Abstract Painting (894-1) (2005) by Gerhard Richter, via Marian Goodman Gallery

Currently on view at Marian Goodman Gallery in New York is “Abstract Paintings” by Gerhard Richter. The most recent presentation of the artist’s work in New York since his solo exhibition at Marian Goodman in 2005, the exhibition features major works by the artist from 2005 to the present including a new cycle of paintings entitled “Sindbad” (2008) and also individual paintings with medium to large format abstractions. In addition, Richter has displayed a new group of large scale near-monochrome paintings with underlying chromatic structures layered in veils of translucent white paint.

Abstract Painting (894-2) (2005) by Gerhard Richter, via Marian Goodman Gallery

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Bringing attention to the theme of repetition– a detail of view of the caged parrot, part of Broodthaers’s minimal and highly conceptual installation.(2009) Via Peter Freeman.

Currently showing at Peter Freeman, Inc. in New York is an exhibition of Marcel Broodthaers’s installation entitled “Ne dites pas que je ne l’ai pas dit – Le Perroquet” (Don’t Say I Didn’t Say So – The Parrot”.) The show marks the first time that Broodthaer’s installation has been exhibited in the United States. The show, in its entirety, consists of two palm trees, an African gray Parrot, a glass case displaying Broodthaers’ catalogue from his 1966 exhibition at the Wide White Space gallery in Antwerp (along with a reprint from 1974), and a recording of the artist himself, reciting one of his poems: “Moi Je dis Je Moi Je dis Je…”. Broodthaers formed the concept for the 1974 installation as a kind of symbolic setting in which the booklet for his solo exhibit at Antwerp’s Wide White Space Gallery could later be presented.

An installation view of Broodthaers’s exhibit at Peter Freeman, Inc. (2009) Via Peter Freeman.

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Walter De Maria: The Broken Kilometer via Dia Art Foundation

On long term display in Soho since 1979 under the Dia Foundation, The Broken Kilometer (1979) consists of “500 highly polished, round, solid brass rods, each measuring two meters in length and five centimeters (two inches) in diameter.” The rods are placed in five parallel rows, with 100 rods making up each column. This monumental sculpture weighs 18 3/4 tons and would measure 3,280 feet, if all 500 rods were laid end-to-end. The rods’ placement increases by 5mm, with the first two rods placed a mere 80mm apart and the final two rods positioned 580 mm apart. The work is placed in a spacious room illuminated by metal halide stadium lights. Altogether, the piece is approximately 45 feet wide and 125 feet long. De Maria completed The Broken Kilometer in 1979, and it has been on long-term view to the public ever since.

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Slow-motion shadow in color (2009) by Olafur Eliasson, via Kanazwa Museum

Now on view at the 21st Century Museum of Contemporary Art in Kanazawa, Japan is “Your Chance Encounter” featuring new works by the Danish/ Icelandic artist Olafur Eliasson.  Often employing the use of light, wind, waves, and other elements from nature as material in order to explore the workings of human perception, in these new works the artist once again investigates the nature of human perception by creating works which make use of the design of the 21st Century Museum of Contemporary Art.

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A detail view of literary texts within a dessert terrain diorama, from Gonzalez-Foerster’s exhibition at the Hispanic Society of America.  Via Dia Art Foundation.

Currently showing at the Hispanic Society of America is an exhibition by Paris and Rio de Janeiro based artist Dominique Gonzalez-Foerster.  The show, which  functions as a kind of expansion of the society’s renowned research library,  consists of a range of twentieth-century literature installed in a series of three dioramas, by reference to their place of origin. The various texts, written by some 40 authors, hail from three distinct geographical regions: the dessert, the tropics and the North Atlantic. Entitled “chronotopes and dioramas,” the site-specific project is the third in a series of contemporary art exhibitions commissioned by the Dia Art Foundation for the Hispanic Society of America, which rests in the Washington Heights section of Manhattan. Organized by the Dia Art Foundation’s curator at large, Lynne Cooke, the exhibition marks Gonzalez-Foerster’s first major solo show in the United States.

