Angel Otero, Splintered (2019), via Lehmann Maupin

Currently on view at Lehmann Maupin, artist Angel Otero’s Milagros, marks a new trajectory for the artist, a series of recent, large-scale tapestry-like oil paintings that hang entirely free from a stretcher bar and which twist and pull the notion of the composed canvas through a series of rigorous conceptual and formal exercises. Working with the history of painterly abstraction and the fusions of sculptural and painterly form that have wound through this history, the artist’s works draw on a mixture of collage and composition. (more…)

Liza Lou, Pyrocumulus (2018), All images via Lehmann Maupin.

Now through October 27^th, Lehmann Maupin will host Liza Lou: Classification and Nomenclature of Clouds as its inaugural exhibition of the gallery’s new West 24^th Street location. The show continues at the gallery’s West 22^nd Street location, in which a room is dedicated to works from Lou’s Terra series. This is the artist’s first exhibition in New York City in over a decade, and includes works of painting, sculpture, drawing, and video. (more…)

Nicholas Hlobo, Phantsi Komngcunube (2017), via Lehmann Maupin

Artist Nicholas Hlobo’s work has long explored the potentials for using various material sources and referential systems, using a range of elements like metal piping and fabric stitching to create elegant, arcing forms and figures that operate as self-contaned metaphors of sorts.  Free-flowing and adventurous, the artist’s work allows him to work instinctively while drawing his forms directly onto canvas from his subconscious, a mode that invites both critical participation and quick impulse at the same time. His work is presented in some sense as a catharsis or exorcism, purging from himself the indoctrination of cultural dichotomies that set boundaries of either/or, where Hlobo wishes to portray the multitude. (more…)

Robin Rhode, Black Friday – 1 Billion (2016)  all images Courtesy the artist and Lehmann Maupin, New York and Hong Kong.

Utilizing socially-engaged practice and urbanism to reflect on prevalent socio-political climates, artist Robin Rhode is known for his work in photography and film, chronicling everyday life through cityscapes and urban architecture. His current exhibition at Lehmann Maupin aligns with his work about the post-apartheid South Africa.  In this show, however, the territory he looks to for inspiration is the Middle East. After spending time in the region on the occasion of his exhibition at the Tel Aviv Museum of Art, Rhode witnessed the dynamics between Israelis and Palestinians in terms of power, opportunity, and freedom, and sought to represent these situations here. (more…)

Erwin Wurm, Modernist Pickle (2016), via Art Observed

Currently on view at Lehmann Maupin’s Chelsea exhibition space, Austrian artist Erwin Wurm is presenting a concise summary of his recent work, installing a range of sculptures in his broad practice that explore the act of both participation and subversion in the landscape of modernity.  Including both quasi-participatory work alongside a series of more static pieces, the show allows Wurm to run through an impressive range of both his practice, and his broader critical project. (more…)

Teresita Fernandez, Fire (America) (Installation View), via Art Observed

Teresita Fernández has long explored the intertwined relationships of humanity, natural phenomena, and the resulting expanses of landscape that emerge from the continued engagement of humanity with the world around us.  Her pieces mix creative inquiry with studied engagements with the environment.  “Landscape is about the history of people in places and how we position ourselves within those spaces,” she writes, emphasizing the human aspect of viewing and seeking to understand the spaces outside modern civilization in its relation to mankind.  This ongoing conceptual project takes on new wrinkles and points of entry in Fire (America), a show of new works currently on view at Lehmann Maupin’s downtown location this month. (more…)

Kader Attia, Reason’s Oxymorons (2015), via Art Observed

Currently on view at Lehmann Maupin’s Lower East Side exhibition space, a series of small cubicles stretch across the room, pulling the viewer through a banally labyrinthine series of pathways.  The piece, by the Algerian-French artist Kader Attia, is accompanied by a series of televisions, each playing a video of a doctor or other professional in psychological treatment, medical history or ethnography, and each discussing the range of medical and cultural frameworks currently in play in both Europe and Africa.   (more…)

Alex Prager, Orchestra Center (Stage) (2016), via Lehman Maupin

Photographer Alex Prager has returned to Lehmann Maupin’s New York exhibition space at 201 Chrystie Street this month for an exhibition of new photographic works, executed in conjunction with the production for Prager’s new film piece, La Grande Sortie.  Continuing the artist’s investigations between the lines of performer and viewer, production and reception, her new works dwell on the act of public performance, and the intersecting emotions of anxiety, desire and frustration as they play out in her tightly choreographed and constructed scenes.

