Global contemporary art events and news observed from New York City. Suggestion? Email us.
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Frieze Los Angeles Announces Gallery List

September 12th, 2018

Frieze LA, via FriezeFrieze Los Angeles, which will run February 14 through 17 at Paramount Pictures Studio in Hollywood, has announced its initial gallery list, with a heavy focus on blue-chip galleries that speaks to the impact it is looking to make on the West Coast. 
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Venice Canadian Pavilion Reopened

September 12th, 2018

Canada Pavilion in Venice, via Globe and MailThe Canadian Pavilion at the Venice Biennale has been reopened, with a restored interior that The National Gallery of Canada is hoping will improve the working conditions for its chosen artists. “I give always very much importance to the conservation, as much as possible, of the original design,” says designer Alberico Belgiojoso “Nature changes, while architecture stays at it is.”
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New York Court Rejects Family Claim to Matisse Work

September 12th, 2018

Matisse greta Moll, via Art NewspaperA federal appeals court in New York has rejected a claim to a 1908 Matisse painting owned by the National Gallery in London by the grandchildren of the woman in the work. “The alleged taking of the painting was committed by a private actor” not “a sovereign”, the panel of judges said. “The National Gallery’s refusal to compensate appellants for that taking after the fact does not provide a basis for jurisdiction over a foreign sovereign and its instrumentality.” 
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Dorothea Rockburne’s Soho Loft Profiled in New York Mag

September 11th, 2018

Dorothea Rockburne, via NY MagArtist Dorothea Rockburne’s immense Soho loft is profiled in New York Magazine this week, where the artist has lived and worked since 1974. “It’s like my work,” she says. “It isn’t tarted up. My work is straightforward, and the answers are there because that’s the answer; there is no other answer. And that’s how this place is.”
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Menil Collection Drawing Institute Names Edouard Kopp Chief Curator

September 11th, 2018

Menil Drawing Institute, via Art NewsThe Menil Collection’s new Drawing Institute will be headed by chief curator Edouard Kopp, Art News reports. “I’m very passionate about the drawing medium and have been for the past 20 years,” Kopp says, “so to join an organization with such a stellar reputation as the Menil’s when they are devoting a new program to the study and celebration of modern and contemporary drawing in an amazing new building purposefully designed for that mission is very exciting.”
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Art News Publishes Annual List of Top 200 Collectors

September 11th, 2018

Jean-Michel Basquiat, Untitled (1982), via Sotheby'sThe Art News’s annual power list of the top 200 collectors is out for 2018, with Roman Abramovich once again topping the list. New additions include Laurene Powell Jobs, the founder of the Emerson Collective and widow of Steve Jobs, and Elizabeth and Phillip Chun, founders of the art-filled resort Paradise City in Incheon, South Korea.
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Christian Marclay Interviewed in The Guardian

September 11th, 2018

Christian Marclay, Incognita II (1990), via Paula CooperChristian Marclay sits down with The Guardian this week, as he prepares for the opening of The Clock at the Tate. “I’m always seeing clocks in films and thinking, ‘Damn, now that would have been great for The Clock!’” he jokes.
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Al-Thani Family Eyeing Exhibition Space in Paris

September 10th, 2018

L’hôtel de la Marine, via WikipediaThe Al-Thani family of Qatar is reportedly eyeing an exhibition space for its art in Paris, Art Market Monitor reports.  Reports note that the family is in negotiations with a private developer representing the French state which has plans to re-develop L’hôtel de la Marine on the Place de la Concorde.
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Tate Using Wikipedia for Artist Bios

September 10th, 2018

Tate Bookstore, via Art NewspaperThe Tate has reportedly turned to Wikipedia to fill in gaps in artist biographies for works held in its collection, Art Newspaper reports. A Tate spokesperson said it is “working on a partnership with Wikipedia to ensure the biographies for artists in our collection are as accurate as possible.”
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Greenspon Cancels Show Featuring Work of Alleged Neo-Nazi Boyd Rice

September 10th, 2018

Greenspon Gallery, via ArtforumGreenspon Gallery has cancelled a show featuring the work of the alleged Ne0-Nazi Boyd Rice, following stark criticism from across the art world. “Given the issues this show and these artists raise, we will try to use this episode to consider the various meanings and histories of provocation and dissent in art. As contexts, boundaries and political realities continue to transform, so do the the codes of what can and cannot be accepted,” said gallerist Amy Greenspon. “I deeply regret my lack of oversight when I planned this exhibition, and I apologize to anyone the gallery may have offended when we sent out our email announcement.”
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REFERENCE LIBRARY

New York – Math Bass: “My Dear Dear Letter” at Mary Boone Through July 27th, 2018

July 14th, 2018

Math Bass, Newz! (2018), via Mary Boone
Math Bass, Newz! (2018), via Mary Boone

Currently on view at Mary Boone Gallery’s 745 Fifth Ave space, artist Math Bass has brought together a range of new sculptures and paintings that continue her equally meticulous and playful interpretations of the art object, twisting vaguely familiar forms and figures into foreign landscapes and minimalistic constructions. Read More »

Berlin-“Rose Painting” by Yngve Holen at Galerie Neu through July 14, 2018

July 13th, 2018

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Installation view. All images via Galerie Neu.

