The exhibition series Musée de la danse: Three Collective Gestures is being shown as part the performance program at the Museum of Modern Art. The first, 20 Dancers for the XX Century, has already been conducted, and Levée des conflits extended/Suspension of Conflicts Extended will be performed this upcoming Friday through Sunday the 25th to 27th. The piece, choreographed in 2010 by Boris Charmatz, revolves around 24 dancers continuously performing 25 movements. The final installation the following weekend involves the dance performance Flip Book and then a response that that piece by Boris Charmatz, Valda Setterfield, and Claire Bishop on November 2nd.
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William Kentridge, Untitled (Drum Machine) (2012), via Marian Goodman

On September 17th, Marian Goodman Gallery opened its new exhibition of films, drawings, sculpture, and prints by William Kentridge. Entitled “Second-hand Reading,” the exhibition will continue through October 26, 2013.  Emerging from a series of projects Kentridge started in 2012 called Six Drawing Lessons, originally showed at The Norton Lectures series at Harvard University that year, the works capture the artist developing a concept of the studio as a place of deep meaning, placing an emphasis on work in the studio as a significant act. During that time he also created his sound installation and breathing machine, entitled The Refusal of Time. (more…)

Geraldo de Barros, Composição Concreta (1953), Courtesy of Hauser & Wirth

Currently on view at Hauser & Wirth‘s upper east side town house is Sensitive Geometries: Brazil 1950s – 1980s, a two-floor installation that presents a range of artists working in an abstract idiom through the radically liberalized postwar decades in Brazil, encompassing multiple generations and artistic movements. Wide scale cultural changes in the wake of World War II, including the reinstatement of democratic rule, a flourishing economy and increased international exchange, inspired an artistic revolution that would ultimately mark Brazil as the epicenter of contemporary art it is today.

João José Costa, Untitled (1959), Courtesy of Hauser & Wirth (more…)

The New York Times checks in on Marina Abramovic‘s efforts towards establishing a 33,000 square foot institute in Hudson, New York “perhaps the most ambitious project yet of her outrageous, audacious four-decade career.'” (more…)

All photos by Caroline Claisse for ArtObserved.

The last visitors have filtered out, the gallerists have begun packing up and preparing sold works for buyers, and another year of the Frieze London Art Fair  has concluded, following another action-packed week of new works, special commissions, sales, auctions and openings that once again placed London at the center of the contemporary art world’s cross hairs.

Work by Pierre Huyghe at Esther Schipper (more…)

Georg Baselitz, BDM Gruppe (2012), via Thaddeus Ropac

On view at Galerie Thaddaeus Ropac’s recently opened Paris Pantin location is an exhibition of new sculptures and paintings by German artist Georg Baselitz. The sculptures are sculpted from wood and cast in bronze, and the paintings are part of his new series in black. (more…)

John McCracken, Fair (2011), via David Zwirner

Currently on view in New York are two exquisite Minimalist shows of note, regarding both their historicity and their potential influence on emerging currents: Anne Truitt at Matthew Marks on 22nd street & John McCracken at David Zwirner’s 20th Street location. The prospect of seeing this work in proximity and in such volume is a rare event, and offers an intriguing opportunity for comparison and commentary, joining forces both minimalism’s heart and its periphery, namely the powerful metaphysical concerns within. (more…)

Robert Mapplethorpe, Lindsay Key (1985), via Thaddeus Ropac

Galerie Thaddaeus Ropac in Salzburg is currently presenting an exhibition of works by American photographer Robert Mapplethorpe, as part of the gallery’s celebration of its 30th anniversary. This exhibition is the latest addition to the gallery’s ongoing series dedicated to Mapplethorpe’s career.

Robert Mapplethorpe, (Installation View), courtesy Galerie Thaddaeus Ropac Salzburg (more…)

Mark Tansey, The Raw and the Framed (1995), via Christie’s

The last major auction of Frieze Week in London concluded this evening at Christie’s, a strong sale that saw nearly all of the 55 lots on sale finding a buyer, bringing the total sales for the evening up to £27,788,900, placing the auction house as the clear leader in a week of busy auctions and impressive sales figures.

