Martin Puryear, Looking Askance (2023), via Matthew Marks

Marking the latest exhibition at both Los Angeles exhibition spaces, Matthew Marks has launched an expansive of works by Martin Puryear that also makes for the artist’s first solo show in the city in over 30 years. Compiling a range of works that revisit Puryear’s material adventurousness and tight examination of structural and historical progressions, including seven sculptures made over the past five years in a variety of media including wood, bronze, and stone.

Martin Puryear, Happy Jack (2020), via Matthew Marks

(more…)

Hermann Nitsch, Selected Paintings, Actions, Relics, and Musical Scores, 1962–2020 (Installation View), via Art Observed

Marking a major exploration and presentation of the artist’s work, Pace Gallery is currently showcasing a selection of paintings, scores and relics from artist Hermann Nitsch, an impressive collaboration with the artist’s Foundation that also celebrates the first English translation of his autobiography.  (more…)

Minerva Cuevas, In Gods We Trust (Installation View), via kurimanzutto

For more than three decades, artist Minerva Cuevas’s practice has been rooted in research-based projects concerned with economic and environmental issues and their socio-political impact. Focused often around Mexico and its particular political, social and cultural frameworks, the artist mines history and images to create new awarenesses and notions of contemporary life. On this month at kurimanzutto in New York, Cuevas continues that practice.  (more…)

Trevor Shimizu, Tulips (2023), via 47 Canal

Cycles, on view this month at 47 Canal, marks artist Trevor Shimizu’s fifth solo exhibition with the gallery, and a continuation of his enigmatic and studied engagement with disparate painterly languages. Presenting nine new paintings, varying in scale and unrelenting in spirit, the artist continues to push further through the genre model of landscape painting, and past his painterly personas. (more…)

Cy Gavin, Untitled (Grass Growing on a weir) (2022), via Gagosian

Gagosian presents an exhibition of new paintings by Cy Gavin this month in New York, marking the artist’s first exhibition with the gallery. Gavin’s landscape paintings transmute subjective responses to specific places into expansive works with striking palettes and fluid, gestural brushwork. Composed in dimensions that are in keeping with the scale of experience, these paintings interpret the sites and processes of the natural world. In this body of work, Gavin concentrates on subjects he finds in the vicinity of his studio in New York’s Hudson Valley. He proposes a conception of landscape in relation to his status as a citizen and steward of the land, developing ways to explore themes of growth, renewal, and belonging. (more…)

Anish Kapoor, Blood in the Sky III (2022), via Regen Projects

This month in Los Angeles, artist Anish Kapoor has brought forth a new body of large-scale paintings that continue the artist’s mining of visceral experience, phenomenological experiments and dense, colorful compositions as a site for the visualization of the perceptual experience. Over the last 40 years, Kapoor has engaged a diverse range of media and materials to probe the qualities and contradictions of form and perception. This is the artist’s seventh exhibition with the gallery since 1992 and the first devoted entirely to his painting practice. (more…)

Jess Xiaoyi Han, Implosion (2023), all image photography by Cooper Dodds via Ross+Kramer Gallery

Currently exhibiting at Ross+Kramer Gallery’s Chelsea location is Chinese artist Jess Xiaoyi Han’s debut solo show Implosion, a series of her most recent paintings which explore abstract articulations of internal fluctuation and transformation. This new body of work, painted with alkyd on canvas, reflects an evolution in the young artist’s meticulously controlled and expressionistic style —the compositions are increasingly crowded with frenetic arrangements while still maintaining a cohesive and meditative fluency. Han’s luminous canvases, saturated with a vibrant, candy-colored palette, burst with streams of fluid brushstrokes, emanating a sense of dynamic movement through illusionistic space.