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An installation view of one of Gonzalez-Foerster’s modeled oceanic terrains, (2009) Via Dia Foundation. “I always wanted to be a writer, but writing is very difficult for me,” the artist has said. “Slowly I accepted the idea of a kind of expanded literature, you might say.”

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Installation Still from “Only God Knows I’m Good” (via Lehmann Maupin)

Lehmann Maupin Gallery has opened a new solo show by British artist Tracey Emin at their Lower East Side location. Emin, most notorious for her 2005 work “Everyone I Have Ever Slept With 1963 – 1995” deals primarily with issues of lust, dreams, and the alienation of sex.

The media in “God Only Knows I’m Good” is varied: the artist employs embroideries, video, monoprints, sculptures, and neons. The embroideries encompass most of the show: sexed-out figures reminiscent of Egon Schiele’s awkward nudes writhe across large-scale canvases made from blankets. A plethora of small drawings also populate the gallery, inviting a more intimate viewer relationship. Tongue-in-cheek texts accompanying these figures offer either a shock of revulsion or a dark humor. “I can’t feel,” the women say, as they fondle themselves. “Every fucking time,” reads another. Both acutely personal and universal, Emin insists the women in her portraits are not directly autobiographical, but rather symbolic of prurience and loneliness. Her use of rudimentary spelling and a shaky line also imbue the work with a kind of disturbing naïveté, given the strong content of the imagery.

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Paul McCarthy “[Shit Pie (White Snow)]” (2009), at Hauser & Wirth.

Hauser & Wirth’s New York gallery is showing an entirely new collection of works by Paul McCarthy. “White Snow” presents two sets of drawings, created through and commenting on the classic fairy tale “Snow White.”  It brings together one of the original versions of the story, the 19th century German “Schneewittchen [Snow White],” and Disney’s 1937 re-imagining of the beloved folk tale.  The show closes on December 24.

Paul McCarthy, “[White Snow] Inside the Dwarfs House” (2009), at Hauser & Wirth.

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Memory (2008) by Anish Kapoor, via The New York Times

Anish Kapoor‘s Memory (2008), a site-specific work now on view at the Guggenheim in New York, is the fourteenth commission project launched by the Solomon R. Guggenheim Foundation and the Deutsche Bank. Conceived to engage two different exhibition locations at the Guggenheim museums in Berlin and New York, the work is made of a skin of Cor-Ten steel only eight millimeters thick.

Press Release [The Guggenheim]
Inside, Outside, All Around the Thing [NY Times]
Guggenheim Turns 50, Lays Anish Kapoor an Egg [The L Magazine]
Anish Kapoor [Frieze]
Anish Kapoor Installation Opens as Part of Museum’s 50th [Artdaily]

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Still Life Bread (2009) by Ugo Rondinone, via Sadie Coles

Now on view at Sadie Coles in London is Ugo Rondinone’s ‘Nude.’ The Swiss artist displays new sculptures from his ongoing ‘still.life.’ series. Objects such as tree trunks, walnuts, potatoes and other objects normally found in still-life paintings are cast in lead-filled bronze and displayed throughout the gallery.

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Girl Woods (2008) by Jeff Koons, via Gagosian Gallery

Currently on view at the Gagosian Gallery in Beverly Hills is “New Paintings” by Jeff Koons.  This new body of work suggests a departure from the artist’s usual rendering of familiar yet banal objects within glossy surface textures. These works appear to be more literal, abstract and gestural yet also follow the tradition of figurative painting.  They also engage in a dialogue that is cultural and intellectual by referencing major figures in modern art such as Gustave Coubet and Salvador Dali.

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Mike Kelley, “Horizontal Tracking Shot of a Cross Section of Trauma Rooms,” (2009) Via Gagosian.