Alex Prager, La Grande Sortie (Installation View), via Lehman Maupin

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Lehmann Maupin is planning to open a new Chelsea exhibition space on 10th and 24th, Artforum reports, a three-floor, 8,500 square foot space designed by Peter Marino.  “West 24th Street will be the primary location of our business,” founder David Maupin says. “Chelsea remains an important hub of the New York contemporary art scene. We represent a growing roster of renowned international artists, and it is important for us to be able to offer additional exhibition options and exposure within the area.” (more…)

Tracey Emin, Resting, 2015 gouache on paper 8.78 x 11.89 inches Photo © George Darrell. © Tracey Emin. All rights reserved, DACS 2016. Courtesy of Lehmann Maupin.

Stone Love defines a definitive next step for Tracey Emin, the already prolific artist whose now-three-decade long career has delivered a particular example of artistic sincerity and introspection throughout a wide range of artistic forms and formats.  Constantly returning to her own ambitious urge for self-discovery and contemplation, Emin’s body of work translates pristine and emphatic human instincts through her own intuitive lens. Referring to the first sentence in David Bowie’s 1972 song Soul Love, the exhibition considers alternate possibilities for love—arguably the most complex yet by far the most undertaken subject in art and literature.

Tracey Emin, Another way to Think of You, 2015 embroidered calico 89.76 x 90.94 inches Photo © George Darrell. © Tracey Emin. All rights reserved, DACS 2016. Courtesy of Lehmann Maupin.

Tracey Emin, You were here like the ground underneath my feet, 2016 acrylic on canvas 60.24 x 83.86 inches Photo © George Darrell. © Tracey Emin. All rights reserved, DACS 2016. Courtesy of Lehmann Maupin.

As the news in the run-up to this exhibition often dwelled on, Emin recently married a stone near her coastal studio (a scene depicted in one of her pieces), which she sees as a permanent object that will serve as a source of eternal fortitude. “Being in love with a stone is monumental”, Emin has said, walking through the exhibition of her signature neon texts, gouache on paper drawings and bronze sculptures, as well as some embroidery.  Stone renders a land of possibilities where loving singlehandedly nourishes its subject, unrestrained by societal or physical norms for desire.  As much as humanistic and philosophical, Emin’s narrative for the exhibition conveys her personal journey and her current emotional map as an artist and human being.

Tracey Emin: Stone Love Installation view, Lehmann Maupin, Photo © George Darrell. © Tracey Emin. All rights reserved, DACS 2016. Courtesy of Lehmann Maupin.

Emin, stripping the restraints and impositions of physical love between two parties, approaches the phenomenon as an endeavor and, to some degree, a duty, waiting to be fulfilled.  Loving to love, as its own virtue, celebrated by David Bowie, leads Emin’s work towards an elimination of a desired object of affection.  Yet at the same time, the stone, appears in its original definition, as well as allegorizing transcendence beyond what is tactile and mundane.

Tracey Emin: Stone Love Installation view, Lehmann Maupin Photo © George Darrell. © Tracey Emin. All rights reserved, DACS 2016. Courtesy of Lehmann Maupin.

Reading Just Let Me Love You in Emin’s own handwriting, the namesake neon piece is in conversation with bronze sculpture of an abstracted female figure, with her vulva facing the artist’s declaration of unrequited love, as if building an ephemeral bound between words and images both catering to her acclimation to an inner journey rather than an externalized ideal. Channeling one of her most iconic works, Everyone I’ve Slept With (1963-95), the show also includes a series of embroidered illustrations of female forms, which Emin appliqués mostly based on photographs of her nude self in various positions.  Tying the meticulous process of knitting with equally determined efforts invested in carnal infatuation and self-awareness, these large scale calicos deepen the dialogue around the mediative and eventually fruitful state of embarking on a journey—be it embroidering or falling in love.

