Global contemporary art events and news observed from New York City. Suggestion? Email us.

New York – Hanna Liden: “I hope these ruin a perfectly bad day” at Maccarone Through June 21st 2014

Tuesday, June 17th, 2014


Hanna Liden, Let it Go (2014), all images courtesy of the artist and Maccarone, New York

Currently on display at Maccarone in New York is a group of new photographic works by Swedish artist Hanna Liden. Entitled I hope these ruin a perfectly bad day, the series of still life photos repurpose her urban leitmotifs as makeshift vases for brightly colored flowers. The exhibition will continue through June 21, 2014.

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Stockholm – Brad Kahlhamer: “The Four Hairs” at Andréhn-Schiptjenko Through March 29th, 2014

Thursday, March 27th, 2014


Brad Kahlhamer, The Four Hairs (2012), All images courtesy Andréhn-Schiptjenko.

New York-based artist Brad Kahlhamer is currently on view at Stockholm’s Andréhn-Schiptjenko. The artist, who works across mediums ranging from painting and sculpture to video and music the gallery has chosen to invite viewers to access his unique understanding of his surroundings or perhaps, alternative reality, through his painting, assemblage and sculpture.


Brad Kahlhamer, Kill Chiefs, (2010)  (more…)

Subodh Gupta Interviewed in Financial Times

Saturday, May 18th, 2013


Indian artist Subodh Gupta – Art Observed sat down with the Financial Times recently to discuss his new show at Hauser and Wirth , his youth in India, and his utilization of everyday materials. “I am always good in an unconventional space. The material tells a story. If it is broken, it comes from the reality of life.”
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Hong Kong – Elad Lassry at White Cube Gallery, Through February 8th 2013

Tuesday, February 5th, 2013

Elad Lassry, Russian Blue (2012)via White Cube

Transforming White Cube Gallery’s Hong Kong space into an an erratic mix of color and space, Elad Lassry has created a paradoxical challenge to viewer’s 2nd and 3rd dimensional perceptions.  Framed cats with piercing aquamarine eyes dot the room, gazing out at toys guarded by a luminous pink shielding. In another frame, viewers are presented with a tantalizing pair of raw steaks — the blood, emphasized by the disturbingly deep red background, but withheld from reach by its frame. Almost all the images observed in the gallery however, are flat: 2D photographs which are given depth only by the prisons they are situated in.

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