Rose Painting, the second solo show of Norwegian-German artist Yngve Holen, was recently on view at Galerie Neu in Berlin through July 14. This exhibition presented a series of rims, ‘gutted’ from five different sports utility vehicles and then 3D-scanned, scaled to a diameter of two meters, and optimized to be milled in CLT (cross-laminated timber). The resulting objects are flower-like wooden constructions that feature symmetrical lines organized around a center point. Rose Painting addresses the formal design languages of a utility object, questioning the fetish object and psychosocial design that punctuate the objects that clutter wealth distribution.
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The role of ornamentation in the above questions is central to this exhibition, which emphasized the process of creating the art object as much as the art object itself. The press release states, “Rims are typically made of aluminum, a material whose ambivalent value bears, on the one hand, the symbolic aura of modernity, while on the other, the ‘stain’ of a cheap substitute.” The artist’s choice to reproduce these rims in cross-laminated timber, this form is exaggerated in a form that is typically understood to be more valuable, traditional, and environmentally sustainable. In this way, these forms point to the symbolic and economic conditions of their proliferation, since the crisis of functionalism in the 1960s, and seek to “ride out the increasing aerodynamics of the contemporary chassis.”

 

 

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The reimagined rims are products of technical woodcarving, a process that expose the milling traces, tears, and cracks of an industrially prefabricated resource sculpted by a machine. With their rescaled form, the rims present these blemishes as a ‘natural’ byproduct, pointing to the current schizophrenic relationship to automobiles that strives for optimized car use and reduced emissions, while continuing to fetishize and covet the SUV. In a sense, the SUV epitomizes the frenzied materialistic collecting of ornaments and materials behind car culture. The large-scale vehicles are extremely popular despite their high consumption of gas and the danger they pose to other drives and pedestrians, as well as their inutility in the suburban or residential contexts in which they are frequently found.

 

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The design and possession of the SUV, like that of rims, illustrates the complex mechanisms of ornamentation, style, and economics motivating the circulation and production of automotive accessories. The title of this exhibition points to the function of the ornament to embellish an object, as well as invest it with value and suggestions of worth. The craftmanship implied in the title and objects of the exhibition stand in interesting and not entirely opposing relationship to the industrial processes of mechanical production implied by the rim.

-A. Corrigan

 

Related Links:

Exhibition Page [Galerie Neu]

Berlin – “We Don’t Need Another Hero”: The 2018 Berlin Biennale Through September 9th, 2018

July 12th, 2018

Ozem Altin at Berlin Biennale, via Art Observed
Ozem Altin at Berlin Biennale, via Art Observed

With summer in full swing, the Berlin Biennale has opened in the German capital, bearing the title We Don’t Need Another Hero.  Referencing Tina Turner’s song from 1985, the show points to a moment before the major geopolitical shifts still rippling across the globe. Read More »

London – Prototypes of Imagination by Katharina Grosse at Gagosian Gallery through July 27, 2018

July 9th, 2018

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Installation view. All images via the Gagosian Gallery.

Prototypes of Imagination, an exhibition of new work by Katharina Grosse, is on view at the Gagosian Gallery through July 27, 2018. Grosse is well known for her in situ paintings that respond to the environment in which they are produced, typically with explosive color rendered directly onto architecture, interiors, and landscapes.  Employing bold colors and ambitious movement, her works test the limits of boundaries and redefine space. Her mold-breaking paintings and intricate constructions have challenged the contained space of the canvas and, in this exhibition, the boundaries between imagination and reality.
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The artist’s use of an industrial spray gun has provoked comparisons of her work with street art or graffiti, as she coats the objects in her path, at times the walls and windows of the exhibition space, with bright color. These works can be seen as a meditation on the subjective and immersive experience of painting, as Grosse integrates events and experiences that emerge during the construction process into the artwork. In Prototypes of Imagination, Grosse seeks to “try out—and dramatically compress—the characteristics of reality” by building prototypes that can be reenacted and applied to other endeavors.

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As in prior shows, a single gigantic painting on loose cloth is at the center of this exhibition. The huge expanses of loose cloth that Grosse works on in the studio allow the artist to respond to the specific architectural conditions in which the work will be housed. Grosse can paint beyond and in response to the frame of the gallery, from the location of her studio. In this particular example, the work hangs from the ceiling, resembling a hulking organic form, almost breathing with vibrant, pulsating color and the spectral silhouettes that interlock and fade into each other. The work reveals inverted chromatic zones produced by stencils of vaguely biomorphic form, as well as painterly gesture balanced with a dizzying array of overwhelmingly vibrant layers that suggest spatial and temporal transformation.

