Raymond Pettibon, No Title (Prick up your) (2020), via Regen Projects

For its fall exhibition, Regen Projects has tapped the voluminous body of work produced by Raymond Pettibon, presenting a range of new drawings and collages by the artist to round out his 11th exhibition with the gallery since joining in 1993.  Uniting his various interests in literature, sport and art, Pettibon’s most recent selection of works continues his investigations into the landscape of modern culture. Read More »

Tavares Strachan, In Plain Sight (Installation View), via Marian Goodman

On view this month at Marian Goodman in London, artist Tavares Strachan takes an in-depth, beguiling look at the interconnected figures of 20th Century politics and culture for his first UK solo show, part of his ongoing investigatory project The Encyclopedia of Invisibility.  The show, on view through tomorrow, makes a powerful, serpentine pathway through the landscape and history of the world, tying together the Queen, Haille Selassie, Nina Simone, and many more.   Read More »

Gabriel Orozco, Estanque (2020), via Marian Goodman

Currently on at Marian Goodman’s New York exhibition space, artist Gabriel Orozco is presenting a body of new works drawing on his continued exploration of global and local cultural formats, and the possibility for performance and repositioning within their varied aesthetic and conceptual palettes.  For this exhibition, Orozco presents a new series of tempera paintings in a large and small scale, and a selection of new watercolor collages which expand upon his Suisai series, begun in 2016. Read More »

Michael Queenland, Untitled (Stationary) (2017), via Tanya Bonakdar

Marking a sustained engagement with language and text, the current group show at Tanya Bonakdar Los Angeles, Restless Index, explores a specific approach to cataloging and documenting, and the potentials that these explorations of archives and databases might offer for the future.  Inadequacies of language—whether legal, symbolic, written or visual—are cast into stark relief during moments of social upheaval, a point which feels particularly apt during this cultural moment, and which serves as a bedrock for the show, exploring associations once normalized by cultural hegemonies as renewed sites of contention and conflict.  The show explores the canon as a permeable and flexible, where monuments and institutional mandates are called into question, histories reassessed, and so too are visual codes that derive from those histories. Read More »

Kevin Beasley, The Road (2019), via Casey Kaplan

Artist Kevin Beasley returns to Casey Kaplan this month for an exhibition of new work surrounding questions and explorations of ancestry, ownership and land, dwelling on a range of questions over ownership and property that underscore the United States’s relationship to its own past, and the culture of violence and oppression that helped to build its economic foundations.   Read More »

Philippe Parreno, Manifestations (Installation View),  via Esther Schipper

Marking his eighth solo show with Berlin’s Esther Schipper, artist Philippe Parreno‘s Manifestations spans the full range of his artistic output, running through a selection of pieces that include a granular soundtrack, a CGI film, atmospheric sensors, robotic systems, computer code, ice and water.  In typical fashion for the artist, the show is billed as an effort to “connect ‘things’ that, a priori, had nothing to do with one another; ‘thing’ that allow themselves to be summoned by repetitions, synchronicities, signals, or singularities.” Read More »

Andreas Gursky, Rhein III (2018), via Sprüth Magers

Opening a show of new works in Berlin, artist Andreas Gursky arrives yet again at a prime moment of reflection and consideration for the inhabitants of modernity, offering up a selection of photographs that welcome a renewed perspective on the state of the world, and the forces that shape it.  Featuring the artist’s first new body of work in almost three years, Gursky’s exhibition in the Berlin outpost of Sprüth Magers addresses a range of themes that the artist has investigated for decades, and often  revisits settings such as the Rhine river and Hong Kong’s futuristic cityscapes to explore new contexts and sets of information layered over by the current state of the world.  Gursky looks anew at our built environment and humankind’s impact on the natural world.

Andreas Gursky, Bauhaus (2020), via Sprüth Magers

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Harold Ancart, Untitled (2020), via David Zwirner

Making an intriguing continuation of his investigation of natural processes and large-scale environmental phenomena, artist Harold Ancart has a new show on at David Zwirner this month.  Delving into leafy canopies and expansive, haunting desert expanses, the show gives the impression of an extended meditation on place and space, and makes for a strong follow up to the artist’s first show with the gallery in New York.   Read More »

Do Ho Suh at Lehmann Maupin

With the weather turning increasingly chilly, and the fall months coming on in full stride, the art world would normally turn its attention this week to London, where the tents would be up and the halls would be ready for another edition of Frieze Art Fair in the British Capital.  Yet the fair’s annual run is just one more event moved online this fall, as Europe and the United States continue to contend with the heightened stress and security concerns of the COVID-19 pandemic.  This week, the British staple of the annual art calendar has popped up online, open for the next week with a broad set of works on view, and a range of galleries logging in from around the globe.