(more…)

Emma McIntyre, We will invent new roses (2023), via Chateau Shatto

On this month in Los Angeles, local favorite Château Shatto presents a body of new paintings by Emma McIntyre, unified under the title Pearl Diver and marking the first show for the artist at the space. Embracing a gestural and expressive mode of mark-making, the works here see the artist running through a range of approaches and techniques, each time exploring notions of density, movement and space. (more…)

Kara Walker, Harper’s Pictorial History of the Civil War (Annotated) (Installation View), via Art Observed

For over two decades, artist Kara Walker (b. 1969) has been making work that weaves together imagery from the antebellum South, the brutality of slavery, and racist stereotypes. Her work has stirred controversy for its use of exaggerated caricatures that reflect long-standing racialized and gendered stereotypes and for its lurid depictions of history. This mode of work takes center stage in a body of new prints on view this spring at the New York Historical Society, which challenge and re-examine methods of depiction and representation of history through pointed interjection.  (more…)

Tony Oursler, SpEcTrUm (2023), via Lehmann Maupin

Compiling a body of new work this month, Lehmann Maupin presents mAcHiNe E.L.F. by Tony Oursler, the pioneering new media artist whose diverse combination of multimedia projects, immersive environments, expansive outdoor installations, and dynamic dolls, ghosts, and bots that liberate video from its traditional two-dimensional format and bring it into the realm of sculpture have long served as a powerful and expressive exploration of modern culture.  (more…)

LaToya Ruby Frazier, More Than Conquerors: A Monument for Community Health Workers of Baltimore, Maryland 2021-2022, (2021 – 2022) (Installation View), all images via Gladstone

Marking its first show with artist LaToya Ruby Frazier, Gladstone Gallery has installed a body of work by the artist that pays tribute to and commemorates the work of healthcare workers during the course of the Covid-19 Pandemic. Centered around More Than Conquerors: A Monument for Community Health Workers of Baltimore, Maryland (2021-2022), which marks its first installation in New York, the show makes for a fitting reflection on several exceedingly challenging years for the United States and its healthcare workers.  (more…)

Mark Manders, Writing Skiapod (Installation View), via Tanya Bonakdar

Taking over the Los Angeles outpost of Tanya Bonakdar, artist Mark Manders marks his fifth solo show with the gallery, and his first in LA since 2010. Continuing his exploration of rooms as a container for expressive and surreal arrangements of material, the artist here takes on a range of explorations of language and expression. (more…)

Gedi Sibony, Her Seven Morning Sentiment (2015), via Greene Naftali

Artist Gedi Sibony presents a range of new works this month at Greene Naftali in New York, continuing the artist’s studied interrogation of spatial dynamics, color, and form, all explored through a range of sculpture and painting.  Titled I Was Like Wait, the exhibition stages a series of encounters, expansive and confounding.

Gedi Sibony, I Was Like Wait (Installation View), via Greene Naftali

(more…)

Charles Atlas, A Prune Twin (Installation View), via Luhring Augustine

On view this month, Luhring Augustine presents A Prune Twin, the gallery’s third solo exhibition with pioneering film and video artist Charles Atlas. The showmarks the debut of the titular piece, a multi-channel installation with sound and video originally commissioned by the Barbican Centre, part of the show Michael Clark: Cosmic Dancer. Atlas and Clark were longtime collaborators, and this show marks something of both a tribute and compendium of their work together.

(more…)

Leidy Churchman, Niki de Saint Phalle! (1) (2021), via Matthew Marks

On view at Matthew Marks in New York this month, artist Leidy Churchman presents a body of twenty-four monotypes, showcasing an expressive and engaging aspect of the artist’s already dynamic and expressive practice. Turning their hand towards print-making in a series of varied and interesting works, the artist seeks to catalyze the feeling of images and thoughts in human consciousness. By giving attention to each image, the artist hopes to encourage what they have described as “an immersion and transformation of the world from an intimate perspective; a richer, rounder view of the moment from within the mind.”  (more…)

