Andreas Schulze, Untitled (Chelsea Flowers) (2023), via Sprüth Magers
Artist Andreas Schulze returns to Sprüth Magers this month for his fourth solo exhibition at the London Gallery. Bringing with him a body of works that present confusing, unexpected forms as a mode of examining visual configuration and possibility, the artist once again returns to explorations of context and form as a site for the negotiation of both sensation and nonsense. Read More »
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Marguerite Humeau, meys (Installation View), via White Cube
Marguerite Humeau’s exhibition at White Cube Bermondsey is structured as a journey, incorporating sound, moving image and sculpture and enlisting the collaboration of artificial intelligence as well as hives of skilled craftspeople in order to explore ideas of interdependence and collective intelligence. Leading the viewer from the present and local to a distant, speculative future, Humeau entwines plural narratives around these themes – from a human society in collapse, to a simulation of the secret life inside an insect community, and a projected future gathering of a newly-formed collective in the process of synchronising. Read More »
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Lee Scratch Perry, Bird War (2019), via Cabinet
Over the course of his life, musician Lee “Scratch” Perry was a seminal and exploratory producer, a seminal voice in the development and export of Jamaican dub reggae to the UK, US and beyond. Forging an experimental and esoteric arc in his work that mined pop culture, surrealism, and spiritual tenets of rastafarianism, Perry was also an avid painter and fine artist, creating dense, swirling series of allusions on paper, canvas, and other repurposed materials. Throughout, the artist’s work mirrored the playful and cartoonish nature of the characters and worlds he built on record. The artist’s work is the subject of a show at Cabinet in London this month, celebrating the late artist with a sprawling selection of works.
Lee Scratch Perry, Ark Work (Installation View), via Cabinet
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Hannah Levy, Untitled (2023), via Casey Kaplan
On view this month at Casey Kaplan’s Manhattan exhibition space presents a body of new wall and freestanding works by artist Hannah Levy, continuing the artist’s challenging and exploratory work in concepts around the human form, and concepts of its transcendence. Here, incorporating glass into the artist’s practice, Levy takes on new material processes through both traditional and experimental methods to arrive at new interpolations of her already tightly-honed practice. Read More »
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Richard Prince, Untitled (2019-2020), via Sadie Coles HQ
On this month in London, artist Richard Prince marks his seventh solo show at Sadie Coles HQ, bringing forth a new iteration and expansion of his iconic Joke Paintings. The artist, who has long mined the linguistic flows, political temperatures and structural modes of American pop culture, here finds new ground to explore in these modes for the show, titled Everyday.
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Robert Bechtle, 60 T-Bird (1964), via Gladstone
This month, Gladstone presents the first posthumous exhibition of works by Robert Bechtle, spanning nearly six decades of his practice. Highlighting important subjects he returned to throughout his lifetime, this expansive selection of paintings, watercolors, and drawings demonstrates the technical and conceptual ingenuity of his process that evolved over time and transformed approaches to realistic figurative painting in the United States. On the occasion of this exhibition. The show also marks the gallery’s first in the representation of the artist’s estate. Read More »
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Urs Fischer, Schmalifornia (2022), via Gagosian
This month at its Beverly Hills location, Gagosian presents Ice Cream Truck Democracy, an exhibition of paintings by Urs Fischer. In this new series of works, which occupies a range of sizes and formats, Fischer combines silkscreened, hand-painted, and hand-stenciled imagery, applying a collage-like aesthetic to his personal observations of Los Angeles.
Urs Fischer, Citizen’s Arrest. (2023), via Gagosian
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Zeng Fanzhi, Untitled (2022), via Hauser & Wirth
This month in Los Angeles, Hauser and Wirth makes history with the first solo exhibition in the city for Zeng Fanzhi, the renowned Chinese painter whose expansive and intricate body of work has made him a singular both in both his home country and internationally.  A pioneer of contemporary Chinese art, Zeng is celebrated globally for his constantly evolving style and subject matter, and the works on view herald his latest artistic breakthroughs that contemplate the intersection of Western art and style with traditional Chinese subject matter and philosophy.
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Franz West, Echolalia (Installation View), via Art Observed
On view this month at David Zwirner’s 533 West 19th Street space in New York, the gallery presents a commanding installation by artist Franz West. Created only a few years before the artist’s death, Echolalia consists of seven colorful, larger-than-life sculptures that seem to stand slightly off-balance, interspersed with three cushioned divans. Not exhibited publicly in more than ten years, the work represents the apotheosis of West’s commitment to sculpture as social space, integrating the viewer within an immersive, total environment. Conceptually, the installation manifests the intersection of many of West’s ongoing interests—most notably, the playfulness of sculpture, the participation of the viewer, and the importance of language.
Franz West, Echolalia (Installation View), via Art Observed
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Martin Puryear, Looking Askance (2023), via Matthew Marks
Marking the latest exhibition at both Los Angeles exhibition spaces, Matthew Marks has launched an expansive of works by Martin Puryear that also makes for the artist’s first solo show in the city in over 30 years. Compiling a range of works that revisit Puryear’s material adventurousness and tight examination of structural and historical progressions, including seven sculptures made over the past five years in a variety of media including wood, bronze, and stone.
Martin Puryear, Happy Jack (2020), via Matthew Marks
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