Gretchen Bender at Metro Pictures

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Pieter Schoolworth, Shifted Sims #9 (Eco Lifestyle) (2020), via Petzel

Currently on at Petzel in New York City, painter Pieter Schoolwerth brings a collection of new canvases to bear, exploring a series of psychoactive tableaus and surreal depictions of humanity, a body of work that feels particularly apt in the strange landscape of a post-lockdown COVID-19 world.  Drawing on a range of signifiers and image sets for his works, the artist swirls his illusory, dream-like landscapes through the halls of the gallery. Read More »

Bruce Nauman, Two Leaping Foxes (2019), via Sperone Westwater

Welcoming Bruce Nauman back to New York City as the artist prepares to open his retrospective survey a the Tate Modern this month, Sperone Westwater’s SoHo Gallery plays home to a series of imaginative, surreal sculptures.  Marking his thirteenth solo at the gallery, his first 45 years ago in 1976, the show presents a set of new sculptures, underscoring the artist’s continued practice across a wide range of diverse mediums, including his own body, language, sound, film, video, neon, holograms and 3D technology. Once again reflecting on the perceptions, preconceptions and contradictions which characterize our existence in the world, the series of works on view underscores Nauman’s capacity to expand and elaborate on the capacities of art in the 21st Century.

Bruce Nauman, Walking a Line (2019), via Sperone Westwater

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Lucia Nogueira, Mischief (1995), via Art Observed

Touching down in Tribeca this fall for the first show in its newly opened space, New York’s Luhring Augustine opens its new doors with an illuminating show of works by the late Lucia Nogueira, a London-based, Brazilian-born artist whose brief but remarkable career saw her explore a range of captivating formal iterations and exploratory projects.  Marking her first solo exhibition in the United States, the artist’s work is quite at home in the classic New York architecture of the new space, and invites an intriguing first entry both for her work in the US, and for the gallery’s new home.   Read More »

Pat Steir, Untitled (2008), via Levy Gorvy

Taking over Lévy Gorvy’s New York exhibition space this fall, artist Pat Steir has compiled a selection of works from her ongoing series of Waterfall Paintings, this time focusing in particular on her pieces executed on paper.  Walking a fine line between the grand scale and gesture of her paintings on canvas as well as the more intimate sizes of the works here, the show traces a unique aspect of Steir’s engagement with the form.   Working on paper has been a quintessential aspect of Steir’s practice since the 1970s, producing a body of work that often saw prints and drawings coming out of the same conceptual exercises as her large-scale canvases.  As the show press release notes, these pieces have rarely been seen outside of museum collections, with Steir’s own personal holdings unseen for many years.  For this show, the artist pulls back the veil to explore the ways in which her practice is informed by these pieces on paper.  Read More »

Michele Abeles, 10/28/19, 5:00PM (2020), via 47 Canal

Upon entering the doors of 47 Canal Gallery, one is immediately greeted by a strangely familiar, and oddly timely series of images.  Skeletal hands, ghoulish visages and ghostly figures dance across a series of photos, while other frames bear the image if close up novelty gravestones and other Halloween decorations.  One month out from Halloween, the exhibition, presented by artist Michele Abeles, turns these familiar features into a meditation on commercial iconographies, capitalism and the spiritual undertones that these systems draw on, always centering the body in these conversations on space and time, the body and mortality.   Read More »

Kelly Akashi, via Tanya Bonakdar

The fall art season is in full swing, at least in name, with galleries cautiously reopening, and a tense consideration for ways forward currently in the air, all serving as a fitting backdrop for the second iteration of Art Basel’s Online Viewing Room program.  Filling in for the cancelled Basel and Miami Beach editions of its fair program, the recently opened OVR:2020 invites a select group of artists and galleries to make up some lost ground in their seasonal calendar, and to offer works for sale, amplified by the fair’s global reach. Read More »