Yayoi Kusama, Infinity Nets (T.W.A.) (2000), via Christie’s (more…)

Mike Kelley, Torture Table (1992), via Skarstedt Gallery

Exploring the darker aspects of American post-modernism and urbanization, New York’s Skarstedt Gallery is presenting a tightly curated show of work by Mike Kelley, Cady Noland, Richard Prince, and Christopher Wool, exploring the artists’ various approaches to the contemporary images of American culture and economics.   Titled Murdered Out, the group show is inspired by an urban slang term, referring to a car painted all black matte. Taking this turn, the show explores American culture “through a masked, or ‘blackened-out’ lens.” (more…)

Acquavella Galleries New York. All photos by Caroline Claisse for Art Observed.

Running alongside the hustle and bustle of Frieze’s Contemporary Art proceedings next door, the Frieze Masters section is showing an exceedingly strong set of galleries and works, albeit somewhat removed from the spotlight its adjacent fair receives each year.  Mixing classic works by artists like Francis Bacon and Picasso with works by still active artists like Robert Long and Richard Serra, the fair offered a more subdued, but equally impressive offering.     (more…)

Walter Dahn, Walter (1984/85), via Venus Over Manhattan

Walter Dahn’s 4th Time Around (My Back Pages), an exhibition curated by Richard Prince, is a presentation of paintings, “anti-silkscreens,” and rare bronze sculptures by artist Walter Dahn, presenting a taste of his artistic practice since 1981. The title of the exhibition is derived two Bob Dylan songs, both favorites of the two artists (who have been friends since the late 80’s early 90’s).

Walter Dahn, 4th Time Around (My Back Pages) (Installation View), via Venus Over Manhattan Gallery
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Jeppe Hein, 360Ëš Illusion III (2007), via Sophie Kitching for Art Observed

Currently on view at Saint Agnes in Berlin, Gallery Johann König presents YOU, a striking selection of new works by Danish-born, Berlin-based artist Jeppe Hein, continuing the artist’s unique exploration into the phenomena of the human visual system, and its role in defining a body in space.

Jeppe Hein, YOU (Installation View), via Sophie Kitching for Art Observed

Concerning himself with the perceptual investigations of Maurice Merleau-Ponty, Hein’s work is an investigation into the act of “embodied experience,” expressed not merely through a series of trompe l’oeil  trickeries, but rather in complex optical illusions that force the viewer into a visual and physical relationship with space itself.  Best expressed through his enormous mirrored projects, the body is as much a part of the work as the eye, using its physical presence and the perceptual inputs tied to the brain as a way to subvert an easily codified version of reality.

Jeppe Hein, 360Ëš Illusion III (2007), via Sophie Kitching for Art Observed

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Glenn Brown, Ornamental Despair (painting For Ian Curtis) Copied From ‘the Stars Like Dust’, 1986 By Chris Foss (1994), via Sotheby’s

Another session of competitive auctions wrapped up this evening in London, with Sotheby’s Contemporary Art sale providing an uneven, yet overall successful auction of contemporary works during the ongoing events of Frieze week, bringing forth a total sale amount of £21,459,000, with 7 of the 49 works remaining unsold. (more…)

Oscar Murillo, Untitled (2012), via Phillips

The Phillips Contemporary Art Evening Sale wrapped tonight in London, kicking off another edition of Frieze week auctions in the British capital. Running efficiently through the 38 lot auction, the first in the week’s three nights of sales achieved strong, if not expectable results.  With the events of Frieze week as a major draw for collectors around the world, Phillips had little problem finding new buyers for all but 6 of the works on sale, with 10 lots selling well above their maximum estimates.

Tauba Auerbach, Untitled (Fold) (2011), via Phillips (more…)

Elmgreen and Dragset, Powerless Structures (2013) and Hernan Bas, Pearl and pink pansy (fishing in the foliage) (2013) at Victoria Miro

Frieze London officially opened its doors today for its press and VIP preview, welcoming buyers from around the world to the temporary structure in Regent’s Park for another week of high-profile sales and new works.  A markedly reduced affair from last year (the number of galleries on view has been reduced by about 25), the fair still kicked off in traditional fashion, with a rush of early buyers passing through the galleries to review the plenitude of paintings, sculpture, videos and photography spread throughout the fair’s enormous space.

