Robert Grosvenor, Untitled (2014-2017), via Art Observed

Three cars parked side by side make up Robert Grosvenor’s Untitled (2014-17), a single work presented as the artist’s second solo exhibition at Karma’s downtown exhibition space. We can’t be certain that the term “parked” accurately describes these objects, however, as it implies movement that was halted, and a close assessment of the vehicles does not yield a consensus on their past or present mobility. Our fascination with Grosvenor’s sculptures runs parallel to our suspension in this perpetual state of uncertainty, in which the work of art becomes the site of an investigation into the identity of an object.

Robert Grosvenor, Untitled (detail) (2014-2017), via Art Observed

(more…)

Will Boone, RID (2015), via Art Observed

David Kordansky Gallery is currently presenting Flat World a group show organized by Karma New York, an exhibition of familiar objects rendered in conceptually minimal fashions, cohesively utilizing form as content while transforming formal aesthetic style into subject and material.  Flat World includes works by Richard Artschwager, Tauba Auerbach, Will Boone, Jeff Elrod, Robert Grosvenor, Peter Halley, Lee Lozano, John Mason, and Charlotte Posenensko. Combining the work of artists both young and old, the exhibition spans the years of the 1960’s  through the 1980’s and on to the early 2010’s.  (more…)

Strange Attractors, Aki Sasmoto – all photographs by Oskar Proctor for Art Observed.

This week the Whitney Museum of American Art, New York opened its doors for the 75th edition if its defining exhibition: The Biennial. Simply titled, 2010, the show rejects an organizational theme and instead uses time as its marker in a matter-of-fact cross-section of American art today. The show is one of the smallest in the Biennial’s history – works by only 55 artists and collaborative teams are displayed on four floors of the museum’s ‘Breur Building’ in Manhattan’s Upper East Side. This year the entire third floor of the building has been taken dedicated video installation – first exhibited at the Biennial in 1975 – a sure sign that video work has now reached maturity, worthy of recognition as an independent art form. In addition, the museum’s fifth floor is devoted to artists in the Whitney’s permanent collection who have shown in past Biennials.

Francesco Bonami, Curator of Whitney Biennial 2010

Whitney Biennial 2010 – Interview with curator Francesco Bonami via VernissageTV

More text, images and related links after the jump….
(more…)