Thomas Schütte at Peter Freeman, all images via Art Observed

The doors have opened on the latest edition of Art Basel Miami Beach, bringing a stream of collectors and dealers into the Miami Beach Convention Center for another year of the fair’s high-profile sales, and an annual look back at the year for the art world.  Commanding a roster of over 280 galleries from around the world, the marquee event of the fall market season in the U.S., and one of the biggest social events of the art world calendar has gotten underway, with thousands flocking to the sun and sand of the Florida metropolis for one of the largest editions of the fair, which celebrates its 20th year this year. (more…)

Nairy Baghramian, Coude à Coude (2019), via Marian Goodman

With the conclusion of another year, the art world has once again turned its attention to the bustling Miami cityscape for another year of of the Art Basel fair franchise on the tip of the Florida peninsula.  Bringing together the global art community for a week of fairs, exhibitions and parties on the streets of Miami and Miami Beach, the fair and its satellites will look to further its influence and footprint in the city. (more…)

Betty Woodman, Athens (1991), via David Kordansky

On this month at David Kordansky Gallery’s New York exhibition space, Betty Woodman: Conversations on the Shore, Works from the 1990s, strings together a body of works that underscore the artist’s significant contributions and reinventions of ceramic art during the last decade of the 20th Century. The show, which marks the gallery’s first presentation of the artist’s work in collaboration with the Woodman Family Foundation since announcing the representation of her estate earlier this year, offers a selection of 13 works from a foundational and deeply original period of work. (more…)

Anselm Kiefer, des Malers Atelier (The Painter’s Studio) (2021), via Gagosian

Marking a new entry in an enduringly challenging and iconic body of work, Anselm Kiefer has opening a show of works at Gagosian in New York, continuing his work in monumental canvases that blend commanding landscapes and structures with a wide range of other materials including terra-cotta, fabric, rope, wire, found objects, sediment of electrolysis, and metal—including copper and gold leaf. Mixing the abject and the exalted, these works are imbued with gesture, a sense of metamorphosis, and alchemical symbolism. (more…)

Jonathan Monk, This Painting (Schnabel) (2022), via Casey Kaplan

Continuing a particular and often challenging brand of conceptualism in the act of painting, artist Jonathan Monk opens a new show at Casey Kaplan this month, brought forth under the title These Paintings Should.  Exhibiting a striking brand of wistful thinking, the exhibition is comprised of a collection of twelve acrylic-based paintings, each emblazoned with screen-printed text that differs from one to the next, always beginning with the phrase “This painting should ideally be hung…”. As such, each sets up an imagined reality by dictating a supposed “ideal” placement on the wall, offering an unexpected conversation with iconic artists—from Isa Genzken to Claude Monet and back.  (more…)

Sonia Gomes, Coroa de reis (2022), via Pace

On view this month in New York, and marking the first-ever solo show by the artist in the city, Pace Gallery opens a show of works by Sonia Gomes. Gomes, who is known for her use of textiles and everyday materials in her complex assemblages, brings physicality and movement to the fore of her work. On view from November 4 to December 17, this presentation, titled O mais profundo é a pele (Skin is the deepest part), showcases the artist’s impressive material and conceptual practice. (more…)

Tunji Adeniyi- Jones, Triple Dive Orange (2022), all images via Nicelle Beauchene

On view this month in New York, painter Tunji Adeniyi-Jones presents his third exhibition with Nicelle Beauchene Gallery, a show titled Emergent Properties that continues and expands on the artist’s long-standing interest in printmaking—particularly lithography and monotype work—as a formal and conceptual inspiration for new large and small-scale, oil on canvas paintings.

