The Guardian charts Nicholas Serota’s impact on the Tate during his tenure as its leader, and the challenges the institution faces in the years ahead as it seeks to continue the momentum he created. “Beginning to get the momentum going, to turn the battleship – that was the most difficult thing,” he says of his efforts.
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Now through June 3rd, new work by Charline von Heyl will be on view at Capitain Petzel in Berlin, her second solo exhibition with the gallery. The German artist, who works with drawing, printmaking, and collage, has long drawn on this wealth of material in conjunction with a wide-ranging gestural vocabulary to create a densely layered body of works, shown here through a series of new canvases mixing various modes of illustration and painting.
The artist’s work functions not as a series of surfaces, but interlocking visual events, layering varied approaches towards repeating images or motifs which work in conjunction with her flowing brushstrokes and blurs of color. These colors and images shift depending on the time of day or the viewer’s perspective, their respective qualities marking a subtle environmental thread that balances against each work’s dynamic surface. Drawing is a significant part of the artist’s process, though any impression of line or form tends to hide beneath the unstable and heavy layers of charcoal powder, copper, aluminum flakes and dirty pastels.
The exhibition brings together a selection of recent works, creating a continued sense of agitation and stabilization, tension and dissolution. These works produce stark visual effects and striking contrasts rather that depict any single subject, the artist’s hand playing on the act of painting in conjunction with selected models and repeated themes running throughout her works. This mode of action allows von Heyl to play on a sense of poetic depth and humor, a visual interrogation of painting by the act of painting itself.
In Local Yokel from Outer Space (2014), for instance, a globular, alien-like face seems to smile from its vantage point inside the frame. Composed of brightly colored points and dark accents, the painting is at once inviting and menacing. Considered in different orientations, the abstract subject morphs between readings as an animal, organic object, and the otherworldly. In Samurai Rabbit (2017), by contrast, the figure of a rabbit stalks across the frame, holding what appears to be a samurai sword. The red-splattered canvas gives the impression of the exaggerated gore and violence encountered on-screen. Paired with the gentle symbol of a rabbit walking through a pastoral background, this painting balances the explicit and the abstract in an interesting combination of fine art and entertainment.
Charline von Heyl’s stimulating work is hosted in Capitain Petzel’s open and airy gallery space, giving the viewer ample room to consider these images from afar and up-close. The artist’s dynamic and provocative pieces come together to demonstrate the pleasure in experience what can happen to a painting under an active gaze.
Her work is on view through June 3rd.
— A. Corrigan
Exhibition Page [Capitain Petzel]
Currently spread out across 303 Gallery’s spacious 21st Street exhibition space in Chelsea, photographer Rodney Graham has returned with a body of new works, continuing his playful and incisive understanding of cultural archetypes. Drawing from a range of situations and signifiers, the artist’s body of new works, a series of chromogenic transparencies mounted on light-boxes, play on both Graham’s observations of his native Vancouver, and more broadly, his understanding of the conventions of the image in modern creative production. Read More »
Annette Messager, Avec et sans raisons (Installation View), all images via Marian Goodman
On now through May 27th, avec et sans raisons by Annette Messager is on view at the Marian Goodman Gallery in London, comprising Messager’s first solo show at the gallery and first exhibition in London since 2009. The title of the exhibition reveals the 73-year-old artist’s penchant for wordplay, suggesting both a possession or lack in the faculty of reason, as well as the existence and/or deficiency of motivation. Following through with the suggestion of its title, the exhibition contains works that possess a clear rationality while simultaneously toying with concepts of the absurd. Read More »
Cataloguing a range of Robert Therrien’s nuanced explorations and elaborations on the physical and psychological landscapes of the everyday, Gagosian Gallery has brought a body of new and recent works to its 24th Street exhibition space in Chelsea. Marking the artist’s first exhibition in New York in ten years, the show marks a fitting continuation of Therrien’s interests in domestic space, memory and form through a series of sculptures, large-scale environments and works on paper. Read More »
New York – Erwin Wurm: “Ethics demonstrated in geometrical order” at Lehmann Maupin Through May 26th, 2017May 23rd, 2017
Currently on view at Lehmann Maupin’s Chelsea exhibition space, Austrian artist Erwin Wurm is presenting a concise summary of his recent work, installing a range of sculptures in his broad practice that explore the act of both participation and subversion in the landscape of modernity. Including both quasi-participatory work alongside a series of more static pieces, the show allows Wurm to run through an impressive range of both his practice, and his broader critical project. Read More »
Los Angeles – Jason Rhoades: “Installations, 1994 – 2006″ at Hauser & Wirth Los Angeles Through May 21st, 2017May 19th, 2017
Exploring a range of works from the career of Jason Rhoades, Hauser & Wirth Los Angeles has assembled a challenging exhibition for its spring calendar, one that feels particularly resonant in the tense geopolitical situations of 2017. Installations, 1994-2006, drives at Rhoades’s shared language of consumption and mythology, space and commerce, as a fertile site for the investigation of the modern world, and the cultural collisions stemming from its increasing interconnectivity. Read More »
AO Auction Recap – New York: Phillips 20th Century and Contemporary Sale at Sotheby’s Contemporary Evening Sale, May 18th, 2017May 19th, 2017
A pair of auctions capped off the May Evening Sales this evening, as Phillips and Sotheby’s concluded their respective Post-War and Contemporary marquee sales. Notching a number of impressive records at both auction houses, the evening was an impressively strong final night for a week that made good on promises for the market’s slow but steady recovery. Read More »
Cy Twombly, Leda and the Swan (1962), via Christie’s
The week’s long stream of major auction sales saw another strong outing by Christie’s last night, with the auction house cruising through a 71 lot outing to reach a final tally of $448.1 million with only a handful of pieces going unsold. The sale, which saw an overwhelming push from American buyers, meets early rumblings about a recovering market, and hints at continued growth over the coming months. Read More »
The Impressionist and Modern Sale at Sotheby’s this past evening has closed out the early week’s offerings in that market, capping a $173.8 million sale that saw few major highlights or sparks in bidding, a marked contrast from the occasional fireworks of Monday’s sale at Christie’s. Despite early claims by Sotheby’s that the auction market was gradually strengthening again after several tepid sales in past months, the past evening’s outing in New York saw somewhat modest results that paled in comparison. The sale’s sell-through rate hovered at 74%, tempered by the early withdrawal of an Egon Schiele work some had anticipated would reach over $30 million. Read More »
The first auction of the week has come and gone in New York, as Christie’s notched an impressive outing for its Impressionist and Modern Evening Sale, confirming expectations of a solid return of buying interest in the secondary market. Considering the past several outings for the auction houses in London and New York, where only a handful of buyers were reportedly keeping the market afloat, this week’s sales hit a different note entirely, with ample phone bids that saw one major auction record fall with Constantin Brancusi’s La Muse Endormie demolishing expectations at over $57 million, and marquee lots performing quite well over the course of the evening. Read More »