Art News has a piece surveying the fallout over the firing of Helen Molesworth at MOCA, including a series of interviews with artists and collectors over the move. In one interview, a donor recounts a time that Molesworth failed to show up for a tour of their collection. “I don’t show my collection to many people—it’s in my home. But Helen begged me twice to see the collection and then when I set it up, she no-showed me—and then never contacted me again,” an unnamed donor says. “Are you just supposed to put up with this sort of thing over and over again?” (more…)
Archive for the 'Go See' Category
A group of artists and institutions in Qatar are protesting the ongoing blockade of the country with a body of public works and installations, Art Newspaper reports. “Selected artists will get the chance to produce a mural on a bridge, tunnel or wall within the country,” according to the Qatar Museums Authority. (more…)
Wikimedia Sweden has lost a court case over its rights to exhibit images of public sculpture against the Visual Copyright Society in Sweden, saying that digitally shown images of public art and sculpture should be protected by copyright law. “Such a database can be assumed to have a commercial value that is not insignificant,” the court said in a statement. “The court finds that the artists are entitled to that value.” (more…)
For its current exhibition in London, David Zwirner‘s Grafton Street gallery compiled a collection of thirty collages. created between 1959 and 1964, by the late Pop artist Tom Wesselmann, works that mark a significant point in the artist’s career as a leading figure of the Pop art movement, just at the point where he was transitioning from brusque abstraction to an interest in the commodity formats and spatial confines of the canvas. Wesselmann’s later career, which consists of bold, graphically vivid works is hinted at through these collages, exposing the growth of his iconic style, and his interest in capturing interiors, landscapes, and female nudes. (more…)
Dreaming Mirrors Dreaming Screens (Installation view), via Sprüth Magers
For the most recent new exhibition in Berlin, Sprüth Magers has brought together work from thirteen artists under the title Dreaming Mirrors Dreaming Screens. Curated by Goodroom and Johannes Fricke Waldthausen, the exhibition features works by Lizzie Fitch/Ryan Trecartin, Andy Hope 1930, Oliver Laric, Jon Rafman, and Andro Wekua, among others. Intended to navigate visitors through the intersecting narratives within the realm of surrealist animation, abstraction and the ideas of “New Materialism” as expressed through the greater logistics of the world wide web, the exhibition references the notion of the screen as a critical tool of the conscious and unconscious, as well as a surface for projections of communication and technological abstraction. (more…)
Berlin – Tatiana Trouvé: “From Alexandrinenstrasse to the Unnamed Path” AT König Galerie Through March 28th, 2016Monday, February 22nd, 2016
“Time is the theme underlying all my work,” states Italian-born, Paris-based artist Tatiana Trouvé. Frequently reflecting ideas of time and intervention through her prolific body of drawings, sculptures and installations, the artist is presenting a new exhibition at Berlin’s König Galerie, where she has enacted a space illustrating the origins and systems dictating the flow and movement of the universe. Consisting of furniture covered with bronze blankets, on whose backs reveals drawings and text, traced and written,her objects combine multiple realities incorporating dreamlike states and alchemical properties, always based on nuanced, multifaceted layers of space and time. Each installation reveals a fragmented culture, and a system pushed into instability through her varying representational techniques. (more…)
Having pioneered the vivid forms and perspectival innovations of Cubism during the course of his career, pushing that initial formal innovation into the vastly divergent forms, there can be little doubt of Pablo Picasso’s monumental impact on the path of modern art. This influence sits at the core of Picasso.Mania, a playful yet impressively curated exhibition currently on view at the Grand Palais in Paris. Pairing works from both before and after the artist’s massively influential impact on the world of 20th Century Art, the exhibition presents a contemporary perspective to the name, the myth, the reputation of the artist. (more…)
Jon Rafman (Installation View) at Zabludowicz Collection, London. Photo: Thierry Bal
For his first major exhibition in the UK, multimedia artist Jon Rafman is exploring the differing spheres of reality and existence at the Zabludowicz Collection in London. The Montreal-based artist is typically known for his practice focusing on the relationship between technology and human consciousness. Here he takes his practice to a new dimension and scale, manipulating the space to create an interactive environment where viewer’s are able to ponder the real and the virtual, exploring technology with contemporary consciousness. (more…)
Piet Mondrian, Ovale Komposition mit Farbflächen (1914), photo courtesy Martin Gropius Bau © Gemeentemuseum Den Haag, Nie-derlande
With his famous works focusing on geometric lines and primary colors, Piet Mondrian’s history as an artist is often obscured by his iconic later output. Yet, the Martin Gropius Bau in Berlin is exhibiting work by Piet Mondrian in an exhibition entitled The Line, taking the artist’s creative evolution and exposition as its starting point. Initially starting his career painting in the Impressionist style, this exhibition of Mondrian’s work dedicates itself to showcasing the artist’s career and subsequent development of his unique stylistic innovations. With over 50 drawings and paintings, the journey through Mondrian’s career is exposed through his many lenses and creative phases, and is the first major exhibition of the artist’s work in Berlin since the opening of the Neue Nationalgalerie in 1968.
