The Shortlist for the 2015 Turner Prize has been announced, featuring a diverse body of artists and practices that diverges wildly from last year’s heavily video and film-centric affair.  The 2015 Prize exhibition will be staged this year at the Tramway arts venue in Glasgow.  The Turner Prize, a £25,000 award, is Britain’s most prominent recognition in the arts, and this year will go to either London artist Bonnie Camplin, German-born artist Nicole Wermers, London-based arts collective Assemble (which adopted an abandoned housing estate and converted it into a new community space), or artist Janice Kerbel.  Working in a wide variety of media, social practice and community milieu factor heavily into the pieces on view this year.

The Turner Prize exhibition will open this October in Glasgow. (more…)

Outside the 2014 Armory Show, via Art Observed

The doors of The Armory Show opened this morning for its VIP preview, welcoming collectors and press from around the world to Piers 92 and 94 on Manhattan’s West Side.  This year, the fair welcomes 205 galleries to its annual selling event, down again from last year’s 214 in what seems to be a running trend to trim the fat at the larger fairs worldwide.

Armory Show (Installation View), via Art Observed (more…)

Richard, First Communion of Anemic Young Girls In The Snow and other works (Installation View), via Interstate Projects

For the past month, Interstate Gallery in Bushwick has acted as the first physical base for Richard, a predominantly Internet-focused catalog of objects and items centered around new possibilities and interpretations of the readymade art object in the 21st century.  Turning the work of Marcel Duchamp once more towards a populist, group project, Richard challenges the concepts of labor and potentials for the the readymade in new perspectives of art practice and conceptual operation.

Richard, First Communion of Anemic Young Girls In The Snow and other works (Installation View), via Interstate Projects (more…)

Still House Group, Bru(s) (Installation View), via Galerie Rodolphe Janssen

The Belgian Galerie Rodolphe Janssen is currently presenting a show focusing on the diverse output and extended vocabulary of The Still House Group collective of artists based in Red Hook, New York.   A small, yet varied show, the show allows common thematic elements to jut out from vastly different aesthetics and media, showcasing the group’s common practice and shared techniques of production.

Still House Group, Bru(s) (Installation View), via Galerie Rodolphe Janssen

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The Bruce High Quality Foundation, Con te Partiro (2009), via Brooklyn Museum

Shrouded in anonymity, the Bruce High Quality Foundation has made a career for themselves out of playful irreverence.  Rising out of the post-9/11 New York art scene, the anonymous collective has launched a campaign of physical aggression against public installations (Public Art Tackle), initiated their own free education classes, staged socio-politically charged morality plays on gentrification, all under the guise of a production of the Broadway musical Cats, all alongside a number of pieces and installations that embrace the juxtaposition of art history, pop culture and contemporary society to “invest the experience of public space with wonder.”

The Bruce High Quality Foundation, Ode to Joy (2001–2013) (Installation View), via Brooklyn Museum (more…)

Los Carpinteros, Tomates (2013), via Sean Kelly

Cuban artist collective Los Carpinteros are currently presenting a show of new and recent work at Sean Kelly’s Chelsea art space, pulling together a trio of projects that serve as a strong summary of the artists’ complex and multifaceted practice.

Los Carpinteros, Irreversible (Installation View), via Sean Kelly (more…)

Jean Dupuy, Performances/Bouffe Théâtre d’en face (1979) (detail), via Galerie Louevenbruck

Galerie Louevenbruck Paris is currently exhibiting Jean Dupuy: the collective years (1973-1983),  a first time retrospective of the artist’s “collective” period during the late 20th century. This period of work was developed after Dupuy left Paris for New York in 1967. Having begun his art career as a painter, he infamously threw his old works into the Seine before heading off to America, where a year later his Cone Pyramid (Heart Beats Dust) sculpture became his introduction to the notions of the collective.  Shortly after its creation the piece had already been exhibited at both the Museum of Modern Art and the Brookyln Museum, and its success launched the artist into his 40 year study of “techno-sensual” techniques and collective art practice.

Jean Dupuy, The Collective Years (Installation View), via Galerie Louevenbruck

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