Global contemporary art events and news observed from New York City. Suggestion? Email us.
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Economist Explores Implications on Restoration and Appraisal Technology

January 19th, 2018

Rijksmuseum, via ArchdailyA piece in The Economist looks at recent technologies in art appraisal and conservation, and questions how these developments may challenge the authority and stability of work in the field. “In the pursuit of knowledge about works of art, the language of science and that of the humanities both have to be spoken,” claims Robert van Langh, the Rijksmuseum’s head of conservation. 
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Andreas Gursky Speaks on His Early Work for The Guardian

January 19th, 2018

Andreas Gursky, via GuardianThe Guardian has an interview with Andreas Gursky this week, detailing the artist’s early experimentations in a photo of Salermo harbor that brought him to realize his most iconic works. “My teachers, the conceptual artists Bernd and Hilla Becher, had told me to avoid photographing with sunlight, blue sky or strong shadows, he says. “But I thought the warm sunlight here made for something quite kitsch. Also, up until this point, human beings had been the focus of my work – but here there were none in sight. Yet I was overwhelmed by what I saw: the complexity of the image, the accumulation of goods, the cars, the containers. I hadn’t been sure the photograph would work. I just felt compelled. It was pure intuition.”
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Tate Britain Director Alex Farquharson Interviewed in Art Newspaper

January 19th, 2018

Tate Britain, via ArtforumTate Britain director Alex Farquharson is interviewed in the Art Newspaper this week, detailing his vision for a major rehang at the museum. “Tate Britain has an exciting role in presenting art in a societal context, both past and present, so it is a question of the stories that we tell,” he says. “I have set out three pillars that inform our curatorial choices and how we communicate them. These are a trio of relationships: art and society, history and the present, and Britain and the world.”
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Ghent Museum Embroiled in Controversy Over Fake Russian Avant-Garde Works

January 18th, 2018

Museum Fine Arts Ghent, via Art NewspaperA major controversy is boiling over in Ghent over an exhibition that featured over 25 works attributed to Russian avant-garde artists like Kazimir Malevich and Wassily Kandinsky, which are being labeled as fake by a group of curators and museum professionals.  The news broke thanks to an open letter published by the group of professionals which is printed in full today at the Art Newspaper.
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Moscow Embarking on Building Project to Recreate itself as “Cultural Capital”

January 18th, 2018

Rendering of GES2, via Art NewspaperMoscow is set to embark on a project to build its own “Museum Mile,” part of a project by the Russian city to make it a “cultural capital of the world.” “The idea arrived after understanding the level of cultural segregation in which Moscow has been for so long,” says Teresa Mavica of the V-A-C Foundation. “It’s time for the Russian capital to become more open, for institutions to work together and themselves become an important actor of the social movement—that is what I mean by an art revolution.”
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Renovations at Corcoran Lead to Criticism from Current Students

January 18th, 2018

Corcoran, via City PaperWashington City Paper spotlights the current construction underway at the Corcoran Gallery and George Washington University Art School, and the issues it has caused for current students, some of whom accuse the institution of endangering their health.  “In terms of this being an environmentally safe place to be, it is, and if it were not, I would shut it down,” said Darell Darnell, senior associate vice president for safety and security at the George Washington University.
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SSENSE Publishes Profile in New Artforum Editor David Velasco

January 18th, 2018

Dvid Velasco, via SSENSEArtforum’s new editor David Velasco is profiled in a piece at SSENSE today, spotlighting his vision for the magazine and his path forward following the resignation of Knight Landesman. “I can’t disappear anymore,” he jokes. “I used to love disappearing. Now I have to walk through the whole office to get to my corner. It’s more of a display.”
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Global Auction Sales Up 25%

January 17th, 2018

Christie's, via NY postGlobal auction sales grew 25% last year, reaching $11.21 billion, according to a new report by ArtTactic. New York continued its domination of the global market, with its market seeing 41.7% jump in overall sales, boosting market share to 48.7%. 
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Dis Relaunches as Video-Based Site

January 17th, 2018

DisArt, via DisDis Magazine has relaunched its website after a pivot to video, and features new work by Darren Bader, Casey Jane Ellison and more. “People want information and knowledge, but the way it needs to be delivered is changing. We saw a real gap in the market — creating new languages, culture, talking about the most recent thing hasn’t been translated to video,” Dis co-founder Lauren Boyle says.
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Freedman Fitzpatrick Opening Paris Location