Tracey Emin: Stone Love is on view at Lehmann Maupin through June 18, 2016.

Tracey Emin during the walkthrough of her exhibiton Stone Love at Lehmann Maupin, Photo: Osman Can Yerebakan

— O.C. Yerebakan

Related Links:
Lehmann Maupin [Exhibition Page]
W Magazine [Tracey Emin Talks Her Past and Marrying a Stone (Literally)]

Hernan Bas, Champagne Corks Bobbed in the Pool That Morning, 2016

Bright Young Things is Lehmann Maupin’s ongoing exhibition for a new body of work by Detroit and Miami-based painter Hernan Bas.  Amongst the most particular and earnest contemporary figurative painters, Bas has established himself over the past years as a craftsman of distinctive visual narratives, in which the lavish and relentlessly indulgent daily life of western aristocracy meets the styles of mannerist painting, employing passionate color spectrums and surreal architectural forms. (more…)

Catherine Opie, Cecilia, 2013 © Catherine Opie. Courtesy Regen Projects, Los Angeles and Lehmann Maupin, New York and Hong Kong

Two discernible genres in photography, portrait and documentation determine Catherine Opie’s current dual-gallery exhibition at Lehmann Maupin in New York.  In her inaugural exhibition at the gallery, Opie comes in full throttle, presenting her well-regarded photo-portraits alongside a group of abstracted landscapes in Chelsea, as well as her documentation of the late Elizabeth Taylor’s L.A. mansion in the gallery’s Lower East Side location. (more…)

Teresita Fernández, Viñales (Reclining Nude) (2015), Rae Wang for Art Observed

Conceptual artist Teresita Fernández continues her incisive investigations into the connections between the subterranean and the cosmos, materialization and transcendence in her new solo exhibition, on view at Lehmann Maupin in New York.  Fernández’s work often focuses on the transformation of unconventional materials into malleable forms, imbuing them simulataneously with a human narrative and historical geography. Here, the artist draws in on the uncanny semblance between the interiors of malachite mineral rocks originating from the Democratic Republic of Congo, and the karstic landscape of the Viñales Valley in rural Cuba.

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Billy Childish, birch wood (2015), all photos by Osman Can Yerebakan for Art Observed

Lehmann Maupin’s new 22nd street location is currently hosting  flowers, nudes and birch trees: New Paintings 2015, the gallery’s fourth exhibition of work by British poet, musician, author and artist Billy Childish.  Carrying a certain anticipatory note towards the coming fall weather, Childish’s exhibition manifests a dense feeling of autumn and its occasionally melancholy aura through his distinct painting style. (more…)

Lehmann Maupin New York has filed a $10 million Wrongful Eviction lawsuit against its Chelsea landlord, 293 Tenth Ave. Corp., run by Michael Silvermintz.  The suit claims that Silvermintz’s firm sent an eviction notice late last year, but failed to produce the demolition permit required by the lease.  Since then, the gallery claims that the landlord has “engaged in a systematic pattern of conduct that unreasonably interferes with and obstructs plaintiff’s use and occupancy of the subject premises.”  (more…)

As part of a series called “This much I know”, the Guardian solicited artists Gilbert & George for their life lessons. Among observations on topics that ranged from relationships to religion to politics, the duo, whose latest show at Lehmann Maupin closed on August 8th, made several remarks about art and the art world, including their definition of art as “the friendship that’s formed between the person and the picture – both at the moment of seeing and later on as you remember”.

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Hong Kong’s Peddler building is home to several galleries, effectively having elevated the cities standing as an international arts center. The structure, a historic building in the center of the city was never demolished in order to develop a glass skyscraper, houses Gagosian Gallery, Ben Brown and others, and will soon be the home to Lehmann Maupin as well.  (more…)

Image: Frieze London Courtesy Frieze

Exhibitors are gearing up for the tenth edition of Frieze London, which takes place in London’s Regent’s Park from October 11–14th. The fair kicks off with a vernissage on the evening of Wednesday, October 10th, once again housed in a temporary structure designed by architects Carmody Groarke.

