Empirical Intuitive Absorption (Installation View), via Art Observed

On paper, the list of artists for Andrea Rosen’s summer exhibition, Empirical Intuitive Absorption, may raise an eyebrow or two: Fernand Léger showing alongside Graham Marks, Matthew Ronay contrasted with Serge Charchoune, all underscored by Terry Riley’s swirling compositions.  Organized by Ronay, whose recent lecture at the Perez Museum in Miami inspired the exhibition, the show takes concepts of intuition and execution as two sides of the same coin, of the replication and creation of natural models through blind aesthetic representation. (more…)

Sam Lewitt, Less Light Warm Words (Installation View), via Art Observed

The news that Swiss Institute would leave its location at 18 Wooster this summer joined a slow but steady list of high-profile departures from SoHo that included Artist’s Space and other longtime residents of the neighborhood.  With this movement from its home soon to be underway, Swiss Institute has turned its attention to a pair of exhibitions dealing with concepts of the institution, infrastructure, and urban locales as it takes its final bow in the space.  Giving the space upstairs over to artist Sam Lewitt’s installation Less Light Warm Words, while German artist Mathis Altmann takes over the gallery’s basement exhibition space, filling it with a bizarre series of pieces that mix the abject with the structural.

Mathis Altmann, Untitled (2016)

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Asger Jorn, Portrait of Odilon Redon (1958), via Art Observed

Despite a remarkably expressive hand and a pioneering range of styles, Asger Jorn’s work has long been somewhat under-appreciated in the United States. The Danish artist and COBRA co-founder’s work ranges across a broad series of compositional techniques and practices that defined him as a founding voice of post-war abstraction, yet his reputation seems almost underemphasized by comparison to his stature in Europe.  It’s this contrast that makes his show currently on view at Petzel Gallery feel like such a well-kept secret, a balanced, well-organized exhibition that spans a wide range of the artist’s practice.  (more…)

Liz Larner, xv (caesura) (2016), via Max Hetzler

Exploring recent trends in the use of ceramics and pottery in contemporary art practice, Galerie Max Hetzler has launched a group exhibition exploring not only current approaches and interests in the ancient art of ceramics, but equally placing it in the context of 20th and 21st Century practice.  Delving into the historical undertones and evolutions of the ceramic craft in the hands of those not originally trained in the medium, the show moves from the early explorations of Lucio Fontana, through to a range of works made in the past five years.

La Mia Ceramica (Installation View), via Max Hetzler

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Wolfgang Tillmans, The State We’re In, A (2015), via Art Observed

Few artists have served as such fervent and enigmatic documentarians of the modern landscape as Wolfgang Tillmans, the German-born, London-based photographer who mixes astute and often empathetic images of nightlife and youth culture alongside his more exploratory projects, mixing natural photos, landscapes, and even surreal images of technological innovations, massive building projects, or the iconography of international commerce.  For his current exhibition at Maureen Paley in London, Tillmans has allowed each of these elements to take their moment in the spotlight, creating an expansive catalog of works that feels remarkably perceptive in the context of current events.

Wolfgang Tillmans, I refuse to be your enemy, 2 (2016), via Maureen Paley

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Claire Fontaine, Caught (2016), via Galerie Neu

Working along a similar thread as Reena Spaulings (a faceless project by several Bernadette Corporation collaborators), the French “artist”/collaborative Claire Fontaine works at the margins of the 20th Century’s most iconic artistic modes: readymades, monochromes, and perhaps more broadly, the studio artist-assistant relationship itself.  Throughout each of its formats, the group delves into the space of production for the artist in modern society, a field plagued by contradictions, imbalances of power, and capitalist tendencies that they seek to outline while operating within them.

Claire Fontaine, May Our Enemies Not Prosper (Installation View), via Galerie Neu

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Berlin Biennale at the Kunstakademie, all photos via Anna Corrigan for Art Observed

While the DIS-curated Berlin Biennale is spread across a range of exhibitions and venues in the German capital, the beating heart of this year’s show is arguably the Academy of the Arts, a sleek modernist building located adjacent to the Brandenburg Gate and perched over a square heaving with tourist activity and history.  Walking into the foyer of this building, one immediately encounters a series of large, high-resolution photographs depicting warped, fragmented nationalities and identities.  Further upstairs, the cluster of screens, plastic and digital games that have come to define this Biennale buzz take over, creating a clustered, albeit striking experience of the post-digital arts landscape.  The location is densely packed with artists and works whose nationalities and political concerns range from brand-name art projects to a poignantly honest confessional rap about the refugee experience in Berlin.

