Joan Miró, Bird in the Night (1967), via Art Observed

Joan Miró’s impact on the landscape of twentieth century art can hardly be ignored, an artist whose fluid, lithe figurations and adventurous approach to both color and line helped to pave an alternative to the dense cubism of his fellow countryman and friend Pablo Picasso.  Taking a reflective look at the artist’s contributions and continued artistic growth during his late Nahmad Contemporary is currently presenting Oiseaux dans L’Espace, a minimal, yet stunning show that reflects an impressive curatorial vision towards the artist’s later works.   (more…)

Roni Horn, Hack Wit – chasing blue out (2014), via Hauser and Wirth

Hauser and Wirth is currently devoting both its Saville Row Galleries to a collection of several recent series by Roni Horn, documenting the American artist’s ongoing investigations of language, repetition and meaning that stem from both the viewer and artist’s encounter with the work. (more…)

Ai Weiwei has opened a series of new exhibitions in Beijing, signaling a relaxation of the capital’s ban on the showing the artist, while foreign travel is still off limits.  “The decision-making process is opaque. I can only speculate that the authorities realize that they have created a situation that, sooner or later, has to be resolved,” says John Tancock, a longtime collaborator of Ai’s and an adviser to Chambers Fine Art. (more…)

Harlem’s Studio Museum has announced plans for a new, $122 million building, designed by David Adjaye, on West 125th Street.  “We have outgrown the space,” says Director and Chief Curator Thelma Golden. “Our program and our audience require us to answer those demands.” (more…)

Critic and Educator Nicolas Bourriaud has been dismissed from his post as the director of the École Nationale Supérieure des Beaux-Arts by Fleur Pellerin, French minister of culture, following a lengthy exchange over the direction of the school.  “Dear friends, the Minister [of Culture] has just fired me ‘for reasons related to a change of direction’ of her politics,” Bourriaud wrote on Facebook.  “Not a single factual argument in the course of a forty-five-minute discussion.” (more…)

Jeff Koons is interviewed in The Guardian this week, as the artist prepares to open his traveling retrospective at the Guggenheim Bilbao this month, and his views on critiques of his work as trophies for multi-millionaires.  “It happens to everybody – the work is held by someone who doesn’t even particularly enjoy the work, and just has it stored in some warehouse and will sit there for 20 years,” he says.  “Or someone doesn’t understand it physically, and their motivations are just to show that they have the power to purchase. There’s not much you can do; that’s about educating people, and the way you can educate them is through your art. And I try to educate people about materialism through my work. I try to show them real visual luxury.” (more…)

Santa Cecilia de Montserrat monastery received Irish-American painter, Sean Scully’s generous donation of 22 of his artworks for permanent installation. His brightly colored paintings of block and bands, along with red, ocher, and blue stained glass and frescos, will complete the restoration of this 1,000 years old monastery. “ This is the most significant exhibition probably I’ve ever done” said the internationally established artist; “ This is going to be there for 1,000 years”. Scully’s intention of “adding a little joy to the chapel” grew incrementally as the importance of this exhibition grew with each piece he adds to the installation.

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The New York Times travels to the Havana Biennial this week, and notes the arrest of artist Tania Bruguera during the event, following the artist’s live reading of Hannah Arendt’s The Origins of Totalitarianism, an event that cast something of a pall over the first Biennial legally accessible to American visitors. (more…)

Damien Hirst has installed his large-scale work, Charity, outside of the Gherkin tower in London this week, a nearly 25-foot high statue of a young girl in a leg brace, holding a vandalized collection tin.  “Charity is an iconic piece of art. It is also a symbol of changing attitudes to disability over the past 50 years, since collection boxes like the one depicted in this sculpture were seen on high streets across the country,” says Alan Gosschalk, fundraising director at Scope, the British disability charity that once used the collection tins depicted in Hirst’s work. (more…)

Marina Abramovic is in The Guardian this week, reviewing her plans for her own funeral, to take place in the three cities she lived longest: New York, Amsterdam and Belgrade.  “I want to have three Marinas,” she says. “Of course, one is real and two fake because you can’t have three bodies.” (more…)

Manchester’s Whitworth Museum has been awarded the UK’s annual “Museum of the Year” award, recognizing the institution’s impressive new expansion project, unveiled this past February. (more…)

A group of cleaners protesting Sotheby’s low sick pay rates have been suspended from their posts, following their public demonstration during the auction house’s London sales last week.  “[A service rep] stopped them at the entrance and said ‘give me your passes, you’re no longer welcome at Sotheby’s – we’ve been instructed by Sotheby’s to not allow you on site’” says Petros Elia, the cleaner’s union general secretary. “Our argument is that Sotheby’s is massively, extremely wealthy company. Contractual sick-pay is not a crazy thing.” (more…)

Olaf Breuning, Brancusi (2015)

Olaf Breuning, the Swiss-born, New York-based artist who has received wide acclaim for his playful appropriations of the iconography of popular culture, has returned to Metro Pictures for a highly anticipated solo exhibition, titled The Life. Consisting of 25 MDF panels each reaching to 9 feet high, the artist’s lofty, circular panels and free-standing steel sculptures incorporate Breuning’s mix of the humorous, quotidian and idiosyncratic imagery of the contemporary social landscape: emojis, bean bags, beer bottles, human figures and other objects, omitting any hierarchal separation so that each element blends into a somewhat objective examination of reality. (more…)

