed

Otherwise Occupied is an exhibition of Palestinian artists organized by al Hoash, a Palestinian art organization based in Jerusalem, as part of the 55^th International Art Exhibition at Venice Biennale 2013. The show is one of 48 Collateral Events hosted around the city. The exhibition features the work of two prominent, internationally renowned artists: Bashir Makhoul and Aissa Deebi. Makhoul is the head of the Winchester School of Art, England, while Deebi is a founding member of ArteEast, a Brooklyn-based organization that supports Middle Eastern art and culture. Both have exhibited work at the Elga Wimmer Gallery in Manhattan, and mainly work with photography. In the past, both have addressed the themes of diaspora, exile and, more broadly, Palestinian politics, unsurprising given that both artists were born inside the 1948 borders of Palestine, and have since immigrated to become citizens of other states. Currently, they are working in the globalized art world, exemplified by Massimiliano Gioni’s Central Pavilion, The Encyclopedic Palace. Nevertheless, the artists still consider themselves Palestinian, underlining the complex political identities of modernity Gioni expressed in his press conference.

Bashir Makhou, Giardino Occupato (Installation View) (2013)

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Inside the Brooklyn Artists Ball at the Brooklyn Museum

The annual Brooklyn Artists Ball took place last week on April 24th, featuring award presentations to Barbara Knowles Debs, Vik Muniz, Wangechi Mutu and Roxy Paine for their collective contributions to the vibrant and growing arts scene of New York’s second borough.  The event also featured a series custom designed table settings from a number of New York artists, including Jules de Balincourt, Njideka Akunyili, Daniel Arsham, FAILE, Jennifer Catron and Paul Outlaw, a performance by Brooklyn’s The Push Pop Collective, and more.  Art Observed was on site for the event, and took these photos showcasing the highlights of the night.

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2 Works by Mark Flood at Peres Projects, photo by Daniel Creahan for Art Observed

The Independent Art Fair returned to Chelsea this year, taking up three floors of Center548 with work from over 40 galleries around the world, offering a markedly fresh take on the busy sales rush of Armory Week in New York. 

Independent, New York, 2013 (Installation View) Courtesy Independent, New York

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Outside the Park Ave Armory for the ADAA Art Show

With another hectic Armory Week comes another edition of the Art Dealers Association of America’s Art Show, open at the Park Avenue Armory.  Now in its 25th edition, The Art Show is the nation’s longest continually running art fair, offering viewers a smaller, more scaled back experience in contrast with The Armory Show held out on New York’s Hell’s Kitchen Piers.  The show’s more focused collection of 72 leading dealers and galleries allow viewers a slightly less overwhelming experience moving from booth to booth, and also provide slightly more space for the work to breath.

Damien Hirst at Van de Weghe (more…)

The View from Outside The 2013 Armory Show

The doors opened this morning on the 2013 edition of the Armory Art show, welcoming press and VIP’s into the massive exhibition halls of Piers 92 and 94 on the waterfront of New York City’s Hell’s Kitchen neighborhood.  It was a special year for New York’s biggest annual art event, marking the 100 year anniversary of its namesake, the 1913 exhibition that welcomed the European avant-garde to American shores, and gave many their first glimpses of Marcel Duchamp, Matisse and Edvard Munch, among many others.

Mayor Michael Bloomberg Makes the Opening Remarks at The 2013 Armory Show (more…)

Tracey Emin, Floating, (2012), via Galleria Lorcan O’Neill

Currently open in Rome, Galleria Lorcan O’Neill’s fourth presentation of Tracey Emin’s work is a mature, low-key, yet penetrating selection of the artist’s diverse practice, showcased in both of their spaces on Via Orti D’Aliberti.  Emin has recently been appointed Commander of the Order of the British Empire (CBE), as well as a professor of drawing at the Royal Academy (RA) along with Fiona Rae, making them the first two women to be elected into the academy.  Given her entrance into these exclusive circles as an official representative of British culture, the Italian location of this show offers an interesting reevaluation of Emin’s art.
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Daniel Buren, “Electricity” at Petzel Gallery (Installation View) Photo by Elene Damenia

This January, Daniel Buren presents his third solo exhibition across two New York gallery venues; his work will be showcased at the Bortolami Gallery at 520 West Street and Petzel Gallery at 537 West 22^nd Street. The galleries will simultaneously exhibit works from the series Electricity, Paper, Vinyl – WORKS IN SITU & SITUATED WORKS. Bortolami is showing Buren’s recent works from 2012, while pieces from 1968 – 2012 will be on view at Petzel through February 16th.

Daniel Buren, Projection, travail in situ (2012) at Petzel Gallery, Photo by Elene Damenia

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Entrance to Hauser and Wirth’s second gallery in New York, where Martin Creed’s ‘Work No. 1461′ greets visitors

At 511 West 18th Street, in the 24,700 square feet that formerly housed the roller disco known as “The Roxy,” Hauser & Wirth have found their second home in New York. Maintaining their other location on the Upper East Side, the expansion to Chelsea is their fifth location worldwide, and celebrates an important landmark: the gallery’s twentieth anniversary. A hefty book of over 1,000 pages, edited by Hatje Cantz, accompanies the event: Hauser & Wirth 20 Years. The exhibition inaugurating the space could not be more fitting: a father-and-son collaboration which took place over that same twenty year period: Dieter and Björn Roth.

Artist Dieter Roth smokes a cigarette in Roth New York Bar.

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Lost in LA (Installation View) All photos by Art Observed unless otherwise noted

Los Angeles’ Municipal Art Gallery recently exhibited Lost in LA, a group show featuring artists of both American and French origin working in a collaborative dialogue. The immensely popular television show “LOST,” which throughout the last decade acted as both a source of inspiration and speculation for these artists, serves as the backdrop to the themes presented in the exhibition. (more…)

LA Art Show (2013), Installation View

The LA Art show held its opening night premier party on Wednesday, January 23rd at the LA Convention Center. During the Patron Hours, James Franco was the guest of honor and was joined by an eclectic LA crowd, with an incredible mix ranging from the overtly contemporary to the traditionally elegant. Entering its 18th year, the fair has earned a reputation for its well planned juxtaposition of traditional and modern art, and this year’s edition was no different.  The milling crowd moved easily from the traditional to contemporary sections and back, taking their time to comb through the sheer scale of the festival and its one hundred prominent worldwide galleries.

LA Art Show (2013), Installation View

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Andrea Mary Marshall, Gia Condo (Installation View) – All photos by Elene Damenia for Art Observed unless otherwise noted.

Blending fashion photography, performance, video and painting, the second solo exhibition by artist Andrea Mary Marshall explores the artist’s alter ego – the drag-embracing, Mona Lisa-fixated painter Gia Condo.  Across 13 canvases and a series of photographs, the artist explores issues of gender and identity that surround the famous painting of the smiling woman, re-imagining them in the style of predominantly male contemporary artists like Keith Haring, Francis Bacon, and Marcel Duchamp.

Andrea Mary Marshall, Gia Condo (Installation View)

Art Observed spoke with Marshall at the opening of her exhibition at Allegra LaViola Gallery about the character of Gia Condo, and her motivations for the exhibition.

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