Joan Miró, Bird in the Night (1967), via Art Observed

Joan Miró’s impact on the landscape of twentieth century art can hardly be ignored, an artist whose fluid, lithe figurations and adventurous approach to both color and line helped to pave an alternative to the dense cubism of his fellow countryman and friend Pablo Picasso.  Taking a reflective look at the artist’s contributions and continued artistic growth during his late Nahmad Contemporary is currently presenting Oiseaux dans L’Espace, a minimal, yet stunning show that reflects an impressive curatorial vision towards the artist’s later works.   (more…)

Collector Bert Kreuk has won his lawsuit with Danh Vo, forcing the artist the create a room-sized installation work, after the artist delivered a much smaller-sized work.  Kreuk will pay the artist $350,000 for the piece, but Vo must deliver the piece by a set date.  If not, will be fined $10,000 for each day after he fails to produce the work.     (more…)

Crystal Bridges Art Museum in Arkansas is soon to announce a major series of acquisitions filling major holes in its collection of American art, the New York Times reports.  Pieces recently acquired include Jasper Johns’s Flag, which was purchased last fall for $36 million, the record-setting Georgia O’Keefe work Jimson Weed/White Flower No 1, as well as four works by Louise Bourgeois, estimated at a combined $35 million to $40 million.  “Bourgeois is really important to 20th century art and yet she has not received the entire due that she deserves,” says Margaret C. Conrads, museum director of curatorial affairs. (more…)

Philip-Lorca diCorcia, Cain and Abel (2013)

Currently on view at David Zwirner is East of Eden, Philip-Lorca diCorcia’s latest photographic investigation on contemporary humanity and its position within a complexly interwoven cultural setting.  This series reflects diCorcia’s interpretation of a search for equilibrium after the deep impacts of the Financial Crisis in 2007, both during and after the Bush administration. (more…)

Glenn Ligon, Come Out #5 (2014)

Regen Projects is presenting its fourth exhibition with Glenn Ligon, the prominent New York-based artist who has established himself as one of the strongest voices in American contemporary art.  Well, it’s bye-bye/If you call that gone, featuring three bodies of work, adopts its title from the lyrics of the blues song “What’s the Matter Now”, projecting Ligon’s interest in text as a mode of expression and an agent of collective identity. (more…)

Ed Ruscha, Cold Beer Beautiful Girls (2009), © Ed Ruscha. Courtesy Gagosian Gallery. Photography by Robert McKeever

On view at Gagosian Gallery’s Paris exhibition space are two exhibitions entitled “Prints and Photographs” and “Books & Co.,” organized by Gagosian director Bob Monk to explore the innovation and legacy of Ed Ruscha across a range of printed media.

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The Whitney has announced the details for its first exhibition at its newly completed Meatpacking District location. America Is Hard to See will open on May 1st, showing off the vast new exhibition spaces of the Renzo Piano-designed building, and traces the history of the museum alongside the development of American art in the 20th and early 21st century.  “The game changer is the space,” said Donna De Salvo, the Whitney’s chief curator. (more…)

The New York Times reports on the recently finished renovation of the Warhol Museum in Pittsburgh, which shifted its focus and exhibition strategy to more carefully and chronologically explore the artist’s life.  “It really is a new Warhol; it’s much more about him,” says director Eric Shiner. (more…)

The Guardian has published an imaginative profile on Marcel Duchamp, noting some of the artist’s quirks and passions, including his avid chess-playing, his daring transportation of his art materials out of Nazi Germany posing as a cheese vendor, and his takes on quickly produced artworks: “Quick art, that’s been the characteristic of the whole century from the cubists on, ” he once said.  “The speed that’s being used in space, in communications, is also being used in art. But things of great importance in art have always to be slowly produced.” (more…)

The New York Times has a published a preview piece on next week’s opening for the Whitney Biennial, which will open concurrently with Armory Week next Friday.  The 77th edition of the event will be the last in the Whitney’s current home before it moves to its new location in the Meatpacking District, and features the collaborative vision of three separate curators, each of which are occupying a single floor of the museum.  “It’s as if you’re on your laptop and have three windows open,” said Stuart Comer, one of the curators and the head of media and performance at MoMA. “It’s not a collaboration but a conversation, a dialogue.” (more…)

Matthew Barney’s latest filmic project, the nearly 6-hour long epic River of Fundament is set to premiere next month at Brooklyn Academy of Music.  Created in collaboration with composer Jonathan Bepler,  the work takes its inspiration from Norman Mailer’s Ancient Evenings, paralleling Mailer’s tale of Egyptian mythology with the rise and fall of the American auto industry.   (more…)

NPR speaks with Robert Indiana, discussing the artist’s legacy as the creator of the iconic LOVE logo and sculpture, and his perceived neglect in the contemporary arts discourse.  While LOVE remains immediately recognizable, Indiana’s broad body of work is often overlooked.  The artist goes on to talk about his personal ties to his work, and his take on contemporary America.  “The American Dream, that’s our folly,” he says. “That’s our folly. Look where we’re ending up.” (more…)

Constantin Brancusi, Mademoiselle Pogany II (1925-2006), via Daniel Creahan for Art Observed

In 1913, Constantin Brancusi sent 5 sculptures to the now-infamous Armory Show, gently loping sculptural works that set the stage for the revolutionary sculptural abstractions that would change the face of contemporary art for good.  It was the beginning of a long and occasionally rocky relationship with the United States, including a defining court case in which the artist successfully proved his work’s position as art, and breaking the long-held definition of an artwork asbased on a model or subject, opening the door for the proliferation of American abstraction. (more…)

Philip-Lorca diCorcia, Mr. Briggs (2008), via David Zwirner

“People thought they could have anything.  And then it just blew up in their faces.”  So says photographer Philip-Lorca diCorcia in the press release for his show of works from the East of Eden series at David Zwirner, an ongoing series of photographs documenting what the artist calls the “collapse of everything.”

