Julie Mehretu, TRANSpaintings (recurrence) (2023), via White Cube

Julie Mehretu’s solo exhibition at White Cube Bermondsey, They departed for their own country another way (a 9x9x9 hauntology), debuts three new series of paintings consisting of nine works each. Presented alongside these works, in the 9x9x9 gallery Mehretu has paired her title track painting with a sculpture by visual artist Nairy Baghramian, in response to an ongoing dialogue between the two artists.

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Zach Bruder, Attic (2023), via Magenta Plains

This fall in New York, artist Zac Bruder presnts a series of new works at Magenta Plains that continue his ephemeral explorations the canvas and its subjects. Presenting a string of colorful, yet subdued canvases throughout the gallery space, Bruder orchestrates a series of meditations on material landscapes, painterly modes, and conceptual exercises.

Zach Bruder, Clear Arrears (Installation View), via Magenta Plains

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Paula Rego, Creatures (1981), via Victoria Miro

The 1980’s was a decade of creative transformation for artist Paula Rego. Moving away from a process of making collages – drawing and painting material that she would then cut up and arrange into sophisticated figurative puzzles – she began instead to engage with her childhood passion for painting as play. Working rapidly and fluidly, Rego embraced freedom as methodology, inventing a cast of humans, animals and hybrid creatures that served as fictive structures for new narratives and systems of meaning. These works serve as the cornerstone for a new show focused on the artist’s painterly compositions at Victoria Miro.

Paula Rego, Aida II (1983), via Victoria Miro

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Wolfgang Tillmans, Lighter, white / pink and Lighter 116 (2020-2023 ), via David Zwirner

On view at David Zwirner’s New York exhibition space this fall, artist Wolfgang Tillmans marks his fourth solo show, demonstrating the artist’s expansive vision while meditating on the simultaneity of life and art. Titled Fold Me, the show will feature an entirely new body of work by the artist, and follows Tillmans’s major retrospective at The Museum of Modern Art, New York, in the fall of 2022. Tillmans , who regularly invites an interplay of chance and control, of consideration and coincidence, of process and time here folds the world back onto paper.

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Andy Holden, Song of Songs (Installation View), via Seventeen

For his first exhibition in a commercial gallery in fifteen years, Andy Holden presents two installations at Seventeen in London this fall. Linked by personal loss, each work is an attempt to process distinct moments from the past, within the context of the artist’s continued inquiry into the nature of time.

Andy Holden, Song of Songs (Installation View), via Seventeen

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Christian Marclay, Doors (Still) (2022), via White Cube

White Cube Mason’s Yard presents a recent filmic work by Christian Marclay this fall, Doors (2022). Following its debut in the artist’s survey at Centre Pompidou in Paris (2022), and more recently its inclusion at Art Basel (2023), the show showcases a new work compiled from a massive collection of cinematic footage amassed over the past decade.

Christian Marclay, Doors (Still) (2022), via White Cube (more…)

Awol Erizku, Hot Hand in a Dice Game (2023), via Sean Kelly

This fall, artist Awol Erizku makes his first solo exhibition at Sean Kelly with Delirium of Agony a show that examines the construction of cultural iconography through the lens of contemporary hip-hop, street culture, art history, sports, and entertainment. Occupying the entire gallery, the exhibition features paintings, neon installations, photographs, sculptures, and works on paper that draw intriguing lines between graphics, cultural symbolism, personal affinity and subtle cultural representations.

Awol Erizku, Smoke #12 (2023), via Sean Kelly

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Giorgio Griffa, Campo Rosa (2022), via Casey Kaplan

On view this month at Casey Kaplan Gallery in New York, artist Giorgio Griffa brings together a body of new works that continue the artist’s interpretation and mining of memory and reflection as part of an expanded exploration of time and space. OCÉANIE consists of a series of nineteen paintings created between the fall of 2022 and the spring of 2023, marking the most significant shift in Griffa’s practice in over a decade. This is the artist’s sixth solo presentation at the gallery.

