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All installation views of The Blue Period via Salon 94.

In his installation The Blue Period, artist Jon Kessler creates a space so heavily mediated, under surveillance by almost countless video cameras and televisions arranged, that the act of watching becomes intricately ensnared with the act of participation.  Now, for the first time, the well-known installation artist has brought the piece to Salon 94 Bowery for a one month viewing. Obfuscating the line between real and imagined, The Blue Period alters the nature of the gallery experience. Huge walls soaked with blue paint pair up with the images of various rooms, rarely in conjunction with a perceived camera position, beamed in by closed-caption television, and placed alongside manipulated film footage and other imagery. Frequently in motion, the cameras underline the act of viewing in the piece, while also forcing the gallery-goer to evaluate their position in the overall installation.

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Lucian Freud, Reflection (Self-portrait) (1985). All images © The Lucian Freud Archive.

Lucian Freud‘s work spans a seventy year trajectory on view now at the National Portrait Gallery in London in the first ever exhibition to focus solely on the artist’s portraiture, curated in collaboration with Freud over his final years. Born the grandson of Sigmund Freud in 1922 in Berlin, Germany, L. Freud passed away at age 88 last July as perhaps one of the most influential and important artists of his generation. The expansive exhibition includes works from as early as 1940 to the last and unfinished painting Freud was working on, highlighting stylistic developments that occurred over the decades. Freud’s subjects ran the gamut from his family, friends and lovers, to celebrities, criminals and aristocrats.

Lucian Freud, Girl in a Dark Jacket (1947)

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Andreas Gursky, Shanghai, (2000)

The photographic works of German photographer Andreas Gursky are currently being shown at the Louisiana Museum of Modern Art in Humlebæk, Denmark. Born in Leipzig in 1955, Gursky’s work has been renowned for its frank and imposing depictions of industrial spaces and man-made structures, presenting a so-called “dispassionate” method of photography. The show includes 40 very large works and a number of smaller pieces that comprise his oeuvre up to his most current works; each piece meticulously composed of hundreds of individual photos seamlessly combined into one large image.

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Tony Cragg, opening night. All photos for Art Observed by Aubrey Roemer.

Tony Cragg’s latest body of work is currently on display at the Marian Goodman Gallery through March 10. The show consists of 15 of the sculptor’s pieces, all of which were made in the last five years utilizing a wide variety of materials including plywood, bronze, and stone. Accompanying this exhibition are several large-scale pieces by the artist in The Sculpture Garden at 590 Madison Avenue.

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Elmgreen & Dragset with Joanna Lumley All photos on site for Art Observed by Caroline Claisse.

This morning in London the newest commission for the Fourth Plinth in Trafalgar Square was officially unveiled. This year’s winning entry is titled Powerless Structures, Fig. 101, by Scandinavian artistic duo Elmgreen & Dragset. The bronze sculpture of a young boy atop a rocking horse stands four meters high, and joins the solemn company of Trafalgar Square’s other large-scale memorial statues—dedicated to King George IV and two famous generals respectively. A gentle pun on the tradition of the equestrian military monument, Powerless Structures, Fig. 101 playfully subverts notions of strength and power, instead celebrating their absence. Unlike most monuments, Elmgreen & Dragset’s child is not intended to commemorate history, but rather symbolizes a hope for the future, a fitting choice for one of London’s most famous public spaces as the city prepares to host the 2012 Olympics this Summer.

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Gardar Eide Einarsson, Untitled (Tear Gas Scatters Demonstrators) (2012). All images courtesy of Maureen Paley, London.

Maureen Paley hosts the Gardar Eide Einarsson‘s first ever solo exhibition in the UK. A Norwegian born artist, now living and working in both New York and Japan, Einarsson’s often text-based works come with a certain irreverence. His images, whether borrowed from the internet or history, comment on social structures both in and outside of the art world. The primarily black and white works in this exhibition touch upon themes of death, destruction, and the paradox of protest.

