Joan Mitchell, Cypresses (1975), all images courtesy Cheim & Reid

On view at Cheim & Read in New York is an exhibition composed of seven large-scale canvases by Chicago-born painter Joan Mitchell, presented in collaboration with the Joan Mitchell Foundation. Spanning a long stretch of her career, the works on view were inspired by the form and structure of trees, painted in an expressionistic way, and will remain on view through August 29, 2014.

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Georg Baselitz, Untitled (2013), all images courtesy Gagosian Gallery

On view at Gagosian London is an exhibition of recent works by German painter Georg Baselitz, focusing the artist’s distinct style through a series of paintings focused on the self-portrait, while paying direct homage to the gestural figures of Willem de Kooning. The exhibition will remain on view through March 29, 2014.

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George Condo, Constellation Portrait (2013), via Simon Lee

In the middle of 2013, George Condo fell ill with legionnaire’s disease and triple pneumonia, a combination of illnesses that left the prolific artist at death’s door.  Traveling between Berlin, London and New York, the artist’s demanding schedule finally got the best of him, placing him in the hospital for several weeks recovering.  It was during this time that Condo painted the works currently on view at Simon Lee gallery, a suite of paintings that see the artist branching ever further into his particular approach to portraiture and abstraction.

George Condo, Headspace (Installation View), via Simon Lee (more…)

Philip Guston, Painter’s Head (1975), Courtesy Schirn Kunsthalle Frankfurt

On view at Schirn Kunsthalle Frankfurt is an exhibition celebrating the 100th anniversary of the birth of American painter and printmaker Philip Guston (1913-1980), with a selection of around forty works from the later part of his career.

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Georges Braque, Compotier et Cartes (1918), Courtesy Grand Palais

On view at Grand Palais, Galeries nationales in Paris is a retrospective covering the full life and output of French painter and sculptor Georges Braque’s career, beginning with Fauvism to his later works, particularly his birds series. The exhibition will continue through January 6th 2014.

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The hotly contested painting Red, Black, and Silver has been authenticated as the final painting from artist Jackson Pollock, given to his mistress shortly before his death in 1956.  The painting had long believed to have been a Pollock, but was blocked from authentication by Pollock’s wife, Lee Krasner, who held a personal vendetta against his mistress, Ruth Kligman.  That changes today, now that authorities have found strands of Pollock’s hair in the canvas, as well as sand unique to the beaches around his East Hamptons home.  “The world was flat. Now it is round. It’s Galileo. Science can now be used to authenticate the art.  We are [tracing] the painting back to where it was executed. It’s very CSI.”  Says artist and Kligman estate trustee Jonathan Cramer.      (more…)

Christie’s November 12th auction in New York will feature a classic Gerhard Richter, on sale from the collection of musician Eric Clapton.  Abstraktes Bild (809-1), which was painted in 1994, is estimated to sell between $20 and $25 million.  “Richter is certainly the greatest abstract painter working today, Abstraktes Bild (809-1) is remarkable for the illusion of space that develops, ironically, out of his incidental process: an accumulation of spontaneous, reactive gestures of adding, moving, and subtracting paint,” says Christie’s Post-War Chairman Brett Gorvy. (more…)

Charline von Heyl, Carlotta (2013), via Petzel Gallery

On view at the Friedrich Petzel Gallery is an exhibition of new works by German abstract painter Charline von Heyl, marking her seventh solo exhibition at the gallery, and a continuation of her intricately layered practices on canvas.   (more…)

Edvard Munch, The Scream (1893), Courtesy Munch Museet

Edvard Munch is enjoying somewhat of a timely spotlight, having just has his iconic 1895 pastel The Scream set the global auction record at almost $120 million last May, just one year short of what would be the 150th year since his birth.  This correlation is not lost on the Norwegian city of Oslo, where Munch grew up, and 2013 has been dedicated to the pioneering abstractionist, with a pair of landmark shows compiling almost 300 works from Munch’s groundbreaking career in Oslo, Paris, and Berlin.

Edvard Munch, Workers on Their Way Home (1913-1914), Courtesy Munch Museet (more…)

A recent article by The Independent uncovers the extensive network of government funding, support and propaganda around American contemporary art during the 1950’s and 60’s as an economic and political weapon against the Communist bloc.  Part of the original scope of the CIA when it was founded in 1947, a program called the Congress for Cultural Freedom was used to promote and disseminate the works of American artists as a symbol of outright cultural freedom of expression.  Says former agent Donald Jameson: “It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.” (more…)

Vasily Kandinsky, Murnau: Street with Women (1908), Courtesy The Neue Galerie New York

Currently on view at The Neue Galerie in New York is a survey of German Expressionist works, taken from the gallery’s permanent collection, that explores the opposing but connected themes of primitivism and modernity throughout the work of the era, including work by Max Beckmann, Lovis Corinth, Otto Dix, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, and Paul Klee, among others.

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Rita Ackerman, Fire by Days XXI (2012), Courtesy the artists and Vito Schnabel

Assembled by the young curator Vito Schnabel (son of artist and filmmaker Julian Schnabel), White Collar Crimes, at Acquavella Galleries, brings together a collection of new abstract and conceptual works from emerging and internationally recognized artists, exploring the themes of concealment of crime by wealth, high level education and social status. Connecting concepts such as identity, historical erosion, commercialization, and political satire, the show opens the door to complexly interconnected readings of the subjects and artists on view, while directly addressing the context and location of the event itself. According to Schnabel, the exhibition  “proposes an interplay between obscure ciphers and spectacular discoveries.”

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