Damien Hirst, The Afterlife (2012) (more…)

Gerhard Richter, White, (1988), via Phillips

Frieze London opened its doors to VIP’s and the press today, beginning another hectic week of exhibitions, sales and, as is to be expected, major auctions from Phillips, Sotheby’s and Christie’s.  Beginning tonight, the three auction houses will look to capitalize on the atmosphere of frenzied competition that so often marks the major art weeks, with each bringing forth a strong collection of works from across the contemporary art landscape.

Peter Doig, Red Canoe (2000), via Christie’s (more…)

The New York Times profiles the upcoming release of Steve McQueen’s 12 Years a Slave, and the recent panel discussion the filmmaker and artist gave with writer Nelson George and fellow artist Kara Walker, discussing the influences for the film, and its place as a historical perspective on slavery.  “There’s a uniquely American exuberance for violence or an exuberance for getting ahead in the world and making a name for themselves. I’m talking about the sort of plantation class that fought for the entrenchment of the slave system,” Walker notes.  “That’s not something that can be overlooked when you think about the mythology of what it means to be an American, that one can become a self-made man if one is white and male and able.” (more…)

Artist Damien Hirst at Blain Southern Gallery. All photos by Caroline Claisse for Art Observed.

As Frieze London prepares to open its doors to the press and VIPs tomorrow morning in Regent’s Park, gallerists around the city are aiming to pull out all the stops in attracting collectors during the week’s events.  Such seemed to be the case with Blain|Southern‘s Candy, a blockbuster exhibition of works by Felix Gonzalez-Torres and Damien Hirst focusing on the artists’ shared material and aesthetic interests in the sugary snack as artistic medium, which opened last night.

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Neo Rauch, Die Müllerin, (2013), Courtesy Galerie Eigen+ART

On view at Galerie EIGEN+ART in Leipzig is an exhibition of large scale paintings by German surrealist artist Neo Rauch, entitled Gespenster, which translates as “Ghosts.”  Continuing his signature techniques of surrealist manipulation and alteration of classic communist propaganda imagery and pastoral idylls, the show is a strong addition to Rauch’s already substantial body of work.  (more…)

Jeff Koons, Sacred Heart (Blue/Magenta) (1994-2007), Courtesy Gagosian

As the month of October reaches its halfway mark, the annual Frieze Art Fair in London’s Regent’s Park prepares for its 11th edition, welcoming back a selection of 152 galleries from around the world, all vying for prominent sales and broader market exposure.  With a broad program of exhibitions, special commissions, installations and discussions, the fair will look to once again capture the attention of the art world for the next week, bringing over $2 billion in art to market over the next five days.  Art Observed is on site in London for the happenings.

William Kentridge, In Nervoser-Erwartung (2013), Courtesy of the Artist and Marian Goodman Gallery, New York (more…)

The recent surge of art forgeries and lawsuits over the attribution of works has had a chilling effect on the willingness of experts to offer their opinions on the authenticity of disputed works.  Cases like the recent Knoedler Gallery forgery sales and the following lawsuit by gallerist Ann Freedman have kept experts from vocally speaking out on the authenticity of work, even if their opinion may prevent a forged sale.  “If people were able to exchange opinions freely, cases like this would come to light much more quickly and you wouldn’t have a magnitude like this. Word would get out.”  Says Jack Flam, the president of Robert Motherwell’s Dedalus Foundation. (more…)

Ursula von Rydingsvard’s Ona has received considerable attention since its installation earlier this fall at the Barclays Center in Brooklyn.  Bloomberg spoke with the artist recently, discussing its construction, her views towards her work, and the inspiration behind the towering sculpture.  “I knew, if I wanted to be in front of it, I needed to have some presence, some power. So I made a piece that was sand cast in bronze. I wanted the sand casting because it would be more matte. I hate shiny, glossy things.”  The artist says. (more…)

In a recent article for New York Magazine, Jerry Saltz critiques the effects of the mega-galleries on their artist rosters, and asserts that the galleries often encourage artists to overproduce critically weak work in favor of sheer salability.  ” By now, these galleries are essentially exploiting the potential of artists who have been carefully nurtured for years by other galleries. And often ruining them.”  He writes. (more…)