January 16th, 2018

Freedman Fitzpatrick, via Art NewsLos Angeles gallery Freedman Fitzpatrick is opening a new location in Paris, Art News reports. “Paris is really similar to L.A. in that way,” Robbie Fitzpatrick says. “A lot of artists are moving there from all over. It’s manifesting itself as a dynamic city that has a lot of possibility to explore, on top of already being an incredibly important city for culture, historically.”
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REFERENCE LIBRARY

Los Angeles — Ellen Gallagher: “Accidental Records” at Hauser & Wirth Through January 28th, 2018

December 18th, 2017

Gallagher, Whale Falls (2017)
Ellen Gallagher, Whale Falls (2017) © Ellen Gallagher, Courtesy the Artist and Hauser & Wirth

Accidental Records, now showing at Hauser & Wirth LA, is Ellen Gallagher’s first solo exhibition in Los Angeles. The collection of paintings, drawings and collage on view includes both new and recent works, which tread familiar conceptual territory while expanding upon themes from her rich and evolving oeuvre. The show’s title reflects the breadth of referential material that substantiates Gallagher’s work—from the literary to the musical, the psycho-theoretical to the culinary. In this erudite exploration of the Middle Passage—the deadly intercontinental journeys of slave ships—Gallagher excavates the depths of black history as well as the oceanic context in which so many slaves died. Known for her minimalist, pop-inflected collages that meditate on the African American body in history and culture, Gallagher focuses her lens upon the Black Atlantic.

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New York – Dean Levin: “Arches” at Marianne Boesky Through December 22nd, 2017

December 17th, 2017

Dean Levin, Arches (Installation View), via Marianne Boesky
Dean Levin, Arches (Installation View), via Marianne Boesky

Returning to Marianne Boesky for his second solo exhibition with the gallery, Dean Levin has brought together a more ambitious and, paradoxically, more understated body of work than in his prior Boesky show, A Long, Narrow Mark. Through the series of sculptural installations and series of paintings assembled here, Arches takes Levin’s architectural interests and focuses them on the curved construct of an arch. Read More »

New York — “Words Without Thoughts Never to Heaven Go” at Almine Rech Gallery Through December 16th, 2017

December 14th, 2017

Words Without Thoughts Never to Heaven Go (Installation View)
Words Without Thoughts Never to Heaven Go (Installation View)

Almine Rech Gallery, one of Paris’s foremost galleries, opened its first New York location more than a year ago on the Upper East Side, bringing with it a unique program that mixes a strong artist roster with a consistently adventurous curatorial project.  For its most recent venture, the gallery has brought together key figures from the canon of 20th century Western art for Words Without Thoughts Never to Heaven Go. Adapting its title from a line in Shakespeare’s Hamlet, the exhibition investigates ways artists use text as an allegorical element. Serving as a chronological and thematic starting point to the exhibition is Être ou ne pas être, Picasso’s 1912 painting considered as one of the foremost examples of appropriation of text in modern painting. Declaring “to be or not be” in French with gouache on paper, Picasso not only pays homage to one of the most emblematic texts ever written, but he also questions the mimetic essence of a painting. Can a painting of words serve to depict an image? Read More »

London – Haim Steinbach: ‘jaws’ at White Cube Through January 20, 2018

December 14th, 2017

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Haim Steinbach, Untitled (fins, dolphin, seahorse) (2017). All images via White Cube Gallery.

Now through January 20th, 2018, White Cube is presenting jaws, a series of new works by Haim Steinbach at Mason’s Yard, featuring a new series of shelf works and the major installation Design #15Design for a Yogurt Bar, first conceived in 1981 and reconfigured for the gallery space. Centered around ideas of leisure and health, Steinbach’s works in the show draw on cultural models from the 1970s and 1980s to reveal novel and unexpected meanings through juxtaposition.

Haim Steinbach, starbucksroast (2017)
Haim Steinbach, starbucksroast (2017)

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New York – Jim Shaw at Metro Pictures Through December 22nd, 2017

December 13th, 2017

Shaw-Installation-View-via-Metro-Pictures-1
Jim Shaw (Installation View), all images via Metro Pictures

In his current show at Metro Pictures, artist Jim Shaw presents a group of new paintings, sculptures, and drawings—all from 2017. The show is the first in the city since his survey The End is Here was presented at the New Museum in 2015. Shaw’s work often mixes American cultural references with comic books, art history, religion, Greek mythology and his own subconscious. Suffice it to say that in the time that has passed since his New Museum. exhibition the political and social climate in America has undergone an upheaval. For this new show Shaw combines his usual brand of dark humor with themes of materialism, war and corruption in works that speak to the current state of affairs in America, post-presidential election.
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RIP – Enrico Castellani, Figurehead of the Italian Avant-Garde, Passes Away at Age 87

