Iran do Espírito Santo, Untitled (Folded Mirror 13) (2011). All photos on site for Art Observed by Perrin Lathrop.

Three new bodies of work comprising Brazilian artist Iran do Espírito Santo’s Switch on view now at Sean Kelly Gallery continue the artist’s investigation into connections between light, form, and space. Espírito Santo has expressed his interest in exploring “the duality we live in; between the concrete world and that of ideas. It’s an existential human condition; the artworks are a way of negotiating this, a need to deal with immateriality.” Gallery goers may witness three very different series, each exploring light’s interaction with the perception of space.

(more…)

Janaina Tschäpe’s table installation, a giant squid with condom roe. All photos on site for Art Observed by Samuel Sveen.

The Brooklyn Artists Ball took place last night, the annual fundraising gala hosted by the Brooklyn Museum. A number of artists and celebrities were in attendance, including Judy Chicago, Aurel Schmidt and Dustin Yellin, as well as those honored with the Asher B. Durand Award: Martha Rosler, Amy Sillman, Mickalene Thomas. Between a lively cocktail hour and an after party sponsored by W Magazine sat an elegant dinner with one-night-only 40-foot-long “table environments,” created by 16 Brooklyn Women artists. The event was the fifth anniversary of the Elizabeth A. Sackler Center for Feminist Art, with Ms. Elizabeth A. Sackler present to receive the Augustus Graham Medal for strong commitment to the arts and the Brooklyn Museum.

Guests posing for the interactive video installation by Nicole Cohen

(more…)

All installation images courtesy Gladstone Gallery by David Regen, copyright the artists.

The Spirit Level is a large multimedia group show currently on display at both of the Gladstone Gallery locations in Chelsea. New York-based artist Ugo Rondinone curated the show with the intention of tapping into various levels of consciousness with both sexual and surreal imagery. With a rather dark and visceral edge, the work spans a variety of mediums: painting, sculpture, drawing, photography, and installation. Between the two galleries, a total of 19 artists are represented including Martin Boyce, Ann Craven, and Sam Gilliam.

(more…)

Jim Shaw, The Rinse Cycle (2012). All photos on site for Art Observed by Ilhan Kim.

Jim Shaw’s oeuvre maximizes a medley of mediums straddling low art found in a church’s Christmas bazaar to high art befitting a gem gallery. Shaw’s latest exhibition at Metro Pictures continues his tradition of weaving together disparate motifs to create textured compositions with multiple references to American history and a wild reimagining of world religions and mythology. The installation showcases various elements of a narrative trajectory in which two petty thieves, on the run from FBI agents in pursuit, trespass into the fictional Museum of Oist History in Omaha and don wigs that cloak them invisible and deport them to the ancient birthplace of O, the founding deity of Oism.

(more…)

Artist Agathe Snow in front of Target Practice (2012). All photos on site for Art Observed by Samuel Sveen.

Maccarone Gallery presents new work by Agathe Snow in the exhibition I like it here. Don’t you? An artist whose visual vocabulary is steeped in the rhetoric of apocalypse, this collection of papier-mâché and fiberglass sculptures represents Snow’s vision of purgatory—a perpetual present constructed from the material refuse of a damned society. Ten totemic mobiles hang from ceiling to floor, each cleverly titled to simultaneously evoke their pop mundanity and allegorical weight, or perhaps, more aptly, weightlessness. This assemblage, a collage of cultural detritus both found and fabricated, hovers silently in Snow’s mythological continuum of hope and despair, conjuring associations of childhood and war, nature and culture, life and death, and everything in between.

(more…)

All photos on site for Art Observed by Ilhan Kim.

Abstract artist Dan Walsh, known for his colorful geometric paintings, is currently presenting new works at the Paula Cooper Gallery in New York. Walsh hails from the minimalist tradition, however, the artist now considers himself to be a “maximalist” in the sense that the simple repetition and grid-like patterns of his work embrace the qualities of minimalism yet engage the viewer in a deeper psychological sense.

(more…)

Keith Haring, Matrix (1983). All images copyright Keith Haring Foundation.

On now at The Brooklyn Museum is ‘Keith Haring: 1978-1982.’ This dynamic multi-media exhibition provides a comprehensive survey of Haring’s early work. Best known for his “Crack is Wack” landmark mural, “The Radiant Baby,” and other stylistically similar cartoons made with thick lines of black Sumi ink, Haring also produced work in other mediums such as film and print. This show is comprised of 155 works on paper, multiple videos, and more than 150 personal objects of Haring’s, including notebooks, flyers, posters, subway drawings, and photographs; all of which, put together, capture and encapsulate the excitement and energy of New York City’s club and art scenes in the 1980s. The exhibition narrates viewers through the period in Haring’s career immediately following his arrival in New York City through the establishment of his studio space and the beginning of his interest in street art.