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On the back side of “Horizontal Tracking Shot of a Cross Section of Trauma Rooms,” are TV color bars, interspersed with videos depicting family life found on YouTube. (2009) Via Gagosian.

Currently showing at Gagosian Gallery in New York is an exhibition of paintings by Mike Kelley entitled “Horizontal Tracking Shots.” The show is Kelley’s first exhibit in New York which is devoted solely to paintings. In the past, his collaborative and solo shows have involved elaborate multimedia sets, symbolic performance art, theatrical spectacles, drawings and installation works. This body of work grew out of one of Kelley’s previous exhibitions entitled “Extracurricular Activity Projective Reconstructions,” a kind of auto-biographical, multi-faceted project that began in 1995, involving sculpture, video narrative and themes of trauma and repressed memory.

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Women and Blackboard from Take Care of Yourself (2007) by Sophie Calle, via The Whitechapel

Now on view at the Whitechapel in London is Sophie Calle’s  exhibition Talking to Strangers. Hailed for her photographic and film installations, Calle is known as one of France’s foremost female conceptual artist.  Her often obsessive and voyeuristic projects examine the many notions by which human identity is constructed. She has been known to ask a stranger to sleep in her bed and invite an author to command her destiny. Such social interactions involve a complete act of trust for circumstances where trust is normally termed taboo.

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Simon de Pury DJing at the opening of his exhibition ‘PUREPURYGRAPHY’ in Berlin via Interview

Auctioneer Simon de Pury of Phillips de Pury & Company has stepped out from behind the rostrum and into the role of exhibiting artist at a show this fall at the upscale clothing store The Corner Berlin in Berlin’s fashionable Mitte district. The exhibition is comprised of 40 large-scale photographs taken by de Pury on his various travels, under the title ‘PUREPURYGRAPHY.’ Another 400 photographs are included in the accompanying catalogue. The photographs range wildly in subject matter and style, touching on luxury brands, contemporary art, urban architecture, and nature. At the opening of the exhibition, de Pury, who said his “ultimate musical hero is Prince,” DJed a mix of 80s hits and power pop, a night given the title of PUREPURYPOP, which Interview called ‘a blissful Bar Mitzvah-style bash.‘

PUREPURYGRAPHY
DJ Da Pury is in da Berlin house [The Art Newspaper]
A First Time for Everything [Interview]
Simon de Pury Exhibits Photos, Spins Turntables [Lindsay Pollack]
In the Air: Star Ambitions [Artinfo]
The Talented Mr. de Pury [Luxury Culture]
Purepurygraphy, Berlin [Harper’s Bazaar]
The art market: The talented Mr De Pury [Financial Times]
Best Link Ever! It’s Hammertime for Simon de Pury! [Art Fag City]

Simon de Pury’s ‘Multiple Choice.’ via PUREPURYGRAPHY

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Rouge Triomphant (Triumphant Red) (1959-1963) by Alexander Calder, via Gagosian Gallery

Currently on view at the Gagosian gallery in Rome is ‘Monumental Sculpture’ by Alexander Calder.  Taking place at the same time as the current Calder retrospective at the Scuderie Quirinale, also in Rome, the Gagosian Gallery displays an exhibition of the artist’s monumental sculpture created between 1948 and 1964.

Press Release [Gagosian Gallery]
Alexander Calder: Monumental Sculpture [In Rome Now]

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Installation view of Ed Ruscha’s artist book: On the Road by Jack Kerouak

For the Los Angeles based artist Ed Ruscha, the road carries a symbolic connection to his artistic beginnings as well as the culture in which he thrives. His intimate reflection on the aesthetic and emotion of traveling or just the nature of moving from one point to another is the subject of a book tribute to Jack Kerouac’s On the Road and an exhibition at Gagosian gallery in London. Ruscha’s work is also presented in a large retrospective of the artist’s ouevre at the Hayward Gallery in Mayfair.  Both shows reflect a trajectory and development of one of the most groundbreaking American artist of the 20th century. Tha Gagosian Gallery show runs through November 28th and the Hayward retrospective ends on January 10th, 2010.