December 13th, 2017

Enrico Castellani, via Art Observed
Enrico Castellani, via Art Observed

Enrico Castellani, one of Europe’s pioneering avant-garde artists in the year’s following WWII, has passed away at the age of 87 in his home of Celleno, Italy, near Rome.  Castellani was a relentlessly inventive and creative painter, having worked closely with a number of groups and collectives including Cobra group, Group Zero, and the Neo-Concrete artists in Brazil.   Read More »

New York — Ashley Bickerton at The FLAG Art Foundation Through December 16th, 2017

December 13th, 2017

Ashley Bickerton. Catalog Terra Firma Nineteen Hundred Eight Nine #2 (1989). Mixed Media, Courtesy the artist and Lehmann Maupin, New York and Hong Kong.
Ashley Bickerton, Catalog Terra Firma Nineteen Hundred Eight Nine #2 (1989), Courtesy the artist and Lehmann Maupin, New York and Hong Kong.

Bali-based artist Ashley Bickerton’s first U.S. survey dedicated to his multimedia work serves as a compact retrospective of his four-decade long career, shaped by various geographical and ideological milestones that show a continued response to the artist’s ongoing quest for meaning and space for contemplation in modern age. The exhibition, on view now at The FLAG Art Foundation proceeds a larger survey, Ornamental Hysteria, which opened in the spring of 2017 at the Damien Hirst-owned Newport Street Gallery in South London, including a total of 51 familiar and new works by the artist. The artist offers a range of work from both his current time in Bali and his long residency in New York, where Bickerton emerged in the 1980’s alongside Jeff Koons and Peter Halley. The show offers selections from various periods of his career, mostly including sculpture and painting, two mediums that have always remained intertwined since his early days. Read More »

New York – “Contingencies: Arte Povera and After” at Luxembourg & Dayan Through December 16th, 2017

December 12th, 2017

Jannis Kounellis at Luxembourg and Dayan, via Art Observed
Jannis Kounellis at Luxembourg and Dayan, via Art Observed

A contingency is a future event or circumstance that is possible but cannot be predicted with certainty, one that may rely on distinct conditions or concessions made in the present. This conditional framework serves as the namesake of the most recent exhibition of work on view at Luxembourg and Dayan this month, one that poses its exploration of the Italian post-war as contingent on a viewer’s willingness to freely-associate between various modes of practice in contemporary art. Read More »

AO On-Site – Miami Beach: Untitled Art Fair, December 6th – 10th, 2017

December 9th, 2017

Lucy and Jorge Orta at Jane Lombard, via Art Observed
Lucy and Jorge Orta at Jane Lombard, via Art Observed

Turning the corner onto the iconic drag of Ocean Drive, one’s attention is immediately drawn to the slender white tent laid out along the ocean skyline, a gleaming structure that houses the Untitled Art Fair underneath its minimalist structure.  Its annual home, placed squarely in the midst of boozey beachgoers, restaurant soundsystems, and the annual flood of Art Basel Miami Beach visitors, the fair has one of the more unique positions in a week full of unique offerings, one that balances some of the most familiar sights of the city with the impressive work on view inside.  Compounded by the floor to ceiling windows in the fair tent, the fair is an annual must-attend for those looking to get their dose of dynamic contemporary art and Florida sun in one go. Read More »

AO On-Site – Miami: NADA Miami at Ice Palace Studios, December 7th – 10th, 2017

December 9th, 2017

Lin May Saeed, via Art Observed
Lin May Saeed at Jacky Strenz, via Art Observed

As far as fairs go each year in Miami, few can compare with the unique flair and spirit of the New Art Dealers Association’s annual production in Miami, taking over hotel lobbies and ballrooms with a collection of works from young artists, smaller galleries and inventive projects that always make for an engaging, freewheeling time matched only by the fair’s impressive eye for vintage Miami charm.  So when the brutal storms that ravaged the southern tip of Florida this year made for some complications in planning at the fair’s annual haunt up-beach at The Deauville, it seemed as if some of the wind had been kept from its sails. Taking over Ice Palace Studios in an area close to downtown Miami, NADA’s most recent iteration manages to make the best of an unfortunate situation, adding the familiar atmosphere and communal spirit of the fair to an intriguing new locale on the other side of Biscayne Bay.

Molly Zuckerman Hartung at Rachel Uffner, via Art Observed
Molly Zuckerman Hartung at Rachel Uffner, via Art Observed

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