Giorgio Griffa, Océanie (Installation View), via Casey Kaplan

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Barbara Sánchez-Kane, New Lexicons for Embodiment (Installation View), via kurimanzutto

On this month at kurimanzutto in New York, artist Barbara Sánchez-Kane has installed a new body of work that explores a range of expressive modalities between sculpture and clothing design. Sánchez-Kane, who alternatively uses she and he pronouns, is interested in the deconstruction of identities and the duality of the presented self: through her clothes and sculptures, there is a perpetual tearing and fracturing of the structure, voids that seemingly shouldn’t exist, and the recurring repurposing of traditional objects through the destruction of their functionality. (more…)

Wade Guyton, Untitled (2022), via Matthew Marks

Artist Wade Guyton has long explored the constructs and constraints of contemporary image and object production, utilizing a range of various technological and gestural approaches to create dense, nuanced works that emphasize both the act of making and images they contain. For his latest show, on view this month at Matthew Marks, the artist takes particular interest in his studio as not just the site of production, but the images his work depicts.

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Philippe Parreno, Hertzian Tales (Installation View), via Art Observed

Philippe Parreno takes over Gladstone Gallery this month with a body of work that continues to mine notions of non-human intelligence, technology and life. The show, Hertzian Tales, marks the most recent manifestation of his ongoing contemplation of art as both sentient and sensual.

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Sam Durant, Open Your Eyes (2022), via Praz-Delavallade

This fall, artist Sam Durant opens a show of new works at Praz-Delavallade in Paris, continuing a body of work that mines the artist’s long explored modes of practice, while turning his examinations of modern culture, history and context on its ear. Long recognized for work that questions, highlights, and reframs social and civic issues from the more complex sides of history: colonialism, the death penalty, surveillance and slavery among them, the artist here turns towards the playful and exploratory, marking new notes in an already expansive and expressive practice.

Sam Durant, Certainty (2020), via Praz-Delavallade

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Anri Sala (Installation View), via Galerie Chantal Crousel

Artist Anri Sala opens a show of new work at Galerie Chantal Crousel this month, exhibiting a body of new frescoes that underscore continued reseaarch into the construction and composition of narrative, particularly oriented around refashioning and repurposing spaces and epochs.  (more…)

William Kentridge, Oh To Believe in Another World (Installation View)

This fall, Marian Goodman opens its gall calendar in New York with a solo exhibition by William Kentridge featuring Oh To Believe in Another World, an immersive five-channel projection made in response to Dmitri Shostakovich’s Symphony No.10. The exhibition marks the North American premiere of the film, which will be shown alongside a multi-disciplinary body of work which includes new bronze sculptures, drawings, collaged lithographs, and mixed-media puppets. Marking the artist’s 19th solo show with the gallery, it also marks 25 years of collaboration between the dealer and artist.

William Kentridge, Oh To Believe in Another World (Installation View)

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Nicolas Party, Portrait with an Eagle (2023), via Hauser & Wirth

Marking his first solo show with Hauser & Wirth in New York, the Swiss artist Nicolas Party has orchestrated an expansive and captivating show of new works that continue to underscore the artist’s mining of traditional painterly languages in concert with freely interpretive and expressive modes of depiction. Spread across the gallery floors of blue-chip dealers’ flagship space in Chelsea, Party’s work is a striking opening note in the fall calendar.  (more…)

Stuart Lantry curated by Shona McAndrew, all images via Libby Langsner for Art Observed

The first notes of fall are in the air in New York, and, like clockwork, another art season is now underway, kicked off once again by the opening of the Armory Show and its satellite fairs in New York City. That means that, once again, the night before the fair is the domain of Spring/Break Art Show, the curator-first, project oriented fair that brings together a range of expressive and imaginative works under a broad curatorial banner. Leaving ample space for exploration and investigation, the fair is a perennial highlight, and, now in its 11th year, has reached cruising velocity, bringing with it a year that takes a moment for retrospective conceptions of the event.