An artist’s book of the classic novel by Jack Kerouac “On the Road,” 2009. Ed Ruscha via Gagosian Gallery
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Untitled (Smile-ism No.14) (2006) by Yue Minjun, via Arario Gallery

Smile-isms, an exhibition of a new set of 28 original prints by the internationally renowned Chinese artist Yue Minjun, is now on view at the Arario Gallery in New York City. The prints depict the iconic laughing face of the artist in various states from solitary play to humorous camaraderie. The joyful self-portraits reveal an unexpected viewpoint on the idea of personal freedom and satisfaction in contemporary Chinese society.

Exhibition Page [Arario Gallery ]
Yue Minjun Smile-isms at Arario Gallery in Chelsea [The Me Magazine]
Yue Minjun [Artinfo]
Yue Minjun “Smile-isms” [NY Artbeat]
Yue Minjun: Arario Gallery [Arthag]

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Georges Seurat, ‘Le Bec du Hoc, Grandcamp’ (1885). Via Kunsthaus Zurich.

Currently showing at the Kunsthaus Zurich is an exhibition of some 70 paintings and drawings by one of the fathers of modern art and masters of the Pointillism movement, Georges Seurat. The exhibition, entitled “Figures in Space,” is notable as the artist’s work has rarely been represented in European museums east of Paris.  Most of the collection is on loan for a limited time from special public and private collections in London, Paris, New York and Washington.  Seurat’s work demonstrates a kind of scientific manifestation of Impressionism—bringing rationalism into the picture through the application of geometry to figures, objects and landscapes. His artwork introduced a revolutionary, scientific groundwork to the Impressionistic technique.

Related Links:
Georges Seurat ‘Figure in Space‘ (Kunsthaus Zurich Museum)
Georges Seurat at the Kunsthaus Zurich (Expatica)
Kunsthaus Zurich Presents Work by One of the Fathers of Modern Art, Georges Seurat (ArtDaily)
Zurich Exhibition Fails to de Seurat Justice (Swisster)

Georges Seurat’s ‘Etude d’ensemble (Etude pour ‘Un Dimanche a la Grande Jatte)’ (1884). Via Kunsthaus Zurich.

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Winter Timber (2009) by David Hockney, via Artnet

Currently on view at PaceWildenstein in New York is David Hockney: Paintings 2006-2009. The two-venue exhibition at 32 East 57th Street is on the occassion of David Hockney’s first exhibition of new paintings in New York in over 12 years. Praised by Charlie Finch as “one of David Hockney’s best ever exhibitions,” the show features recent landscape paintings of the artist’s native Yorkshire, including 14 new works that have never been exhibited before.

Press Release [PaceWildenstein]
David Hockney: Paintings [NY Artbeat]
David Hockney: Recent Paintings [Hockney Pictures]
David Hockney: Critic’s Pick [New York Magazine]
A Walk in the Wood [Charlie Finch, Artnet]

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Graham Sutherland, “Black Landscape” (1939-40). Via Telegraph.

On view now through January 2010, “The Dark Monarch” explores “the influence of folklore, mysticism, mythology, and the occult on the development of art in Britain.” The name of the exhibition alludes to St. Ives artist Sven Berlin’s controversial autobiography, which has been republished since it was first withdrawn following legal action. The exhibition focuses primarily on works that draw a relationship with the “landscape and legends of the British Isles.”

Damien Hirst, “The Child’s Dream” (2008). Via Telegraph.

Related Links:
The Dark Monarch: Magic and Modernity in British Art [Guardian UK]
The Dark Monarch [Tate St. Ives]
The Dark Monarch Review [Dazed Digital]
Tricks of the Light: Weird Visions in Art [The Independent]
The Dark Monarch [BBC Cornwall]

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Georgia O’Keeffe, “Abstraction White Rose” (1927). Via NY Times..

