Jenny Morgan at Mother Gallery

With the proceedings of Art Week Miami winding on, the halls at the Miami Beach Convention Center continue to draw massive crowds of both buyers and visitors, its luxe appointments and impressive stock of established blue chip works commanding big headlines and even bigger price tags. But across Biscayne Bay, the New Art Dealers Alliance had kicked off its annual take on the Miami Fair Week. NADA Miami, set up inside the Ice Palace Film Studios, puts itself forward as showcasing new art and to celebrating the rising talents from around the globe, exploring new or underexposed art that is not typical of the “art establishment,” by their words. NADA Miami is also the one of the only major American art fairs to be produced by a non-profit organization, and is recognized as a much needed alternative assembly of the world’s youngest and strongest art galleries dealing with emerging contemporary art.

Hou Zichao at Downs & Ross

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Andy Dixon at Over The Influence, via Art Observed

Located just off the beachside drag of Ocean Drive, amid the sandy hills of Miami Beach and the Atlantic Ocean, Untitled Art Fair has once again raised its posts and opened its doors for its annual show during Miami Art Week. Place amid meandering beachgoers and booming soundsystems, as well as the annual throng of Art Basel Miami Beach visitors, the fair has one of the more unique positions in a week full of unique offerings, one that balances some of the most familiar sights of the city with the impressive work on view inside.

Untitled Art Fair, via Art Observed

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Maria Lassnig, Napoleon und Brigitte Bardot (1961), via Petzel

On view this month at Petzel Gallery in New York, the gallery presents a meticulously curated look at the work of Maria Lassnig during her time in Paris. Maria Lassnig: The Paris Years, 1960–68, showcases a range of pieces rarely seen in the U.S., a formative set of works that show her exploring and honing what would become her iconic mode of portraiture and abstraction.  (more…)

David Salle, Sky King (1998), via Art Observed

Open now at the Brant Foundation Art Study Center, painter David Salle is the subject of comprehensive survey of the the artist’s work, exploring a selection of works culled from both the Brant Collections and from a series of international loans. Underscoring the artist’s continued investigation and elaboration on a range of visual languages and histories of painterly craft, particularly in his exploration and visual mash-ups and shifting perceptual frames, the show showcases Salle’s evolution, over 40 years across a broad, yet a tightly controlled visual syntax.

David Salle, Ice Flow (2001), via Art Observed

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Mark Tansey, Resight (2019), via Art Observed

Currently on at Gagosian Gallery in New York, the dealer has compiled a body of new and recent work by painter Mark Tansey, spanning the past six years of work and running through a range of both paintings and graphite drawings mixed with oil and water. (more…)

Etel Adnan, Untitled (2015), via White Cube

Artist Etel Adnan, the artist and writer whose colorful, minimalist landscapes and incisive writing about political conflict, trauma, and the Middle East made her a diverse and expressive voice in the Contemporary Arts landscape, has passed away at the age of 96. Adnan, raised in Lebanon but based in California for the past several decades, was an international literary figure, and a powerful fixture in the exploration and criticism of violence and war.

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Danh Vo (Installation View), via Chantal Crousel

Currently on view at Galerie Chantal Crousel in Paris, artist Danh Vo continues a body of work mining disparate historical and biographical threads to realize densely layered environments that challenge and complicate shared understandings of history and meaning. (more…)

Diane Simpson, Roof Shape (Ise), (2019), via JTT

Currently on at JTT Gallery in New York, Chicago-based artist Diane Simpson marks her second show at the gallery with Point of View, a show drawing on a range of architectural sources, as well as her own personal archive of drawings from the early 1980s to render a series of unique objects mixing a fanciful exploration of reality alongside conceptual operations.  (more…)

Neo Rauch, Die Pumpe (2021), via Art Observed

Currently on at David Zwirner’s New York exhibition space, artist Neo Rauch has brought forth a body of new works unified under the title The Signpost, a set of new paintings that mark his first show in New York since 2014. Known for his rich color palette and dreamy, surreal motifs, the artist’s work makes a striking return to the city.