Kenny Scarf and Peter Schuyff, Untitled (1979)

(more…)

Curator Chris Stephens. All photos on site for Art Observed by Caroline Claisse.

Currently on view at Tate Britain through July fifteenth, Picasso & Modern British Art sets up a large-scale juxtaposition between Pablo Picasso’s legendary oeuvre and its influence and impact on British art of the twentieth century. The exhibition positions over 60 Picassos in dialogue with nearly 100 works by such  luminaries as Duncan Grant, Wyndham Lewis, Henry Moore, Francis Bacon, Ben Nicholson, Graham Sutherland and David Hockney—in the Tate’s words “seven of Picasso’s most brilliant British admirers.”

Pablo Picasso, The Source (1921), left; Henry Moore, Reclining Figure (1936), right

(more…)

Cai Guo-Qiang in front of Desire for Zero Gravity (2012) at MOCA’s Cai Gu0-Qiang: Sky Ladder. Images via MOCA unless otherwise noted.

In the first West Coast solo exhibition of world-renowned New York-based Chinese artist Cai Guo-Qiang, the Museum of Contemporary Art, Los Angeles (MOCA) presents four commissioned projects, including the most recent work in the artist’s Projects for Extraterrestrials series, which began in 1989. Trained in stage design at the Shanghai Theatre Academy, Cai Guo-Qiang’s projects are spectacular and theatrical gestures, embodying the ethos of action painting and a long history of creation/destruction strategies in terms of today’s complex (pyro)technical mechanisms. Using gunpowder as his medium, Cai creates large-scale drawings in a matter of seconds with the dramatic transformative potentials of this volatile material.

Mystery Circle: Explosion Event for The Museum of Contemporary Art, Los Angeles (2012). Photo on site for Art Observed by Megan Hoetger.

(more…)

–>
All photos on site for Art Observed by Aubrey Roemer.

The Bruce High Quality Foundation held an Easter celebration at MoMA PS1 this past Sunday in typical DIY Bruce fashion. From 3–6 PM, a gamut of bands played in the Performance Dome while a lamb roasted outside, and an Easter egg hunt included cigarettes. While the group’s Brucennial 2012 exhibition continues through April 20, the one-day event in the courtyard of PS1 was titled Bruceforma 2012: The Resurrection.

(more…)

David Shrigley, How are you feeling (2012). Photos on site for Art Observed by Douglas Cloninger and Samuel Sveen.

Installed April 5th, 2012, the Glasgow-based artist David Shrigley‘s dry, absurdist sense of tragi-comedy is now on display as the third “Friends of the Highline” billboard. The 25 by 75 ft billboard is located at 18th Street and 10th Avenue in the Chelsea area of Manhattan and had previously featured work by Anne Collier and John Baldessari. Known for emploring a childish aesthetic and comic wit to navigate the tense world we create for ourselves, Shrigley’s new billboard poses the question, “How are you feeling?” and provides us with an uncommon but honest response. The work speaks largely to contemporary culture and the internal pressures that attempting to “keep up with the Jones” can create. The bubbles read, “HOW ARE YOU FEELING?” “I’M FEELING VERY UNSTABLE AND INSECURE. I ALSO FEEL VERY WORRIED AND ANXIOUS ABOUT EVERYTHING.” “I ALSO FEEL TRAPPED AND I FEEL THAT I AM MUCH TOO FAT AND THAT PEOPLE ARE LAUGHING AT ME. I FEEL VERY FRUSTRATED AND DEPRESSED. I FEEL THAT I AM UNABLE TO MEET THE DEMANDS THAT HAVE BEEN MADE OF ME. I AM IN A BIT OF A RUT CREATIVELY AS WELL.”

(more…)

Sketch Restaurant, London. All photos on site for Art Observed by Ryann Donnelly.

In celebration of their 10th anniversary, London’s Sketch restaurant in Mayfair unveiled a new installation from Turner prize winning British multi-media artist Martin Creed on March 1st, 2012. Creed’s installation is comprised of three main components: opulent marble tiling, large-scale murals, and an assemblage of mix-matched furnishings and tableware, each piece as functional as it is aesthetically compelling and intricate.

