Former Qatar Museums employee Mikolai Napieralski has published an article on Quartz this week, pointing to the end of the country’s oil-boom, a drastically slashed budget, and increasingly conservative leadership as causes for the decline of the Qataris’ presence in the art market. “These days, the organization is a shadow of its former self, and its international staff—and ambition—are long gone,” he writes. “And that $250 million Cezanne and the $300 million Gauguin? Your guess is as good as mine.”
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Blackness in Abstraction is Pace Gallery’s museum level survey of a candid, simple concept—the use of the color black in art since the 1940’s—stemming from the visual impact of its subject color and spreading toward its various pertinent connotations. Curated by Adrienne Edwards, the selection, featuring twenty-nine intergenerational artists, puts a particular emphasis on monochromes, yet a broad array of media, including video, sculpture and photography, is available in an exhibition that joins in on the highly populated list of conceptually potent summer group shows. Read More »
Continuing its slow but steady expansion around the globe, Gagosian Gallery has inaugurated a new exhibition space in downtown San Francisco, opening a spacious and beautifully lit gallery on Howard Street, just across from the recently re-opened SFMoMA. Taking the opportunity to flex its roster in its new home, the gallery has curated a strong exhibition, Plane.Site, taking intersections of form, practice and material across a variety of artists from the gallery’s expansive representation. Read More »
Kenneth Noland, Adjoin (1980), via Art Observed © Estate of Kenneth Noland/Licensed by VAGA, New York, NY www.vagarights.com
Like many of the forms of 20th Century abstraction, the shaped canvas invites both dedication and constant reinvention, a technical fold in the painterly language that allows an artist to work between the picture plane/mark-making relationship of traditional practice, and the more sculptural elements of the art form that have developed alongside critical reappraisals of the medium since the historical avant-garde. Twisting the canvas and the artist’s gestural vocabulary around edges and into curious re-examinations of space, it has remained a core element of the craft ever since the advent of minimalism pushed a new language of space both within the canvas, and around it. Read More »
Fine Young Cannibals, a summer group show currently up at Petzel Gallery’s 18th street location, is currently undertaking the perpetually ambitious task of examining the current state of painting. Bringing together work from sixteen different artists, the show poses the question of whether the type of contemporary work sometimes categorized as “Zombie formalism,” borrowing a term first coined by critic Walter Robinson, is purely market driven, or whether the work should be given more consideration. The pieces on view, which range from challenging formal workouts to coy, momentary operations on canvas, offer an intriguing look at current threads in the painterly discourse, adopting a fairly even-handed approach to the artists on view, and their respective interests.
Currently on view at Maccarone Gallery in LA, New York-based Paul Lee has brought a series of his enigmatic assemblages to bear on the gallery walls. The artist, who previously worked between film and photography, has branched out over the course of his career into a wide variety of techniques, formal elements and material engagements, turning his attention here to a minimal selection of objects that allow him to explore a series of visual correlations and systems within Maccarone’s spacious rooms.
This month, Francis Alÿs returns to London for his first exhibition in the city in over 15 years, opening his third exhibition of work with David Zwirner Gallery. Focusing on the intense political history and narco-violence that has plagued the North Mexican city of Ciudad Juárez for over a decade, the artist’s particular investigative style leaves the experience of this corruption and murder-torn border town distinctly inconclusive, a point that only contributes to the already tragic nature of its story.
Watermill, New York – “FADA House of Madness”: The 23rd Annual Watermill Center Summer Benefit, July 30th, 2016August 2nd, 2016
A staple of the summer arts calendar, Robert Wilson’s Watermill Center hosted its annual benefit and auction this past weekend, bringing a score of artists, benefactors and revelers to the center’s scenic Long Island property. Launching the event in collaboration with the Bruce High-Quality Foundation, which seems to be slowly but surely returning to a more concrete, object-oriented practice after several years almost exclusively focused around the BHQFU, the event featured As We Lay Dying, a new selection of works and performances spread out across the Watermill grounds, executed in conjunction with a series of sound installations by composer and artist Anohni. Read More »
Spread across both of Gagosian’s Chelsea exhibition spaces, Richard Serra’s immense spatial investigations have returned to New York City, marking a continuation and expansion of the artist’s already tightly honed sculptural language. Consisting of a total of only four works, the gallery is showing Serra’s immense rolled steel work NJ-1 in its 21st Street space, while giving over its 24th Street gallery to a trio of Serra’s pressed steel installations, a pairing that sees him returning to his precise visual vocabulary while pushing its expressive limits.
Richard Serra, Every Which Way (2015), via Art Observed Read More »
Continuing his recent surge of output, Alex Katz has brought a new series of landscapes to Thaddaeus Ropac’s Paris Marais exhibition space. Bringing his attention yet again to the landscapes of Maine, the artist’s work here presents his calm, subdued style in a fitting conversation with the untouched curves and lines of Northern New England.
Gavin Brown’s 291 Grand Street location is playing home to the gallery’s summer exhibition this month, a cunning and often comical play on art history curated by painter Brian Belott. Inviting a group of artists to take their own improvisational runs on various artists from the last 100 years of painting and sculpture, the show plays on the memory of Glenn Gould, whose own takes on popular figures and music themes equally expressed his own artistic brilliance.