Michigan-based dealer Eric Spoutz has been arrested on federal charges for the sale of forged masterworks claimed to be by de Kooning, Joan Mitchell, and more. Authorities allege he wove a web of lies and deceit over his collection of works and high connections in the art world. “The only real thing in this situation seems to be the financial losses the victims have incurred for purchasing what they thought were true works of art, whether for investment purposes or personal enjoyment,” says FBI New York assistant director Diego Rodriguez.
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The Guggenheim’s Photo-Poetics: An Anthology, curated by Jennifer Blessing, senior photography curator at the museum, delves into methods utilized by artists to diverge from traditional notions of photography as a chronicle of tangible reality. Such capturing of verité leaves the stage for investigation of process, material and expression in works by ten contemporary photographers, spanning three floors at the museum’s side galleries, and guiding viewers through various sections containing selections of work by a single artist, among them Sara VanDerBeek, Erin Shirreff and Kathrin Sonntag to name a few. Read More »
Mark Grotjahn doesn’t stay in one place for too long. Despite the honed abstraction techniques illustrated in his long-running series like Butterfly Paintings, his recast, painted cardboard box sculptures, and the swirling figuration of his Face works, Grotjahn has also spent countless hours on small-scale projects, conceptual exercises and intriguing asides. There is, for one, his Instagram account, a free-wheeling aesthetic testing ground where the artist has obsessively posted album covers, sets of reflexive iPhone screenshots, and bizarre scenarios culled from both his own life and printed media. Read More »
“I want to put the public in a situation where everyone becomes acutely sensitive to themselves, to their body and respiration,” Steve McQueen writes in the press release to his new exhibition at Marian Goodman in Paris. The opening line is an ominous one, hinting at both the perceptual and empathetic threads that his work often delves into, and is a fitting context for the exhibition on view, presenting the artist’s recently completed filmic work Ashes, as well as a funereal neon installation, Remember Me, both of which deal with the juxtaposition of life and death, light and darkness. Read More »
Dana Sherwood’s conceptual focus is the Anthropocene, a contentious term which in essence describes our present and future epoch, framed by the destabilization of nature as impacted by human activity on earth. With a practice that spans drawing, video, and sculptural installations, her work intervenes to engage local wildlife and open up a realm of play between humans and animals. Just as Joseph Beuys instigated a political party for animals back in 1974, Sherwood has hosted a dinner party for animals, using her skills as a former baker to create decorative, decadent meals to entice her guests, ultimately presenting the results at Denny Gallery in New York. Read More »
Moscow – Louise Bourgeois: “Structures of Existence: The Cells” at the Garage Museum of Contemporary Art, through February 7th, 2016January 18th, 2016
Organized by Haus der Kunst, Munich in collaboration with Moscow’s recently opened Garage Museum, Structures of Existence: The Cells is the largest presentation of the series Louise Bourgeois created in the last two decades of her life, shown alongside the early paintings and drawings which led to the development of her monumental pieces. Read More »
The White Columns Annual returns to the non-profit space’s West Village grounds this week, kicking the new year off with another exhibition examining the subtle threads and networks of the art world in New York and abroad through the perspective of a single voice. Each year, the exhibition, celebrating its landmark tenth year this month, offers the position to an art world figure, whether it be a gallerist, writer, or curator, to summarize the past year in a single exhibition, often with the end result being a show that spans a diverse group of practitioners usually separated by context, art world hierarchies or other influences. Read More »
THE BANNERS is the title of Gilbert & George’s ongoing exhibition at White Cube’s Bermondsey location, following the eminent duo’s larger scale installment Scapegoating Pictures for London in 2014. Resuming their sturdily rebellious stand against anything corporate or organizational, this current exhibition, akin to their previous one, appropriates the vocal language of political outrage and public protests that have been normalized and spread widely by the media. As its self-explanatory title dictates, the exhibition includes thirty banners bearing ten different slogans and each repeating on three different white papers. Read More »
New York – Yoko Ono, “THE RIVERBED” at Galerie Lelong Through January 29, 2016, and at Andrea Rosen Gallery Through January 23, 2016January 12th, 2016
Spread across two gallery spaces, Yoko Ono’s THE RIVERBED demonstrates the possibility and presence of basic human connection through the manipulation of various materials. Together, the assemblages of stone, string, and ceramic create a process of healing through, as the artist says,”love, and creativity.” This concept of mending is both internal and external, as string criss-crosses the space of each gallery, continued through pencil and paper on the sketchbooks provided.
A key figure in the development of Tokyo’s Post-War, “Anti-Art” Movement, the work of Tetsumi Kudo explodes with a distinct sense of withered vibrancy: human body parts, plants and hulking, distending forms contend for space on what appear to be plots of earth, colored in sickening tones and rarely, if ever, clustering together beyond a few lilting stems. The artist’s work, the subject of an exhibition at Hauser and Wirth Zurich (in collaboration with Andrea Rosen, which represents his estate), is a darkly realized challenge to the aftermath of nuclear war in Japan, and the artist’s disillusionment with the modernist notions of progress and “blind humanism.” Read More »
Anish Kapoor & 17th century Dutch master Rembrandt van Rijn are placed into a neighborly conversation at the Rijksmuseum this month, as dualisms of flesh and meat, figuration and abstraction underscore the more nuanced connections between the pair, and illustrate the ever-changing focal points, yet unified interests in the shapes and forms of the human body and its depiction. Read More »