Carlito Carvalhosa, Possibility Matters (detail), 2014

Carlito Carvalhosa’s works, similar to early Renaissance church paintings, have the potential to make viewers feel equally enclosed and daunted by scale. The artist’s installations look upon the viewers, asking their submission and surrender towards their magnitude in structure and constructive. Utilizing a broad range of materials in conjunction with his work’s scale and size, Carvalhosa’s practice includes wood, plaster, wax or glass in forms that seem challenging or exceedingly fragile to execute.  It’s this delicately immense style that Sonnabend Gallery is currently presenting with Possibility Matters, a two-room installation transforming wood columns into a room-sized piece in Carvalhosa’s hands. (more…)

Martin Creed, Work No. 1092, Mothers (2011), Courtesy Hayward Gallery.

A sheet of A4 paper crumbled into a tight ball, an image of several pots of variously colored and shaped cactuses and a large rotating steel beam bearing the word “MOTHERS”  – these are just some of the eclectic works currently on show at London’s Hayward Gallery for What’s the point of it?, a survey of British artist Martin Creed’s equally playful and thought-provoking works.

(more…)

Heidi Bucher, Untitled (Herrenzimmer), (undated) via Osman Can Yerebakan

Known for her ongoing focus on the relationship between the body and architectural space, the late Heidi Bucker is being commemorated with an exhibition at the Swiss Institute. The exhibition, running through May 11th at the gallery’s SoHo space, stands out being the first solo exhibition of the artist in the United States in more than forty years.

Heidi Bucher, Untitled (9 Objects), (1972-1987), Courtesy Migros Museum für Gegenwartskunst, Zürich (more…)

Richard Artschwager, Running Man (triple), (2013), Photo by Rober McKeever, Courtesy of Gagosian Gallery

Gagosian’s Upper East Side Gallery is currently featuring the final works of the late Richard Artschwager. This exhibition coincides with the final destination of Artschwager’s traveling Retrospective, Richard Artschwager!, which just ended at Munich’s Haus der Kunst in January. Organized by the Whitney Museum of American Art and the Yale University Art Gallery, the comprehensive display of Artschwager’s life’s work was his second retrospective, the Whitney having exhibited an earlier iteration in 1988. Collectively titled No More Running Man, the works on view at Gagosian swerve in and out of generic categorization, at once painting and sculpture, to systematically present the enigmatic leitmotif of the Running Man. While one will find echoes of the past in these works, they represent the evolution of a highly protean and prolific master, whose style and subject resisted singularity for over sixty years.

(more…)