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An Installation by Puppies Puppies

The 9^th Berlin Biennale for Contemporary Art, curated by DIS (the New York art collective formed by collaborators Lauren Boyle, Solomon Chase, Marco Roso and David Toro), has long promoted a vision of the future as now.  Steeping their work in the ambitious task of interrogating relationships between the human and the digital, the collective has been turned loose on the prominent art biennial, using their unique brand of commentary on politics, happiness, commercial branding and the paradox of the modern age to frame the show as a brand, a tourist trap, and a materialization of the virtual in tandem. The Present in Drag channels the discomfort and drastic uncertainty that is a product of uncertain links and porous borders established by technological advancement.  Expanding beyond its traditional venue at the KW Institute for Contemporary Art, additional sites for this Biennale are scattered throughout the city in various buildings and institutions. Its main point of departure is the Academie der Künst, located off Pariser Platz, and to the tourist mainstay Brandenburg Gate, and moves through the fabric of the city with its humorous, haunting and at times grotesque commentary on contemporary art in the digital age. (more…)

Roy Lichtenstein, Entablature (1975), via Quincy Childs for Art Observed

The Entablatures represent my response to Minimalism and the art of Donald Judd and Kenneth Noland. It’s my way of saying that the Greeks did repeated motifs very early on, and I am showing, in a humorous way, that Minimalism has a long history … It was essentially a way of making a Minimalist painting that has a Classical reference. – Roy Lichtenstein

Sometimes a show strikes a perfect balance between surprise and expectation, even more so when the works selected coincide so effortlessly that the artists seem presented anew. Castelli Gallery’s show, Donald Judd, Roy Lichtenstein, Kenneth Noland: A Dialogue, does exactly that.  Taking inspiration from a quote by Roy Lichtenstein on his Entablature paintings, the show examined each artist’s work at the intersections of the architectural and the purely aesthetic, the functional and the pictorial. (more…)

Martha Rosler, If You Can’t Afford to Live Here, mo-o-ove!! (Installation View), all photos by Osman Can Yerebakan for Art Observed

Adopting its title from Ed Koch’s response to complaints regarding New York’s rising housing concerns, Martha Rosler’s current Mitchell-Innes & Nash exhibition If You Can’t Afford to Live Here, mo-o-ove!! promises a compact look at the artist’s influential 1989 exhibition If You Lived Here…, which was exhibited at Dia Foundation as a three part show.  Similarly, this current interpretation is a trilogy, culminating in this grand finale at the Chelsea gallery and proving the relevance of issues raised almost thirty years ago in the original version. (more…)

Trevor Shimizu, Sophia’s Teddy (2016), via Art Observed

Currently on view at 47 Canal, Trevor Shimizu has realized a swirling fantasia of parenthood, a series of paintings, sculpture and video that turn the act of parenting into an otherworldly, almost surreal experience through his ragged, often comedic sensibility.     (more…)

Henry Moore, Reclining Figure Festival (1951), via Christie’s

Adding one final sale to the end of a long two weeks of auctions, Christie’s “Defining British Art” Sale this past evening notched an impressive last set of sales for the spring season, pushing a 29-lot sale of works ranging from Impressionist Masterpieces to Modernist Sculpture to Contemporary pieces to an impressive £99,479,500 final tally.  The sale saw only two works go unsold over the course of the evening, and offering an exclamation point at the end of a week that did much to challenge assumptions over the impact of the Brexit on market health in Europe.

John Constable, View on the Stour near Dedham, full-scale sketch (c. 1821), via Christie’s

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Gavin Brown’s New Exhibition Space, Ed Atkins at Gavin Brown’s, via Art Observed

Gavin Brown has headed north, finally opening his long-rumored Harlem exhibition space with an expansive show of work by British artist Ed Atkins.  Culling a diverse series pieces from the artist’s recent output, the exhibition’s awareness of its context, and its presence in this former brewery turned exhibition space, makes for a strangely surreal experience, and a striking perspective on the gallery itself.

Ed Atkins at Gavin Brown’s, via Gavin Brown’s

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Terence Koh, Bee Chapel (Installation View), via Art Observed

Since his departure from the New York art scene several years prior, Terence Koh has appeared in the art context at fits and starts; a performance here, a reading there, or an unexpected appearance at the PS1 Art Book fair in 2014, where the artist sold materials from his farm in upstate New York.  His momentary appearances implied the artist was continuing his work while living far from the madding crowd, but rarely was his work on view, or presented within the gallery context.  This changes with Koh’s Bee Chapel, a powerful install at Andrew Edlin Gallery on the Bowery that hints at Koh’s increasingly nuanced practice.