Gvantsa Jishkariani at CH64

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Venus Over Manhattan, all images by Art Observed

Over the last several years, the Independent Art Fair has built a name for itself as a dynamic and focused exhibition project, culling together small selections of exhibitors that emphasize curation and focus over the sprawling aisles of mega fairs and blue-chip magnets. This year, the fair has returns its 20th Century offering for the run of The Armory Show further uptown. The show, focusing in on historically-resonant works, makes for a striking new offering during Armory Week, and a fitting continuation of the fair’s well-established focus.

Norman Zammit at Karma

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Jonathas de Andrade at Galeria Nara Roseler

Despite a heat wave that made early September feel like mid-July in New York, this week, the fall art season and the promise of cooler weather has descended on The Big Apple, and New Yorkers are flocking back from their summer travels to kick off one of the busiest art seasons of the year at the Armory Show. This year, the Javits Center is home to over 225 booths, featuring selections from gallery veterans, non-profits, museums, and emerging gallerists from over 35 countries. The fair was notably divided into several sections such as Galleries, Solo, dedicated to single artists, Not-for-Profit, Focus, a section curated by Candice Hopkins, featuring solo- and dual-artist presentations that under-represented artists who draw on cultural connections, and Presents, featuring galleries that are less than 10 years old.

Leonard Baby at Anat Ebgi

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Katherine Bernhardt at David Zwirner, all images via Minji Son for Art Observed

With the first notes of fall drifting into the air, and August fading into September, attention turns this week to the South Korean capital of Seoul, where Frieze has reopened the newest iteration of its art fair franchise. Now in its second year, the fair, led by Frieze Seoul Director Patrick Lee, features over 120 galleries, with a strong focus on Asia alongside a range of galleries from countries around the globe, as well as its signature program of screenings, talks and other projects.

Theaster Gates at White Cube

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Malediction and Prayer (Installation View), via Modern Art

Taking its name from a Diamanda Galas record of the same name, Malediction and Prayer marks this year’s summer group show entry at London’s Modern Art. Delving into a range of richly expressive painting and sculpture throughout the show, the program takes on modes of seeing and representation that balances intimacy with intensity, dense layers with moments of triumphal revelation.  (more…)

Martin Wong, Malicious Mischief (Installation View), all images via Camden Art Center

Artist Martin Wong is widely recognised for his extraordinary depictions of social, sexual and political scenographies from the 1970s, 80s, and 90s. Weaving together narratives of queer existence, marginal communities, and urban gentrification, Wong stands out as an important countercultural voice at odds with the art establishment’s reactionary discourse at the time. This summer, the artist’s work is at the center of an impressive show at the Camden Art Center in London, tracing the artist’s works as an extension of his life. (more…)

Marcin Dudek, NEOPLAN (2023), via Edel Assanti

Artist Marcin Dudek’s work finds particular and complex sites for intervention in the language of the everyday, charging familiar forms and structures with a loose, vibrant energy that underscores cultural tensions, frictive languages, and modes of engagement that underline conflict and collision. This mode of practice finds particular expression in NEOPLAN, the artist’s sixth solo exhibition with Edel Assanti on at the gallery’s London exhibition space. and running concurrently with his solo show at Kunsthal Extra City, Antwerp, and the launch of his new monograph. (more…)

The European Court of Human Rights has ruled that Moscow must pay more than $100,000 in damages to the collective Pussy Riot over a violent attack during the 2014 Olympics. “The attack has been established ‘beyond reasonable doubt,’ and that the situation in which the applicants found themselves during the attack was not compatible with respect for their human dignity,” the court ruled. (more…)

Ugly Paintings (Installation View), via Nahmad Contemporary

This month, writer Dean Kissick and curator Eleanor Cayre have teamed up at Nahmad Contemporary to present a new exhibition titled Ugly Painting. Drawing on works that mine the deliberate use of grotesque, garish, or abject in brushwork, representation, composition, or coloring, the show presents a range of works that run through a range of confrontational and conceptual approaches to the human form, its representation, and its understanding.  (more…)