Piet Mondrian, Komposition mit rot, schwarz, gelb, blau und grau (1921), photo courtesy Martin Gropius Bau © Gemeentemuseum Den Haag, Nie-derlande
New York – Hank Willis Thomas: “The Truth Is I See You” at MetroTech Promenade Through June 3rd, 2016Friday, August 21st, 2015
The Truth Is I See You, the Public Art Fund’s recent collaboration with Brooklyn-based artist Hank Willis Thomas, is on view at MetroTech Promenade through June 3rd, 2016. Dispersed throughout the flush, green common areas of the park, and nestled amongst high rise commercial buildings in downtown Brooklyn, the project addresses issues of communication, individuality and globalism within the frame of Brooklyn, one of the most dynamic urban areas of the United States. Focusing particularly on languages spoken throughout the city, Thomas installed all twenty-two lines of Ryan Alexiev’s Truth Poem in a similar fashion to street signs, each showing a line from this poem in English, while the other side gives its translation in languages including Chinese, Polish, German and Hebrew, accompanied by a pronunciation guide. (more…)
Chinese artist Ai Weiwei is currently presenting an exhibition of collected works that span the artist’s long career, encountering and documenting the artist’s countless conflicts, arrests and vocal critiques of the Chinese regime. As a social activist, the artist’s work reflects the history and challenges of China in the 21st Century, placed alongside his own reflection and perception of his home country. His work is intended to act as a form of intervention, and to encourage social change within the contemporary art sphere, while reflecting on China as the product of its vastly deep historical reserves. This practice, and its history against the backdrop of contemporary China is illustrated in detail at Farschou Foundation this year, as the institution presents Ai Weiwei: Ruptures. (more…)
Now through June 21, Johan König in Berlin presents The Smoking Kid, a collection of new paintings by Katharina Grosse. Grosse is known for her work employing bold colors and ambitious movement in order to transcend, open, and test the limits and boundaries defining space. Color and gesture are central concerns of this artist, whose works are at once challenging and whimsical, and her current exhibition departs from Grosse’s typical method of large-scale sculptural installation, turning her abstract style instead towards work in which movement and color is tidily contained to the canvas instead of imposed onto walls and other three dimensional forms.
Currently on view at London’s Tate Modern, Henri Matisse’s vivid cut-outs reveal the final chapter in Matisse’s career: when he began ‘carving into color’, as the artist was known to describe his spectacular cut-outs, a vastly divergent and fascinating point in the artist’s career.
The newly opened Los Angeles Gallery The Mistake Room is inaugurating its downtown space with Oscar Murillo’s Distribution Center, a show of recent works by the artist. Murillo, who is only 28, is perhaps best known for his large-scale paintings, if not for his young age and recent rise to the upper echelons of the art market. Here, his signature style is quickly noted, with canvases bordering on sculptural assemblage, debris and ephemera from his studio and travels are directly transplanted on to the canvas. Even in their installation, very few works happen to hang directly on the wall. Instead, they litter the floor and table surfaces like large, mis-matched carpet tiles, creating a kind of multi-layered horizontal work across the length of the room.
Oscar Murillo, Untitled (2014), via Art Observed (more…)
On view in Madison Square Park through September 8, Orly Genger’s Red, Yellow and Blue is an astounding yet whimsical feat of sculpture. Commissioned by Madison Square Art, Red, Yellow and Blue is constructed from 1.4 million feet of rope from repurposed lobster traps, crochet stitched into braids, covered with over 3,500 gallons of paint and stacked and twisted into over 100,000 pounds of colorful and continuous wave-like shapes.
Genger, 34, is known for pushing the limits of sculpture using rope and found materials. Her large-scale installations play with the language of the Minimalist, Post-Minimalist and Feminist art historical canon, often utilizing massive installations of repurposed materials. Past works have referenced Tony Smith, Donald Judd and Walter de Maria, and 2010’s Big Boss at Mass MoCA included 100 miles of red rope that suggested a play on abstract painting. Though executed in a vocabulary all her own, Genger’s Red, Yellow and Blue also recalls the monumental forms of Richard Serra and the pop textures of Claes Oldenburg. (more…)
Antony Gormley’s sculptures continually revisit the human form, using a variety of principles in measurement, position, space and density to chart the human body through sharp angles and jutting lines. Taking this jutting, architectural approach to figuration, the artist’s work poses intriguing questions of how humanity recreates its own inherent forms, and the dissonances that occasionally enter the dialogue between subject and object. (more…)
The current exhibition at Galerie Lelong contains a wide range of Ana Mendieta’s work, spanning from photography (Mendieta was known for her documented performances), sculpture, and works on paper. Mendieta’s diverse approach often brings to question the artist’s practice and style: was she an earth artist, a conceptual artist, a performance artist, a filmmaker, a photographer, or a sculptor? Featured prominently in this show, the artist’s earth sculptures in particular provide viewers a unique opportunity to examine the transformation of Mendieta’s work during the last years of her life. Presenting ephemeral works the artist executed in natural environs, as well as her three-dimensional pieces, made from natural elements such as earth, wood and sand, these pieces show the artist’s continued imagery of the female body.
Ana Mendieta, Alma Silueta en Fuego (Silueta de Cenizas), (1975), via Galerie Lelong (more…)
In a refreshing break from his figurative painting and Pinocchio art, Pace Gallery presents a collection of new abstract paintings by Jim Dine. The paintings are large, romantic, intense renderings of universal situations and emotions – sometimes literally, with titles like “A Fingerprint of Stars”, a painting that reaches fourteen feet wide and five feet tall.
Anthony McCall’s body of work is punctuated by decades of silence. Withdrawing from the art world in the late 1970’s after a number of promising exhibitions and installations around the globe, the artist completely ceased his artistic production until 2003, when he began experimenting with digital film projectors. 10 years later, the artist is presenting Face to Face at Sean Kelly Gallery, showing two works from the opposite ends of the artist’s career.