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All photos on site for Art Observed by Elene Damenia.

French graffitist and clubster André Saraiva has set up shop inside Half Gallery for his first solo New York exhibition, having also shown at Colette, Palais de Tokyo, and Air de Paris. Bright yellow French letter boxes tagged with Saraiva’s signature “Mr. A” smiling face line one wall, love letters and colorful drawings cover the other in a loose salon style. The letter boxes were first painted in the streets of Paris—from whence they were shipped—with the artist making a few re-touches to the six boxes chosen for the New York show; Saraiva had attempted to paint every box he could there. The letters are “a somewhat anachronistic celebration of communication so closely tied to the romantic,” says the press release; watercolors of nostalgic letters impart the artist’s poetic side, some quoting Jacques Prévert or Henry Miller. Alternatively, dollar bill-based works elicit sex more graphically, one scripted, “In Pussy We Trust,” replacing George Washington’s center placement accordingly. Art Observed was fortunate enough to speak with Saraiva and gallerist Bill Powers in the following interview before the small Forsyth Street gallery earned a waiting line outside, Powers forced to turn away an additional news crew for lack of arm room.

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Joyce Pensato, 2012 Batman (2012). All images via Friedrich Petzel Gallery

The Friedrich Petzel Gallery presents Batman Returns by New York-based artist Joyce Pensato, a blend of old and new work based around the Batman motif that Pensato has been working with since the mid 1970s. Drawing, painting, and photography are her chosen mediums in this exploration of pop culture past, with clowns, Homer Simpson, Groucho Marx, Mickey Mouse, and her own creation, “The Juicer,” on display in dripping hues of black, white, and gray to create a transmutation of this distinct cartoon culture. The trajectory of Pensato’s use of color is also evident; she has only recently began to incorporate color into her otherwise black-and-white world and this will be the first time this addition is on display.

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Joyce Pensato, Installation View (2012)

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Gary Hume, The Indifferent Owl (2011). All images courtesy of White Cube.

Gary Hume returns to London for his first exhibition in the city in four years with The Indifferent Owl at White Cube Gallery. Occupying both the Mason’s Yard and Hoxton Square locations, Hume presents a collection of paintings and sculpture that shows off his streamlined aesthetic. With a muted palette and naturalistic subject matter—representations of birds and flora are dominant—The Indifferent Owl is a study in subtlety.

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Marilyn Minter and Massimiliano Gioni at the opening. All photos on site for Art Observed by Rachel Willis and Samuel Sveen.

Maurizio Cattelan, who recently swore off his career as an artist, has taken a large step into the business side of the art world. The famed artist has teamed up with longtime friend and project partner—and notable curator—Massimiliano Gioni for a new exhibition space, Family Business. Located in the front of the Anna Kustera Gallery in Chelsea, at 520 West 21^st Street, Family Business is a small non-profit venue geared towards both the making and showing of conceptually and aesthetically experimental art. The inaugural show, appropriately titled “The Virgin Show,” consists of a group of artists whose work has never been exhibited in New York before. There are a few exceptions to the rule however, with established artists like Laurel Nakadate and Mika Rottenberg showing some of their earliest works. The show was curated by Marilyn Minter who, in line with the theme of the show, has referred to herself as a “Virgin Curator.” To top off the theme, the band The Virgins played a short acoustic set, with visitors shuffled out to make room in the small space.

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Rashid Johnson, The Sweet Science (2011). All images for Art Observed by E. Damenia.

Chicago-born multi-media artist Rashid Johnson brings Rumble, an exhibition of new works, to the Hauser & Wirth uptown gallery in New York City as a precursor to his upcoming solo exhibition at the Museum of Contemporary Art in Chicago, opening this spring. Rumble is inspired by prizefight promoter Don King and takes its name from the legendary 1974 fight between Muhammad Ali and George Foreman, the Rumble in the Jungle. Hauser & Wirth’s Upper East Side townhouse is a fitting home for Johnson’s exhibition—the space was previously owned by King himself.