Tunji Adeniyi- Jones, Triple Dive Violet (2022)

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Issy Wood, My Consequences (2022), via Michael Werner

Painter Issy Wood mines a complex visual lexicon throughout her work, walking a fine line between pop observations and meticulous studies of form and space that make her canvases instantly compelling and intricate in their gathered meanings and constructions. The artist’s work continues in this vein this month at Michael Werner Gallery in New York, where the American-born, British artist presents a body of new paintings. (more…)

Firelai Baez, Fruta Fina, Fruta Estrańa (Lee Monument) (2022), via James Cohan

For painter Firelei Báez, abstraction takes it cues form alchemy; gesture and material commingling in the artist’s hands in order to realize new spaces, new forms, and new ways to see the world. Incorporating this concept into senses of the body and of the world, her works tug at the notions of how we live, and how we might rethink the material of life through new modes of transformation.  This notion sits at the core of the artist’s work in her new show at James Cohan, where a series of canvases explore these modes of thought in detail.   (more…)

Dominique Gonzalez-Foerster, Panoramism and the Abstract Sector (Installation View), via Esther Schipper

On view this month in Berlin, Esther Schipper presents Panoramism and the Abstract Sector, artist Dominique Gonzalez-Foerster’s tenth solo exhibition with the gallery. Continuing the artist’s ongoing exploration of artistic, emotional and intellectual geneaologies, extending from prior shows in 2021 and this year, the show takes the form of a 30-meter long 180°-degree curved panorama, especially conceived for the exhibition, with imagery spilling over onto a custom-printed carpet, and printed pillow books. (more…)

Amy Sherald, For love, and for country (2022), via Hauser & Wirth

Marking the artist’s first solo show in Europe, Amy Sherald, the American painter and portraitist has opened a major suite of new paintings at Hauser & Wirth London. Bringing together a selection of both small-scale works and large, monumental pieces, the show is Sherald’s largest to date with the gallery, and a shining example of her abilities in translating and expressing powerful emotional landscapes and intricate relationships through a simple, elegant color palette and meticulous use of space. (more…)

Kiki Smith (Installation View), via Timothy Taylor

On this month at Timothy Taylor Gallery in New York City, artist Kiki Smith presents a selection of new works focusing on sculpture, drawing, collage, and wall works from the 1990s that draw together Smith’s study of the human body and the natural world. Presented in a new, temporary exhibition space at 211 West 19th Street in Chelsea while the gallery renovates a new 6,000-square-foot gallery in Tribeca that will open next year, the show offers a new series of possibilities and opportunities for the artist’s work.  (more…)

Sam Gilliam, Late Paintings (Installation View), via Art Observed

Debuting a suite of large-scale paintings and works on paper executed in the last two years of his life, Pace Gallery has opened Late Paintings, a testament to artist Sam Gilliam’s commitment to abstraction. Conceived together with the artist prior to his death in June of 2022, the exhibition occupies the entirety of Pace’s Hanover Square gallery, and marks the first-ever solo exhibition for the artist’s work in the United Kingdom.  (more…)

Adrian Ghenie, Figure with Remote Control (2022), via Thaddaeus Ropac

Marking his latest engagement and exploration of the intersections of history, pop culture, and the dialogues of art history that are bound within the former, artist Adrian Ghenie presents The Fear of NOW, is an exhibition of new oil paintings and charcoal drawings at Galerie Thaddaeus Ropac. He fuses the profoundly personal with the art historical, bridging the abstract and the figurative to examine the impact of the Digital Age on the human condition.

Adrian Ghenie, Self Portrait with Favorite Book (2022), via Thaddaeus Ropac

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Emily Mae Smith, Habitat (2022), via Pace

On view this month in New York, Petzel Gallery presents a series of new works by painter Emily Mae Smith, marking the artist’s debut solo exhibition with the gallery. The painter, who blends the surreal and cartoonish with a meticulous study of space and form to create otherworldly scenes that draw on tensions between the imagined and known world.  (more…)

Do Ho Suh (Installation View), via Lehmann Maupin

On view this month in New York, Lehmann Maupin presents an exhibition of new work by London-based artist Do Ho Suh. Working across various media, including sculpture, drawing, photography, and film, Suh engages ideas of home, memory, psychic space, and displacement. In this exhibition, Suh expands on his exploration of the politics and subjectivity of memory, a concept that has remained central to his practice over the last 25 years. For this exhibition, the artist returns to his long fascination with the role of public monuments, using his signature approach towards fabric to create replicas and embellishments of items, spaces and bodies.