Neo Rauch, Wegweiser (2021), via Art Observed

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Ron Gorchov, MOCKINGBIRD (2020), via Cheim and Read

Currently on view at Cheim & Read in New York, the gallery turns its attention to the late works of artist Ron Gorchov, exploring the last works the artist made between 2017 and his passing in 2020. Marking a concise summary of the artist’s work and a final look at his single-minded, painterly practice involving a curved, saddle-like stretcher that creates a painting surface that is simultaneously convex and concave, the show underscores his work in a unique and long-lasting mode of practice. (more…)

Ella Kruglyanskaya, Entrenched (2020), via Bortolami

Bortolami Gallery opens its latest exhibition this month with a body of works by artist Ella Kruglyanskaya, marking the artist’s first show with the gallery, and a continuation of her continued explorations of the human body and varied notions of femininity.  (more…)

Ruth Asawa, Untitled (S.237, Hanging Six-Lobed, Interlocking Continuous Form), c. 1958, Private Collection © 2021 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York. Courtesy David Zwirner

Marking an ambitious exploration of the life and work of artist Ruth Asawa, David Zwirner in New York is currently presenting All Is Possible, an expansive exhibition curated by Helen Molesworth that situates the artist’s iconic looped- and tied-wire sculptures in the context of her extraordinary drawings and her lesser-known sculptural forms. Presenting viewers with one of the most comprehensive looks at this artist’s work to date, the show larger context illuminates an artist in pursuit of form as a means to reshape the act of seeing, and the role of art in daily life.

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Amy Lincoln at Sperone Westwater, via Art Observed

As the art world gradually returns to the pace and flow of the days before the chaos of the Covid-19 outbreak, the ADAA Art Show returns to New York for another iteration of its curation-first focus and studied, engaged relationships between exhibitors and artists. This year, liberated from the usual hustle and bustle of the weeks around the Armory Show, the fair offered an even stronger draw, welcoming a casual, meandering pace, with its gentle lighting and wide aisles, making for a more relaxed and exploratory atmosphere.The result, as last year, was a packed few days of the fair, as scores of New York collectors, dealers and art lovers came out in force.

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Mark Rothko, Untitled (1968), via Pace

Marking the first exhibition at its new London gallery, Pace has brought out a striking body of works by Mark Rothko, focusing in particular on the artist’s output during the final years of his life, specifically smaller works on paper that have rarely been seen in public, and which will serve as the first dedicated to the artist’s paper-based practice (more…)

Sarah Sze, Crisscross (2021), via Victoria Miro

Sarah Sze brings a new body of works to Victoria Miro in London this week, continuing her meticulous and studied treatment of the painted canvas across a selection of densely layered new works. The show, which opened this past month, brings an expanded sense of Sze’s work as a painter, and an elaboration of her already well-documented interest in intense visual fields, using her concept of the image in constant generation, evolution and degradation as a centerpiece of this show. (more…)

Anne Imhof, Natures Mortes (Installation View), via Aleph Molinari for Art Observed

German multi-disciplinary artist Anne Imhof creates environments that integrate painting, drawing, video, sculpture, and performance amidst large-scale architectural installations. Following the success of her previous exhibitions, including the performance Faust, for which she won the Golden Lion at the Venice Biennale in 2017, Imhof takes over the Palais de Tokyo for her latest exhibition, Natures Mortes. This sprawling and multifaceted show is a meditation on the transience of time, on life and death, youth and desire. The ensemble of works in the exhibition echoes themes present in her previous body of work, reflecting an aestheticization of postmodern ennui in Imhof’s singular, dark, post-punk aesthetic. Going beyond the temporality of a vanitas or a memento mori, the show enters into a jarring dystopian connotation, creating a space where nature has literally died, and was replaced by a landscape of metal and glass, by a cold materiality and a dark sense of foreboding.

