Former Queens Musuem head Laura Raicovich has left the museum following a dispute over a privately hosted event at the museum, sponsored by the State of Israel. Raicovich’s opposition to the event led to fierce protest, and an investigation that ultimately saw her resign, as did her inclusion in a book supporting the B.D.S. (Boycott, Divest, Sanction) movement.
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Considering artist Mike Kelley’s enduring relationship and engagement wiht the landscape of Los Angeles, the return of the artist’s famed Kandors series to Hauser & Wirth in the city’s Arts District feels like something of a victory lap for the artist’s works. The Kandors, which have made their rounds over the past several years, showing in New York, Europe, and elsewhere, represent one of Kelley’s final bodies of work before his untimely passing, and perhaps his most elaborate engagement with the language of pop culture, and the varied convergences of mythology and psychology that so often make up the language of the best American cultural iconographies.
Compiling a range of new works from the artist’s enigmatic sculptural practice, Matthew Marks Gallery has brought a show by Katharina Fritsch to Chelsea, the artist’s first one-person exhibition in New York since 2008. The show, which continues the German artist’s practice in a ground-level engagement with both the forms and images of our everyday lives, as well as the mythologies that animate our daily relationships and cognitive practices, consists of a small series of new sculptures, spread throughout the gallery’s three rooms. Read More »
New York – Arshile Gorky: “Ardent Nature: Landscapes 1943-47″ at Hauser & Wirth Through December 23rd, 2017December 21st, 2017
Hauser & Wirth’s first exhibition for Arshile Gorky, the seminal Armenian-American painter of Abstract Expressionism, focuses on a four-year period in his life, beginning with his stay at Crooked Run Farm in Virginia, and concluding around the time of a series of unfortunate events in 1947, a year prior to his passing. Already an established artist as a key figure in non-figurative painting during the mid 1940’s, Gorky retreated to his wife’s parents’ farm in search of creative stimuli that would augment his interest in fluid nonlinear forms and subliminal themes. His isolation from the New York art scene—a network the artist always chose to remain distant from while his peers Jackson Pollack and Willem de Kooning dominated the social circle—ultimately manifested itself in contemplative and personal narratives and natural colors. Read More »
Richard Prince returns to Gladstone Gallery after a prolonged absence with his new body of work, Ripple Paintings, a series of large scale inkjet prints that riffs on the painted medium with both its title and process. An avid collector of vintage Playboy imagery, Prince uses Whitney Darrow Jr. watercolor drawings published by the magazine between 1967 and 1970 to create his swirling collages. Pages from different issues he acquired on eBay provides Prince new surfaces to paint onto, while the caricatures’ sexist and vulgar language gets blanketed by watercolor paint in bright hues and fluid forms. Placing pages he torn out of various issues flat onto floor, Prince loosely pours watercolor paint and lets the liquid meander on each page. After an overnight drying process, each work gives a unique and uninterrupted silhouette of paint with traces of the cartoon behind. Read More »
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.
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, 2017December 14th, 2017
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 »
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 #15–Design 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.
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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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 »