Installation view

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Doug Wheeler, SA MI 75 DZ NY 12 (2012). All images via David Zwirner.

At age 72, Doug Wheeler opens his first solo show in New York City at David Zwirner. A single site-specific installation, SA MI 75 DZ NY 12 challenges the finite perceptions of interior space, creating what some have called a visual “vacuum tube” in the gallery’s massive exhibition space.  Long regarded for his contributions to the “Light and Space” movement of the 1970s, the American artist works to remove the visual cues of a space, focusing instead on the materiality of light and the human perception thereof. Longing back to the days of his childhood, flying over the western desert with his father, Wheeler said in a recent interview with the New York Times, “When I was growing up, the sky was everything to me.”

Doug Wheeler, SA MI 75 DZ NY 12 (2012)

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Installation view. All images courtesy of Haunch of Venison, London.

Haunch of Venison’s newly renovated four-gallery space in London currently holds an exhibition showing ten of Britain’s more important painters of the post-war era: Michael Andrews, Frank Auerbach, Francis Bacon, Patrick Caulfield, William Coldstream, Lucian Freud, Richard Hamilton, David Hockney, Leon Kossoff and Euan Uglow. Exploring both personal and artistic relationships amongst the artists, over 40 paintings and drawings are on display, unveiling some works that have not been seen in public for years.
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Installation view. Via OHWOW.

In his first solo exhibition on the west coast, Brooklyn-based artist Daniel Arsham presents three bodies of works in the fall, the ball, and the wall. Shifting between sculpture, painting, and installation art, the works included demonstrate the diversity of Arsham’s ideas, while each enacting the subtle theatricality which has come to characterize his practice. Arsham has been identified by many sources as a rising star in the art world following his high-profile collaborations with the Merce Cunningham Dance Company choreographer Jonas Bokaer, and fashion designer Hedi Slimane. His works shift our perceptions of space, time, and the basic scientific tenants which order our embodied experience. Soft folds of fabric emerge from hard, flat walls; drips seem to slow down time and defy their natural gravitational pull; paintings confuse and distort scale.

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Daniel Arsham, Hiding Figure (2011). Via DesignBoom.

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Jean Dubuffet, Fluence (1984). All photos on site for Art Observed by Rachel Willis.

On January 19 The Pace Gallery debuted its newest exhibition, Jean Dubuffet: The Last Two Years. The show is made up of approximately 20 paintings chosen from the artist’s final body of work, from the years 1983-4. Viewers are immediately confronted with a yellow wall and a red neon sign, written in Dubuffet’s script, with the title of the show. The colors of the sign are evocative of the highly saturated primary colors present within the exhibition. The paintings are divided amongst the gallery’s two rooms; the front room is filled with the artist’s large, more cheerful paintings, while the back room hosts smaller, dark, more intimate and brooding works. These expressive acrylic paintings, with their minor figurative references, are adamantly abstract and indicative of Dubuffet’s uncompromising creative mindset during the last years of his life.

Front room at the Jean Dubuffet Opening at Pace Gallery

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All photos on site for Art Observed by Elene Damenia.

Uri Aran loves cookies. In his current show, by foot, by car, by bus at Gavin Brown’s Enterprise, the artist explores the eminent childhood snack from a variety of media, discussing them in video, capturing them in photograph, and incorporating them into his large-scale tabletop sculptures, creating a motif of seemingly childish innocence that spans Aran’s vocabulary as a sculptor, illustrator, video, and performance artist.

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Ernesto Neto, installation view of Crazy Hyperculture in the Vertigo of the World (2012). All images courtesy of Faena Art Center.