Anne Imhof, Natures Mortes (Installation View), via Aleph Molinari for Art Observed

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Jules de Balincourt, Old lost Horse (2021), via Praz-Delavallade

On view this month at Praz-Delavallade in Paris, the gallery presents The Greek Garden, a groups how show drawing on the writings of Friedrich Nietzsche’s The Gay Science, and using its tenants to explore notions of vanity, politics, spirituality and science. “The Greeks were superficial – out of profundity,” the text reads. “And isn’t it precisely what we are coming back to? – we spiritual adventurers, who have scaled the highest and most dangerous peak of today’s thought and looked round from up there, looked down from up there. Aren’t we, then, precisely, Greeks?”  (more…)

Tatiana Trouvé, March 23rd, The New York Times, USA; Le Soir, Belgium from the series From March to May (2020), via Gagosian

On view this month at Gagosian’s uptown exhibition space in New York, the gallery is presenting a never-before-seen body of work by Tatiana Trouvé produced in direct response to the pandemic era, drawing on the contemporary landscape to create a series of works that both trace time and reflect on the chaos of the past year. At the beginning of the COVID-19 quarantine in March 2020, Trouvé, isolated in Paris, began a series of daily drawings using inkjet-printed reproductions of various international newspaper front pages as her starting point. As the pandemic marched on, spreading instability and uncertainty throughout the world, Trouvé continued to work ever more methodically in graphite, ink, and linseed oil.

Tatiana Trouvé, April 3rd, The Star, Kenya, from the series From March to May (2020) via Gagosian

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Not Vital at Alma Zevi (Installation View)

On view at ALMA ZEVI through November 6 is SNOW & WATER & ICE by Swiss artist Not Vital. As Vital’s first solo exhibition at the Venice gallery, it coincides with the artist’s solo show in Andrea Palladio’s Abbazia di San Giorgio Maggiore, organized by the Benedicti Claustra Onlus, on the occasion of this year’s Architecture Biennale.

Not Vital at Alma Zevi (Installation View)

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Paul Thek, Untitled (Meat Piece with Chair) (1966), via Alexander and Bonin

Offering a rare opportunity to view a series of resonant historical works by artist Paul Thek, Alexander and Bonin is currently presenting a selection of works by the artist that span a range of pieces from the 1960’s into the later years of his career. Exploring the artist’s evolving aesthetic concerns and range of media and techniques, the show presents Thek’s work in relation to changing societal contexts and political situations.  (more…)

Sam Moyer, Ester (2021), via Kayne Griffin Corcoran

Artist Sam Moyer brings a body of new works to bear on Kayne Griffin Corcoran this month, continuing her investigations into scale, balance, and weight, with particular attention to the physical experience of space and the effects of natural light. (more…)

Alicja Kwade, Day Density (Installation View), via kamel mennour

On view this month, and just in time for the proceedings of FIAC, kamel mennour gallery opens a show of new work by artist Alicja Kwade, underscoring the artist’s continued exploration of time, space, chemistry, geology and biology. Through a range of sculptures, hanging works and floor installations, the artist explores the materials of physical reality, oftentimes seeking to use each one as a way to look beyond the whole. (more…)

Robert Mangold, Pace Gallery, all images by Aidan Chisholm for Art Observed

Having concluded opening hours yesterday at the Grand Palais Éphémère, a temporary installation erected at the foot of the Eiffel Tower, FIAC opened its doors to the public today, beginning a run of days at the site that once more bring contemporary and modern art to the French capital.  The first outing of the fair since it shuttered last year during Covid-19, and the first since Brexit was fully implemented, this year’s edition saw the Parisian event taking on a new role at the forefront of the European art market.

Gary Simmons, Hauser and Wirth

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Mark Grotjahn, Untitled (Backcountry Capri 54.37) (2021), via Blum & Poe

Mark Grotjahn brings a body of new work to bear at Blum & Poe this month, continuing the artist’s expressive exploration of the potentials for abstraction and gesture. Bringing a series of paintings unified under the title Backcountry, the artist’s work continues to explore a range of geometric iterations and variations on canvas.  (more…)