On view now until January 2010, the Whitney Museum of American Art is featuring abstract works by Georgia O’Keeffe. The exhibition contains over 130 paintings, drawings, watercolors, and sculptures by O’Keeffe, including selections taken from Alfred Stieglitz’s photographic portrait series of the artist. “Abstraction” will be accompanied by a fully illustrated catalogue, which follows O’Keeffe’s celebrated career and life.

Related Links:
Georgia O’Keeffe: Abstraction [Whitney Museum of American Art]
In Full Flower, Before the Desert [NY Times]
Out of the Erotic Ghetto [NY Magazine]
Georgia O’Keeffe: Abstraction [Time Out: New York]
Georgia O’Keeffe, Whitney Museum, New York [FT.com]
Love It Or Hate It, O’Keeffe’s at the Whitney [New York Observer]
Painting a New Picture of Georgia O’Keeffe [The Wall Street Journal]

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Iris (We share our chemistry with the stars) MQ 2801 (2009) by Marc Quinn, via Mary Boone Gallery

Currently on view at Mary Boone Gallery is Iris, featuring new paintings by Marc Quinn. Each work depicts large renditions of the iris of the human eye spotted and permeated with bright colors.  Such new works refer back to Quinn’s recurring themes of the body and identity, flesh and the spirit. The works examine the significance of the eye, which since Biblical times have been likened to representations of the soul.  The works also recall earlier works by Quinn such as Self (1991), in which the artist’s head was cast in his own blood, where he similarly examines the act of bringing the inside out.

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Bayon Sunbow 67 (2009) by Marc Quinn, via Mary Boone Gallery

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The Nominal Three (to William of Ockham) (1963) by Dan Flavin, via David Zwirner

Now on view at David Zwirner in New York is the city’s biggest Dan Flavin show in over a decade.  Last month the gallery announced that it would have exclusive rights over the Estate of the New York minimalist who died in 1996.  Series and Progressions opens at David Zwirner’s West 19th Street complex in Chelsea on November 5th. Curated by Tiffany Bell, the exhibit reveals Flavin’s use of progressives and serial structures which the artist incorporated throughout his career.

Press Release [David Zwirner]
David Zwirner to Hold First Dan Flavin Exhibition: Series and Progressions [Artdaily]
Recalling Flavin [NY Times]
David Zwirner Planning New York’s Biggest Dan Flavin Show in Over a Decade [The L Magazine]
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Installation view of Adansonias at Galerie Thaddaeus Ropac in Paris via gallery’s website

Terence Koh, a controversial Canadian multimedia artist, has premiered his first solo show with Galerie Thaddaeus Ropac in Paris. The enigmatic exhibition cum installation cum operatic performance in two parts distinctly embodies Koh’s ouevre. The gallery is transformed via the artist’s multitude of references to mythology, identity, power, religion, fashion and sexuality. In addition to the time-based pieces Koh presented on October 6th and October 22nd, on display are various objects and wall pieces executed in the artist’s signature white monochrome style. An amalgam of drawings, photographs, and collages document the experimental opera project and reflect the influence of Parisian architecture and sensibility on Koh’s art.

A photograph of Adansonias opera performance staged by Terence Koh and 8 white-clad participants via Galerie Thaddaeus Ropac

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Richard Serra’s ‘Opened Ended’ via Gagosian Gallery

On view now at Gagosian Gallery‘s West 21st Street location are two large sculptures by Richard Serra. ‘Blind Spot’ and ‘Open Ended’ are similar concentric structures each made of six weatherproof steel plates. ‘Open Ended’ was first exhibited at Gagosian’s London gallery last year and this current exhibition marks the New York debut of both works.

Richard Serra: Blind Spot/Open Ended [Gagosian]
Recent Richard Serra Sculptures Coming to Chelsea [L Magazine]

Richard Serra’s ‘Blind Spot’ via Gagosian Gallery

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