Martin Creed, Sketch Installation View (2012)

(more…)

Hernan Bas, A Satanist on a Tuesday (or, The Key Master) (2012)

Detroit-based artist Hernan Bas’ new show Occult Contemporary is on now at Lehmann Maupin, the exhibition consisting of Bas’ most recent body of work: a group of paintings in various sizes depicting dark, fairytale-like scenes. The name of the show is a reference to “Adult Contemporary,” a term used to describe a category of popular music. The subject of the show itself, as reflected in the title, is inspired by the appearance of the occult in all forms of popular media, including those geared towards children and young adults. Bas displays a strong fascination with the supernatural, his paintings loaded with whimsical imagery.

(more…)

–>
Installation view of Heart to Hand. All photos on site for Art Observed by Douglas Cloninger.

Located in the former Deitch Projects building at 18 Wooster St., Swiss Institute‘s current set of exhibitions opened with a line out the door on March 7, running through April 15. Three shows are on view: Nicholas Party’s Still life, Stones and Elephants, Pati Hertling’s curatory project Heart to Hand, featuring work by Zoe Leonard, Klara Liden, Adam Pendleton and brothers and collaborators Oscar Tuazon and Elias Hansen, and downstairs Jimmie Durham’s Marquette for a Museum of Switzerland. Split between the several artists, the show begins with a colorful entrance, a large open main space split in two—half the floor raised, half reappropriated as sculpture—and a basement of semi-faux artifacts.

–>
Artist Elias Hansen at the opening

(more…)

Curators Jason Alexander, “That’s not actually part of the show, we just liked the way it looked.” All photos on site for Art Observed by Samuel Sveen.

The duo Jason Alexander—Jason Lee and Alexander Shulan—have set up a two-floor pop-up show in a former Chinatown sewing machine repair shop, Ten Ten, from which the show draws its name. The DIY exhibition of 17 young New York based artists includes Peter Demos, Debo Eilers, Ryan Foerster, and Ben Schumacher, as well a curator himself, Jason Lee—the self-inclusion an admitted faux pas. According to co-curator Shulan, the collection is unrestrained, loud, politically incorrect, non-AbEx (Abstract Expressionist), messy, with parts of it that “just don’t even work.” The diverse sculptures and images, a Porsche seat and chained pineapples, are set in dialogue amid wooden crates, broken sewing machines, and other remnants of the shop. The press release is a brief history of the sewing machine, providing something of a context of the space, while the curators otherwise chose to let the work speak for itself. Shulan said each of the young artists are either currently showing at galleries “or should be.” A few of the artists were also current or former assistants to more established artists; Jared Madere to Jenny Holzer, and Valerie Keane to Olaf Breuning and Ryan Sullivan.

(more…)

Kehinde Wiley at the opening of The World Stage: Israel at The Jewish Museum. All photos on site for Art Observed by Perrin Lathrop unless otherwise noted.

In the most recent iteration of his World Stage series, American artist Kehinde Wiley turns his eye on Israel. Wiley broadly considers The World Stage a project geared toward taking the “cultural temperature.” More specifically, the series represents a mission to picture young black men globally and has already brought the artist to India, Sri Lanka, Brazil, Lagos (Nigeria), Dakar (Senegal), and China. With The World Stage: Israel, now on view at The Jewish Museum in New York, Wiley brings the African and Jewish Diasporas into convergence.

(more…)

Hans-Peter Feldmann, Golden Shoes with Pins (2012). Photos for Art Observed by Ryann Donnelly unless otherwise noted.

Hans-Peter Feldmann‘s sixth solo exhibition of new work is on view now at 303 Gallery in Chelsea, featuring pieces from several recent series in sculpture, collage, painting, and photography. Across the various mediums, the work is united by Feldmann’s keen appropriative sense, and traceable aesthetic manipulations. Often wavering between the vaguely comedic and the latently subversive, Feldmann’s work re-engages the seemingly familiar or ubiquitous to propose an alternative dialogue. (more…)

Jenny Holzer, Top Secret 21 (2012)

Section 2340 is pain that is difficult for the individual to endure and is of an intensity akin to the pain accompanying serious physical injury. See Section 2340A Memorandum at 6.

Manhattan’s Skarstedt Gallery currently plays host to American artist Jenny Holzer’s first series of paintings in over thirty years. Renouncing the medium in the 1970s in favor of electronic LED lighting, projections, bronze castings, silkscreen, and varied other media for her subversive textual declarations, Holzer returned to painting for this 2010–2012 series, titled Endgame. Made famous by language-based works that provoke arresting responses to serious social and political issues, here Holzer occupies the veneered Upper East Side with Color Field-like swathes of oil on linen that manage to maintain her political bent .