Although mostly composed of UK and US galleries (almost exclusively from London and New York) account for 45% of the main fair, fair organizers are broadening the scope this year, with new sections and exhibitors from 35 countries, making it the most international event to date organized by Frieze.

Image: Mona Hatoum, KAPANCIK, 2012 Courtesy White Cube Gallery

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Image: Mickalene Thomas – Din, une très belle négresse #2, 2012, Via Brooklyn Museum

Currently on view at The Brooklyn Museum is a selection of recent work by Mickalene Thomas.  Her first solo museum exhibition, Origin of the Universe, features a selection of the artist’s most recent works, examining imagery of the female form, African-American identity and her childhood in 1970’s New York City. (more…)

Teresita Fernández – Night Writing (Installation View), Lehmann Maupin Gallery

Teresita Fernández has often explored the natural elements as a framework of perception in her installations, allowing natural phenomena to act as a method of transformation and translation.  For Night Writing, her fifth solo exhibition at Lehmann Maupin, the artist has continued in this vein, creating a number of works that examine our imposition of meaning on the night sky.

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Lehmann Maupin’s “Friends with Benefits,” installation view. All photography by M. Peralta for Art Observed unless otherwise noted.

“Friends with Benefits,” Lehmann Maupin‘s summer group show on view at their location at 201 Chrystie Street, is a correspondence between generations that reveals the concerns of each. The gallery asked five of their artists–Tony Oursler, Angel Otero, Tim Rollins, Mickalene Thomas, and Nari Ward–to ­­request work from young artists they would like to support. Curated by Carla Camacho and Drew Moody, the result is an appealing disjunction of artistic histories, showing contemporary artists engaged with the concerns of a former generation while also reflecting on the artistic currents of their own time. The exhibition’s starting point, as described in the press release, is the notion of “the gallery community as a fertile space,” which takes a positive stance on the white cube as a place where older artists can encourage the work of younger artists.

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Art Basel via The Telegraph

In it’s 43rd conception, Art Basel is continuing its legacy as the leader among the contemporary art world’s fairs.  Last year, 65,000 people flocked to the cultural capital, situated at the border of Switzerland, France, and Germany.  For this year, Basel will no doubt draw a similar, if not greater audience throughout its four-day duration.  Art Observed will be on site to cover and photograph throughout this fair.

Founded in 1970, Art Basel quickly surpassed Germany’s Art Cologne and similar fairs in scale and remains today as the world’s largest.  Almost 300 galleries from around the globe participate, spanning five continents.  This international representation results in a large and diverse assortment of exhibitions, video works, performances, and public installations.  This year specifically there will be more than 2,500 artists exhibiting $2 billion worth of art, nearly 300 gallery booths, and many more single stands present.

Perhaps the star feature of this year’s Basel will be Marlborough Fine Art’s Mark Rothko canvas, dated 1954.  The painting, for which there is already buyer interest, is priced from $78 to $84 million.

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Hernan Bas, A Satanist on a Tuesday (or, The Key Master) (2012)

Detroit-based artist Hernan Bas’ new show Occult Contemporary is on now at Lehmann Maupin, the exhibition consisting of Bas’ most recent body of work: a group of paintings in various sizes depicting dark, fairytale-like scenes. The name of the show is a reference to “Adult Contemporary,” a term used to describe a category of popular music. The subject of the show itself, as reflected in the title, is inspired by the appearance of the occult in all forms of popular media, including those geared towards children and young adults. Bas displays a strong fascination with the supernatural, his paintings loaded with whimsical imagery.

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Juergen Teller, Cerith (2011)

“Everything is permitted, as long as it is fantastic.” So were the famous words of eccentric Italian designer Carlo Mollino. It was perhaps in that spirit that photographer Juergen Teller entered Mollino’s old residence to photograph a controversial series of provocative photographs featuring model Kristen McMenamy. The photographs, frequently denounced as “pornographic” by critics, juxtapose a fading beauty with the aging home of a long-deceased designer frequently known for his erotic proclivities, bringing to the forefront themes of aging and beauty that make the pieces as compelling as they are edgy.

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