Brazilian artist Ernesto Neto inaugurates Buenos Aires’ new art space, the Faena Art Center (which opened in September 2011), with a massive net-like installation he calls Crazy Hyperculture in the Vertigo of the World. In Neto’s installation, jewel-toned webs of crocheted ropes and fabric fill the entire Cathedral Room to create a woven bridge that welcomes visitors to explore. Neto’s vision stems from the Neo-Concreto art movement, which, according to the exhibition’s description, “places the spectator at the centre of the creative action, thereby converting physical interaction into a key aspect of his work.”

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Installation View

Galerie Perrotin is currently radiating with Dan Flavin’s fluorescent light sculptures. An Installation features eight sculptural works from the years 1963–89 and three schematic drawings. 1963 was a seminal year for Flavin, as he removed all other elements from his practice to work solely with commercially available fluorescent lights. With clarity and simplicity, his constructed arrangements explore the painterly possibilities of color and light while engaging with the architectural space.

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Installation view. All images courtesy of Os Gemeos.

Os Gemeos (Portugese for ‘the twins’) are Brazilian identical twin brothers Otávio and Gustavo Pandolfo. Fermata, their latest exhibition in Vila Velha, Brazil, is a graffiti-minded colorful world of both fantasy and reality. The show consists entirely of new works, most of which were developed on site at the Museu Vale, which is an old train station now converted into a museum. The show’s name ‘fermata’ has musical roots and is defined as the interlude between musical tempos in an opera, inspiring the new paintings, interactive works, sculpture, and video. “Fermata, in this case, symbolizes the intervals needed to create the right mood for every action that will follow,” said artist Gustavo Pandolfo.

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David Hockney, The Arrival of Spring in Woldgate, East Yorkshire (2011), one of a 52-part work. All images via The Guardian 

Britain’s Royal Academy of Art is currently showing some two hundred works by ‘Royal Academician’ David Hockney. The exhibition, A Bigger Picture, is centered on fifty-two new works inspired by the Yorkshire landscape of Northern England, where Hockney has been residing on and off for the past few years. Much of the work is new, including fifty-one new works ‘painted’ with an iPad application and enlarged.

David Hockney, Winter Timber (2009)

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Shirin Neshat, Divine Rebellion (2012). All images courtesy of Gladstone Gallery.

Shirin Neshat’s newest photographic series and video installation is currently on view at Gladstone Gallery. The exhibition’s title, Book of Kings, comes from the ancient book Shahnameh (Book of Kings), a tragedy written by the Persian poet Ferdowsi in the tenth century that tells the story of the mythical and historical past of Greater Iran. A collection of portraits of Iranian and Arab youth with calligraphic texts and illustrations covering their skin, Neshat’s artistic practice examines the conditions of power within the social, cultural, and political structures in the Middle East while also addressing universal themes of the human condition.

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Installation view

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Grayson Perry, The Frivolous Now (2011). Courtesy the Artist and Victoria Miro Gallery, London. Copyright Grayson Perry. Photo: Stephen White

In the The Tomb of the Unknown Craftsman, Turner Prize winner Grayson Perry curates a show combining treasures from the British Museum‘s permanent collection and a selection of his own works. The show focuses on honoring the craftsman, the many men and women who have anonymously created craft objects throughout the ages, displaying contemporary objects alongside creations from the past two million years, according to the press release.

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Green glazed composition staff-terminal in the form of the god Bes sitting on a lotus flower with a monkey between his feet. Egypt, 664-332 BC. Copyright the Trustees of the British Museum

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Robert Rauschenberg, Canto XIV [from XXXIV Drawings for Dante’s Inferno (including KAR)] (1959–1960)

HIDE/SEEK, the controversial exhibition that was first featured at the Smithsonian National Portrait Gallery, is now on view at The Brooklyn Museum. Exploring issues of gender, sexual identity, concealment, and transgression in modern America, it simultaneously presents both a eulogy for the irreversible past and a radiant hope for the present and future. The works subtly meditate on universal themes of love, companionship, interaction, conversation, transience, transformation, dissolution, loss, and death.

Installation view

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