Do Ho Suh (Installation View), via Lehmann Maupin

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Carol Bove, Vase Face I / The Ascent to Heaven on a Dentist’s Chair (2022), via David Zwirner

Marking a continued engagement with scale, monumentality and perception through her enigmatic workings of steel and glass, artist Carol Bove has brought a new body of work to bear on David Zwirner’s Paris exhibition space. Marking a major show of new works by the artist, the show continues her use of crumpled stainless steel tubes, yet here takes these works and adds circular glass discs, all complemented by a stark, monochrome gallery environment.  (more…)

Liu Xiangdong at Lisson, all images via Art Observed

Since moving its running dates away from the hustle and bustle of Armory Week in New York, the ADAA Art Show has emphasized and capitalized on its reputation as a special and singular event in the New York and international market calendar. Liberated from the usual hustle and bustle of the surrounding fairs, The Art Show’s curatorially-focused programming and emphasis on project-based booths has made for an ever stronger draw, welcoming a casual, meandering pace, with its gentle lighting and wide aisles, all driving home its exploratory and thoughtful program. This year, the event was no different, and its return to the aisles of the Park Avenue Armory was met with enthusiasm with guests during the opening reception last night.

Zio Ziegler at Almine Rech (more…)

Edward Hopper, New York Movie (1939), via The Whitney

For Edward Hopper, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination. It was, he reflected late in life, “the American city that I know best and like most.” This concept sits at the center of Edward Hopper’s New York, a new exhibition of works by the artist on view this winter at The Whitney. Edward Hopper’s New York takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience.  (more…)

Mira Dancy, Between Worlds (2022), via Night Gallery

On view this month in Los Angeles, artist Mira Dancy presents Madonna Undone, an exhibition of new work at Night Gallery that marks her fourth exhibition with the gallery. Continuing the artist’s studied and lyrical approach to the canvas space, Madonna Undone sees Dancy executing her signature take on chromatic figuration into expanded compositional fields, her subjects exuding strength within vivid naturalistic scenes. Dancy moved from New York City to Los Angeles in 2020, and evidence of this shift in environment is alluded to throughout the exhibition: wide skies, the craggy forms of mountains, and the more impressionistic features of the landscape, such as the sun’s intensity and the heat of the air.

Mira Dancy, Madonna Undone (Installation View), via Night Gallery

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Anicka Yi, ̧W†RRñ†0 (2022), via Gladstone

Few artists in the past decade have outlined a more exploratory and incisive practice than Anicka Yi. Focusing on foreign agencies and complicit interactions with non-human actors, the artist’s interest in biology and ecology has seen her utilize bacteria, scent, and animal performers in her works, ultimately arriving at a practice that defies easy material or media classification. Yet here, in Yi’s first solo exhibition with Gladstone Gallery, the artist has turned to painting as a central tentpost of her practice, and presents a body of works that seem to function as a complement and study of the materials so often present in her other works.  (more…)

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Beatriz Milhazes, Roda Piao (2021), via Pace

This month at Pace’s New York flagship, artist Beatriz Milhazes has installed ten vibrant, large-scale paintings created between 2021 and 2022, as well as a large scale mobile sculpture that underscores and exemplifies Milhazes’s uncanny ability to forge dynamic, unified choreographies with seemingly disparate elements, patterns, and hues. Drawing inspiration from European Modernism, Baroque decorative arts, the Brazilian Antropofagia movement, and other art historical sources, Milhazes continues her enervating plays of color and form in her paintings, collages, prints, and installations. (more…)

Jessi Reaves, Bad Apartment Shelf (2022), via Bridget Donahue

On view currently at New York space Bridget Donahue, artist Jessi Reaves has returned to the gallery with a new body of works that continue and expand her uniquely inventive turn on sculpture, drawing on shared languages of design, interior space, domestic languages and the possibilities of these elements to work in tandem, here taking shape in a series of floor sculptures and hanging works, investigating and reposing questions of varied histories of making, and how they ultimately converge, twist, and reform. (more…)