Philippe Parreno, Danny La Rue,  H {N)Y P N(Y} OSIS

The Park Avenue Armory has opened its doors this summer to Paris-based artist Philippe Parreno’s largest U.S. installation to date, H {N)Y P N(Y} OSIS, a symphony of events unfolding in scripted and random sequences that constantly blend and transform in shape and context, tuning the entire space as a series of interlocking events.  Sharing authorship, Parreno avidly collaborates with performance artist Tino Sehgal, artist Pierre Hughye and pianist Mikhail Ruby, giving Parreno the role of both artist and director.  (more…)

Chris Burden, Porsche with Meteorite (2013), via Sophie Kitching for Art Observed

Through September 19, 2015, Gagosian Gallery in Le Bourget, Paris is presenting work by the late American artist Chris Burden.  Over the course of his life, Burden became known for his controversial performances and installations, in which he put himself in intense personal danger or subjected himself to mass amounts of physical stress, often toeing the line of gruesome self-mutilation.  Mechanical and technological intervention, scale and weight, and the physically or imagined limits of the human body frequently reappear as themes in Burden’s work. (more…)

Anish Kapoor, Dirty Corner (2011-2015), courtesy of Lisson Gallery, Galleria Massimo Minini, Galleria Continua, Galerie Kamel Mennour and Kapoor Studio

Continuing its series of summer commissions meant to encourage contemporary arts in engagement with the history of its vaunted grounds, the Palace at Versailles has opened its new summer show featuring the work of Anish Kapoor, spread across the lawns and gardens of the iconic French landmark.  Kapoor, often lauded for his ability to blend both historical and physical contexts into its final execution, has taken the challenge in stride, executing a number of powerfully dissonant sculptural works and installations that keep French history at a short arm’s length, while never shying away from his own brand of phenomenological playfulness. (more…)

The Tom Bradley terminal at LAX has launched a series of new arts commissions this week, including works by Mark Bradford, Pae White and Ball-Nogues Studio.  “We imagined this space as a kind of reprieve or garden where people could rest their minds as they moved through the building,” says Benjamin Ball of Ball-Nogues. “The project is meant to be seen from a variety of angles.” (more…)

John Waters is the subject of a profile in The Guardian this week, as the filmmaker-turned-artist prepares to open a show of his work in London, and discussing his aims towards his most recent body of work.  “I wanted to be the most despised person imaginable, like I was when I started.  I built a career out of it. I wasn’t hated by the people I wanted to like my work – I was hated by the people it was bait for,” he says.    (more…)

Josef Helfenstein, the Director of Houston’s Menil Collection for the past 12 years, is leaving his position to head the Kunstmuseum Basel, the New York Times reports.  “It’s a very hard decision for me to leave the Menil – I love this institution enormously,” Helfenstein says. “I think we have accomplished a lot, so it was kind of a natural moment.” (more…)

The London Underground has announced a year-long series of artist commissions in the newest iteration of its ongoing arts patronage, including video work from Liam Gillick, and new design commissions from Giles Round and Design Work.  “Gillick has taken his camera, picking out features of the Victoria Line in an unfolding narrative,” says Eleanor Pinfield, the head of Art on the Underground. (more…)

A series of six new public commissions spearheaded by Norman Rosenthal, former head of exhibitions at the Royal Academy, have been announced for Embassy Gardens, the site of the new U.S. Embassy in London.  “Each show is a germ of an idea that could become a museum exhibition,” Rosenthal says. “They are all shows I have dreamt of doing.” (more…)

The New York Times notes the increasing popularity of Athens as a destination for artists in the wake of the country’s financial hardships, noting the increased affordability of studios and opportunities to show work in the city while commenting on the complex financial exchanges the country is currently involved in.  “I realized it would be much more useful to have an artistic platform in a city like Athens than another European city,” says Greek curator Iliana Fokianaki. “The crisis kind of boosted our energy to do more things, rather than flee the country.” (more…)

Theaster Gates, White Sky, overcast (2014), All Images Courtesy White Cube Gallery

Now through July 5, the White Cube Gallery in Bermondsey presents an exhibition of new work by Theaster Gates, the installation artist and professor of visual art at the University of Chicago who draws from themes of individual and collective history, place and self, and empowerment in his work.  Freedom of Assembly continues and expands upon the artist’s approach to art as a vehicle for social-justice, communication, and critique.

Theaster Gates, Freedom of Assembly (Installation View)

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The Washington Post notes two American museums battling in court to prevent works claimed as Nazi-loot from returning to the families who claim them as rightfully theirs.  “I find it outrageous, and I’m embarrassed,” says Oklahoma state Rep. Paul Wesselhoft of the Fred Jones Jr. Museum of Art at the University of Oklahoma, one of the museums refusing to return a work. “With this artwork, we have definitive proof that it was stolen. We have copies of the Nazi documents. As an Oklahoman, I think it’s a moral outrage.” (more…)