Philip-Lorca diCorcia, East of Eden (Installation View), via David Zwirner (more…)

The New York Times profiles the upcoming release of Steve McQueen’s 12 Years a Slave, and the recent panel discussion the filmmaker and artist gave with writer Nelson George and fellow artist Kara Walker, discussing the influences for the film, and its place as a historical perspective on slavery.  “There’s a uniquely American exuberance for violence or an exuberance for getting ahead in the world and making a name for themselves. I’m talking about the sort of plantation class that fought for the entrenchment of the slave system,” Walker notes.  “That’s not something that can be overlooked when you think about the mythology of what it means to be an American, that one can become a self-made man if one is white and male and able.” (more…)

Chris Burden, Shoot, (1971), Performance at F Space, Santa Ana, California November 19, 1971

The New Museum’s Extreme Measures, a career retrospective of the work of Chris Burden, begins modestly: an orange flatbed truck sits in the museum’s ground floor exhibition space, holding a 1 ton block of steel on its mounted crane.  Silent and imposing , the work hints at Burden’s preoccupation with scale and weight, his focus on material scale and industrial affect.

Chris Burden, Ghost Ship (2005), Courtesy the artist and Gagosian Gallery (more…)

The New York Times profiles the tactics and approaches of the Art Loss Register, an independent investigation agency that specializes in locating and returning stolen or lost works of art around the world.  Accused of occasionally crossing ethical and legal lines, the agency has nevertheless maintained a reputation for its top-notch database and effectiveness. “When you’re doing a sting operation, for example,” Says company owner Julian Radcliffe, “you don’t say, ‘By the way, I’m lying to you.’ ” (more…)

Artist Matthew Day Jackson is profiled in the New York Times Magazine this week, profiling the artist’s impressive series of projects, his longtime love of drag racing, and the experience of living in contemporary America.  “I just recognize that we live in an extraordinarily violent place. And that the boundaries between the haves and the have-nots and those who are and those who are not are usually defined by violence.”  (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…)

Lorna Simpson, Chess (2013), via Jeu de Paume

Lorna Simpson (b.1960, Brooklyn, New York) is an African-American artist, working across multiple media, often focusing on photography.  After completing studies at University of California-San Diego and the School of Visual Arts, New York, Simpson achieved recognition in the mid-1980s.  In an era of avid multiculturalism, her work explored themes of racial stereotyping, ethnicity and gender, placing her at the forefront of females and ethnic minorities gaining recognition in the art world.  She was also the first female of color to participate in the Venice Art Biennale (1990).

Lorna Simpson, Wigs (1994-2006), via Jeu de Paume (more…)

The Crystal Bridges Museum in Bentonville, Arkansas has announced that it will soon welcome its one millionth visitor since opening in 2011.  Founded by Wal-Mart heiress Alice Walton, the museum has exceeded all visitor estimates, seeing annual attendance well over 500,000 annually.  “Reaching one million visitors just 21 months after our opening is a huge milestone for us,” said Executive Director Rod Bigelow. “From the day we opened our doors, our goal has been to welcome visitors to experience the power of art and the beauty of nature, and we’re thankful to have been able to create these connections with such a vast audience.”  (more…)

Edward Hopper, Study for Nighthawks, (1941 or 1942), via The Whitney

An Edward Hopper painting inevitably leads the viewer to contemplation of the meaning and purpose of the simple and mundane moments that make up the majority of our lives. His scenes depict the usual, the all-too-familiar, and even the occasional melancholy moments of existence.  Empty gas stations, coffee shops, movie theaters, and bedrooms communicate the paradoxical isolation of American society;  while many of the inhabitants are depicted in social settings, in crowds or social establishments, they convey overwhelming feelings of remorse, isolation and resignation. Through his brushstrokes and pencil marks, Hopper provides a commentary on the American life of mid-20^th century, a commentary that is in many cases still applicable to the America of today.

Edward Hopper, Nighthawks, (1942), via The Whitney (more…)

Americans for the Arts, an arts advocacy nonprofit, announced on Monday that the Arts Require Timely Service (ARTS) Act in the Obama-endorsed immigration bill is anticipated to pass in the Senate. The brief argues that the current visa scheme has cultural and economic disadvantages for the American public, in particular artists. The new legislation would reduce the total processing required by U.S. Citizenship and Immigration Services (USCIS) for O and P visa petitions filed for nonprofit arts-related matters. (more…)

Nadja Frank, Red Headed Stranger (2013), via Denny Gallery

Creating links between the exterior world and the white cube of the gallery space, artist Nadja Frank’s work explores the intersections of natural forms and fabrication through her sculptural and painted works.  Often creating works around samples and materials culled from natural landscapes, Frank’s pieces express an attempt to bridge the distance between her experience and practice, while sitting firmly between the two.  For her first solo show at Denny Gallery in New York, Frank has turned her focus to the landscapes of the High Desert, exploring the rich hues and striking forms of the American West.  (more…)