Terence Koh, Bee Chapel (Installation View), via Art Observed

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Jean-Michel Basquiat, Self-Portrait (1981), via Christie’s

This week’s Contemporary Evening Sales have concluded, following Christie’s stolid outing in London this evening, as only 4 of the auction house’s 40 lots went unsold to reach a final total of £39,566,000.  Sales were consistently focused over the course of the evening, with few works falling under estimated price.  While an early warning note was sounded with the withdrawal of the sale’s leading Gerhard Richter lot, the auction house’s commitment to placing works this evening ultimately drove it towards a strong bottom line, even if the sale held back from ambitious benchmarks or marquee lots. (more…)

Jenny Saville, Shift (1996-97), via Sotheby’s

The post-Brexit contemporary sales continued in London this past evening, as Sotheby’s capped a 47-lot offering of contemporary and post-war works, seeing all but 7 works find a buyer, and bringing in a sales tally of £52,194,000 that exceeded its initial $35 million estimates. (more…)

Anselm Kiefer, Für Velimir Khlebnikov: Die Lehre vom Krieg: Seeschlachten (2004-2010), via Phillips

The first of June’s Contemporary Art sales in London has wrapped up in London this evening, as Phillips concluded its 20th Century and Contemporary sale to mixed results and a final sales total of £11,873,000, within the evening’s sales estimate.  The 31-lot sale saw 10 of its works go unsold, while a handful of other pieces brought impressively strong prices, ultimately casting ominous, albeit foggy indications of the European market in the wake of the Brexit vote.

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Nicole Eisenman, Under The Table 2 (2014), via Art Observed

On view through this past weekend at the New Museum, painter Nicole Eisenman was showing a striking exhibition of pieces on the third floor, spanning the artist’s output over the past several decades, and underscoring her impressive creative investigations into the modes of sculpture and painting.

Nicole Eisenman, Hanging Man (2016),via Art Observed

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Yayoi Kusama, Chandelier of Grief (2016). All images via Victoria Miro.

Now through July 30th, Victoria Miro in London is presenting new works by Yayoi Kusama, spanning the gallery’s three locations and waterside garden across the British capital.  The work featured here was created exclusively for this show, including the artist’s iconic pumpkin sculptures, immersive mirror rooms, and her ongoing My Eternal Soul series. Across the work exhibited, the artist’s ongoing investment in themes of the infinite and the sublime is explicit. (more…)

Imi Knoebel, Bild 16.02.2016 (2016), via Thaddaeus Ropac

Comprised of 22 new artworks, Imi Knoebel’s current exhibition at Thaddaeus Ropac’s Paris Marais exhibition space offers a new direction for the German painter, whose decades of practice in the intersection of color field painting, shaped canvases and minimalist serialism offer a new point of departure for a series of loosely rendered, yet exceptionally vital new works, pushing his honed stylistic practice towards new experiments within the art historical lexicon. (more…)

Jean Dubuffet, Late Paintings (Installation View), all images via Timothy Taylor

Now through July 2, London’s Timothy Taylor Gallery presents an exhibition of Jean Dubuffet’s late works, featuring paintings, sculpture, and works on paper completed from the late 1960’s through to the 1980′.  Works from his L’Hourloupe cycle, pieces from the Théâtres de mémoire, as well as a selection from the Psycho-sites, Mires, and Non-Lieux series join together in the gallery space, marking the artist’s transition from traditional painter to sculptuor and conceptual architect in the late years of his prolific career. (more…)

Walter de Maria, Truth/Beauty series (detail) (1993 – 2016), © The Estate of Walter De Maria, Photo Joseph Asghar. Courtesy Gagosian Gallery

Comprising two separate series created by the artist during the course of his career, Gagosian Gallery on London’s Britannia Street has opened an exhibition of work by renowned minimalist Walter de Maria, opening a dialogue within the artist’s own body of work across decades of practice, and through a range of materials that underscore the artist’s particular approach to questions of space, subjectivity and time. (more…)

Amedeo Modigliani, Madame Hanka Zborowska (1917), via Christie’s

Early warnings about this week’s sales in London seem to have some weight to them following the sales outcome at Christie’s this evening.  The auction house’s summer Impressionist and Modern Evening Sale wrapped in London tonight with a dreary outing, closing the 36-lot auction to the paltry tune of £25,612,500, with almost one third of the works offered failing to find a buyer.

Claude Monet,  L’Ancienne rue de la Chaussée, Argenteuil (1872), via Christie’s

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Amedeo Modigliani, Jeanne Hébuterne (Au Foulard) (1919), via Sotheby’s

Sotheby’s logged its entry in the Impressionist and Modern Evening sales last evening, with a healthy, brisk sale that reached a final tally of £103,280,000, beating initial estimates with only three works unsold.  Despite a small selection of lots, the evening’s offerings saw healthy competition, and several top lots that commanded hefty final prices, even if prices tapered off quickly after several marquee works.

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