Carmen Herrera, Painting in Process (Installation View), via Lisson

Since her time in post-war Paris when she first developed her signature hard-edged style, painter Carmen Herrera has instilled a rigorous practice to create her distinctive body of work, culling together a range of various color structures and elusive geometric arrangements to arrive at her engaging and unique constructions.  Now, the artist is opening a show of recent works at Lisson, bearing the title Painting in Process, exploring her construction and exploration of her works before their final form.  Read More »

Renée Green, Excerpts (Installation View), via Art Observed

Entering Bortolami Gallery for its first show of the fall season, one is immediately greeted by a flurry of color.  Bright   banners hang from the ceilings, adorned with dazzling fluorescent pairings that emphasize the fragments of text that dot each piece, and which find a fitting counterpoint in a ring of framed pieces encircling the gallery walls.   The pieces are the product of artist Renée Green, whose body of new works returns to an ongoing interest in the concept of color and language, text and space, perception and understanding.   Spanning the artist’s three decades of working with color’s polyvalent effects, the works in Excerpts manifest her open-ended questioning of invented yet established taxonomies, in order to play with and to displace designations that may seem to be known. Read More »

Cosima Von Bonin, HETERO (2020), via GAGA

Returning to Los Angeles for a second show with GAGA and her first in the gallery’s LA space, artist Cosima von Bonin has installed a body of new works, merging together her signature selections of pop cultural iconographies, material inversions and surreal interpolations of the gallery space, united under the title HETERO.  Using the gallery as a framework on which to explore and elaborate her unique formal investigations, the artist explores the idea of extended, and often distended, narrative flows.   Read More »

Lisa Alvarado, Thalweg (Installation View), via Bridget Donahue

Drawing on the shifting conceptions of political geography and economy, the work of Lisa Alvarado mines a certain point of friction between western art history and other modes of visual expression, using historical frameworks and objects to populate her work with subtle but enduring critiques of capitalism and colonialism.  Alvarado’s paintings operate as stage sets, artworks, and ritual objects simultaneously, often targeting a certain sense of meditative, considered reflection while looking, and using this space to incorporate new historical tropes into the work.

Lisa Alvarado, Thalweg (Installation View), via Bridget Donahue

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Ricky Swallow, Rocking Chair with Rope (Meditation #1) (2020), via David Kordansky

Currently on view at David Kordansky in Los Angeles is BORROWED SCULPTURES, an exhibition of new floor- and wall-based bronze sculptures by the Australian-born artist Ricky Swallow.  Continuing the artist’s enigmatic explorations of bronze sculpture and its relationship to the materiality of the everyday, the show mounts a body of works that walk a peculiar line between manufactured sculpture and readymade. Read More »

Heather Phillipson, The End (Installation View), via City of London

A riddle topped with a cherry, Heather Phllipson’s new sculpture installation on Trafalgar Square’s Fourth Plinth in London has all the makings of a work fittingly in line with the surreal progression of events that have marked 2020.  A massive dollop of whipped cream, topped off with a cherry, a large fly and whirling drone, the piece, titled The End, seems to invite questions of just what its title might imply: are we looking at the end of meaning, the end of the world, or perhaps just the end of a particularly large sundae? Read More »

Gary Simmons, Screaming into the Ether (2020), via Metro Pictures

As galleries reopen in New York and test out their new exhibition strategies, the first string of gallery highlights and highly touted shows are beginning to pop up online.  Among these is Screaming into the Ether, the newest show of paintings by artist Gary Simmons at Metro Pictures.  Mining the language of classic cartoon aesthetics and the often physically expressive poses its characters took, Simmons’s show turns moments of comical action into desperate, unnerving moments through his slurred, blurry hand.   Read More »

Sculptures by Anton Bakker at Walker Fine Art, via Hamptons Fine Art

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With the summer months in full swing and the challenges of a post-COVID art world continuing to pose new issues for the market, an increasing number of fairs and exhibitions are moving towards online sales and shows.  Hamptons Virtual Art Fair, currently open online, marks a new entry in the string of fairs and online exhibitions that have run this summer, an intriguing addition that references the art world’s annual pilgrimage to the Eastern end of Long Island without the sun and sand.  It’s an interesting addition to an art calendar long defined by timing and travel for the collector class, a wink towards where, in late summer, its buyers may well be logging in from.

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