(more…)

The artist Bharti Kher in front of A View of The Forest (2012). All photos on site for Art Observed by Aubrey Roemer.

Bharti Kher‘s The hot winds that blow from the West showcases five variant pieces and is on view now at the East 69th Street location of Hauser & Wirth. On site for the show’s opening, the artist was born and educated in Britain, but moved to New Delhi, India in the early 1990s. The exhibition’s titular work is a large sculpture of stacked radiators, imported to Kher’s Indian studio from the United States over a period of six years. Stripped of their initial purpose as heaters, the ribbed design is dually linear and unnerving; repetitive carcasses pack the political implication of now-cold American heaters and suggest a recalibrating globalization with decreasing need for Western influence. More literally, ‘the hot wind that blows from the west’ is a reference to a summer wind called The Loo in Punjab. The region of Punjab is home to the northern border of India and Pakistan, a region fraught with conflict following post-colonial divisions.

Bharti Kher, The hot winds that blow from the West (2011)

(more…)

All photos on site for Art Observed by Rachel Willis.

Gagosian Gallery recently debuted a new body of work by German born artist Georg Baselitz. The show is comprised of ten pieces—nine oil paintings and one bronze sculpture—all standing at least nine feet in height and displaying images of abstracted human figures. Baselitz’s work has long been known for its aesthetic expression and the paintings in this show are no exception with their vibrant colors and painterly brushstrokes.

(more…)

All photos on site for Art Observed by Samuel Sveen.

Lisa Cooley‘s new Lower East Side space opened Friday night, March 16, 2012 at 107 Suffolk St after four years on Orchard Street. The inaugural show is titled Today—after the Frank O’Hara poem at the top of the press release—and promotes a participatory and communal feeling as Cooley’s full roster of artists is on display in the 4,800 sq ft, one story space. Guests were invited to sign a white canvas ‘guestbook,’ adding an additional dimension to the exchange between artist and participant. The exhibition features works from Michael Bauer, Alice Channer, Andy Coolquitt, Cynthia Daignault, Josh Faught, Frank Haines, Alex Olson, John Pestoni, Alan Reid, Erin Shirreff and J. Parker Valentine, and runs through March 25th.

(more…)

James Shaeffer at Reference Art from Richmond, Virginia.  All photos on site for Art Observed by Elene Damenia.

The second iteration of the Dependent Art Fair took place on the Saturday afternoon of Armory week, alongside several satellite fairs—including the Independent Art Fair. Dependent organizer Rose Marcus gathered 20 galleries in the Lower East Side Comfort Inn hotel, offering the two night stay for a fair fee of $400. The DIY, tongue-in-cheek fair is geared toward community and dialogue amongst its participating galleries and artists, seeking a sort of humorous—yet rigorous—elegance, leaving the intense marketing focus of other fairs to the back seat. Up and down the six occupied floors (floors 3–8, with a smoking deck on 6), visitors squeezed through the hallways and into the individual hotel rooms to see a variety of contemporary painting, sculpture, video, and installations, including a bed-ridden mini Kawasaki motorcycle at Reference Art, or made-to-order rum-fruit smoothies at Roberto Paradise.

(more…)

–>
View of frame to have picture taken with boulder in Bixby Knolls on March 7, 2012. Images on site for Art Observed by Megan Hoetger.

On Saturday, March 10 at approximately 3:00 am the 340-ton granite megalith that will be part of Michael Heizer’s Levitated Mass reached its final destination at the Los Angeles County Museum of Art (LACMA). Traveling for eleven days in the dead of night through Riverside, San Bernardino, Orange, and Los Angeles Counties, the rock arrived at LACMA to a crowd of a thousand onlookers. The megalith’s final resting place is atop a 465-foot long slot carved into the earth. Viewers will be able to walk down into the slot and underneath the rock, experiencing scale in a way that harkens back to ancient times when massive structures such as Stonehenge, Easter Island, or the Great Pyramids were constructed.

–>
View of boulder in Exposition Park area on March 9, 2012

(more…)

Gavin Brown Enterprise. All photos on site for Art Observed by Aubrey Roemer.

March 8–11 marked the third edition of INDEPENDENT, the alternative exhibition forum held in the former DIA Center for the Arts on West 22^nd Street in Chelsea. Founded by gallerists Elizabeth Dee and Darren Flook in conjunction with White Columns’ Matthew Higgs, Independent has established itself as a thoughtful and ambitious counterpoint to the annual Armory Art Show. This year marked the fair’s largest audience with attendance figures surpassing fifteen thousand. The forty-three participating organizations range from established blue chip galleries to emerging galleries as well as respected non-profits.

(more…)