 

 

 

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The other works in this exhibition, oriented around this centerpiece, are presented on stretched canvas and reveal a parallel effect of layered or scrambled form that tessellate and slide into each other. These pieces are punctuated by shifts in chromatic temperature, as well as forms created by stencils, folds, or other tools. These spaces of opacity or negative space are interrupted by solid geometries or ambiguous transparencies, creating a kaleidoscopic experience of color and movement that possesses a rhythm all its own. As the press release states, “each composition bears intimate traces of its creation,” thereby acting organically upon the limits of pictorial logic and showing the viewer the potentially hypnotic power of an encounter in the field of vision.

-A. Corrigan

Related Links

Exhibition Page [Gagosian Gallery]

Berlin-“One Day for Eternity” by Tatiana Trouvé at König Gallery through July 8, 2018

July 9th, 2018

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Installation View. All images via Anna Corrigan for Art Observed.

Tatiana Trouvé’s One Day for Eternity is on view at the König Gallery in Berlin through July 8. This is the artist’s third solo exhibition with the gallery. In this piece, Trouvé continues her exploration of memory, material, and space. The work is the most recent installation in a series entitled Les Indéfinis, which addresses the myriad transformations that an artwork undergoes, morphing from an idea into material, from material into an object of circulation. Read More »

London – America My Hometown by Edward Kienholz at Blain Southern through July 14, 2018

July 7th, 2018

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Installation View. All images via Blain Southern.

Now through July 14, Blain Southern London presents America My Hometown, an exhibition dedicated to the formative years of Edward Kienholz’s career in mid-century America. The works in the exhibition span the years of 1954-1967, at which point Kienholz was living and working in Los Angeles. This historical period was hugely significant for the position of the United States and the spread of capitalism globally, to which Kienholz responded directly in his work. The pieces produced by the artist during this time reflect a concern with the political turmoil and social anxiety that marked the political and social circumstances in which he lived.

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New York – Melissa Brown at Derek Eller Through July 6, 2018

July 6th, 2018

 

Melissa Brown, Swamp, 2018, courtesy Derek Eller Gallery.

Melissa Brown, Swamp, 2018, courtesy Derek Eller Gallery

“The fantasy that reality is changeable: it’s what keeps us alive,” writes Melissa Brown in an anecdotal text for the press release of “Between States,” her first solo exhibition at Derek Eller Gallery in New York. Brown describes a road trip from Tennessee down south to Summerville, Georgia to visit outsider artist Howard Finster’s Paradise Garden, a kitschy wonderland of mosaics and mirrors, the folk art equivalent of Antoni Gaudi’s Park Güell.

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New York – “Difference Engine” Curated by Cory Arcangel and Tina Kukielski at Lisson Gallery Through August 10th, 2018

July 6th, 2018

Difference Engine (Installation View), via Jodie Berman for Art Observed
Difference Engine (Installation View), via Jodie Berman for Art Observed

Meandering into spaces of contradiction and surrealist juxtaposition, artist Cory Arcangel has put on his curator cap for a show organized in collaboration with Art21’s Tina Kukielski, organizing an exhibition of works centered around modernity and technology, and framed equally by ideas of potential and hazard. Read More »

Paris – Anish Kapoor: “Another (M)other” at Kamel Mennour Through July 21st, 2018

July 5th, 2018

Anish Kapoor, Untitled (detail) (2018), via Art Observed
Anish Kapoor, Untitled (detail) (2018), via Art Observed

Currently on view at Kamel Mennour’s Paris exhibition space, artist Anish Kapoor has brought a strikingly powerful body of works, mixing styles and forms through a range of pieces to explore a unique and detailed perspective on humanity.  Much like previous works for the artist, twisting desire, power and image through rigorous visual systems, the show presents the viewer and work as inextricably linked, bound together through their shared states and momentary acts of convergence.

Anish Kapoor, Untitled (2018), via Art Observed
Anish Kapoor, Untitled (2018), via Art Observed

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AO Auction Results – London: Phillips 20th Century and Post-War Evening Sale, June 27th, 2018

June 27th, 2018

Martin Kippenberger, Ohne Titel (aus der Serie Das Floß der Medusa) (1996) final price: £8,446,500, via Phillips
Martin Kippenberger, Ohne Titel (aus der Serie Das Floß der Medusa) (1996) final price: £8,446,500, via Phillips

With another auction in the books, Phillips has rounded out a pair of high-profile evening sales in the British Capital of London this week, running through a well-managed auction that ultimately capped aa strong tally of £34,811,000, with all works selling.  Read More »