Joel Mesler, RABBI (2022), via Cheim & Read

Painter and longtime gallerist Joel Mesler presents a body of new works at Cheim & Read’s uptown exhibition space this month, bringing together works on paper and new paintings under the title The Rabbis. In a dramatic shift from the artist’s prior work, the pieces here depict a series of Jewish Rabbis, continuing a long history of the depiction of these religious figures. (more…)

Roberto Cuoghi, P(VIPs)po (2020), via Hasuer & Wirth

This winter at Hauser & Wirth’s New York exhibition space, Italian artist Roberto Cuoghi brings a new body of work, Pepsis, to view. Deliberately mixing artistic genres, styles and subjects, the show is presented as Cuoghi’s attempt to free himself from his own stylistic and artistic assumptions and experiences. (more…)

Candida Höfer, Dominikanerkirche Sankt Andreas Düsseldorf II 2011 (2011), via Sean Kelly

On view this month at Sean Kelly in New York City, architect Toshiko Mori curates a show of works by the famed German photographer Candida Höfer. Known for her documentation and exploration of architectual structure, form and space, the exhibition performs an interesting double operation on the artist’s work, presenting her views of architectural space through the lens of one who designs these same environments.  (more…)

Future Shock (Installation View), via Lisson Gallery

Marking a a group exhibition of artists emerging from the 1970s, interconnected among their influences and collaborators as well as the next generation of artists working in video, painting and sculpture, Lisson Gallery‘s current group show, Future Shock, expands across both of the gallery’s New York spaces featuring fruitful collaborations, key early works, and recent, pertinent compositions by the participating artists. (more…)

Chiharu Shiota, Signs of Life (Installation View) via Art Observed

In a hyper-connected world, artist Chiharu Shiota’s work questions the notion of the “web”, a living organism similar to the structures that make up the universe or the neurons our brains are built on. Creating immense interwoven masses of thread, the artist’s work twists and turns through three-dimensional space, creating immense installations and walls of color that present as dream-like, visual riddles. For the artist’s most recent show at Galerie Templon in New York, she continues this practice with a new installation.

Chiharu Shiota, Signs of Life (Installation View) via Art Observed

(more…)

Anne Imhof, EMO (Installation View), via Art Observed

Marking the largest presentation of the artist’s work to date in the United States, Anne Imhof’s solo exhibition EMO, which opened this month at Sprüth Magers’s Los Angeles exhibition space, brings together several bodies of work across multiple mediums, putting each in dialogue with found objects in ways that implicate visitors’ bodies as they move through the space, at turns exalting and frustrating the viewing experience. Imhof, who has pioneered a visceral and impassioned body of work over the past decade, has long drawn on discourses of youth culture, repressed energies, pop signifiers and a range of cultural and social frameworks to explore the body’s relation to society, and the contingent effects each have on the other, here returns to the labyrinthine structures of previous shows to explore these notions once again.  (more…)

Peter Fischli, Ungestalten (Installation View), via Reena Spaulings and Gaga

In his wide-ranging oeuvre, artist Peter Fischli carefully observes and draws from the everyday world to create sculpture, installation, video and works on paper that address similar concerns to those explored as part of his collaborative practice with his late collaborator David Weiss. The artist’s work, so often centered around often overlooked, quotidian aspects of everyday life, sees him posing that same in an experimental and humorous way. For his current show, on now at the shared Reena Spaulings and Gaga exhibition space in Los Angeles, Fischli takes that interest towards a specific set of models: traffic lights.  (more…)

Llyn Foulkes, Birthington (2022), via Gagosian

On view currently at Gagosian’s Beverly Hills exhibition space, artist Llyn Foulkes brings a body of works that continues his wry, expressive and often caustic sense of humor. Highly diverse, tough to categorize, and often wickedly confrontational, Foulkes’s landscape and portrait paintings, mixed-media constructions, and narrative tableaux are presented as a continuation and expansion of his ongoing challenges and critiques of the American mass-media landscape. (more…)

Rita Ackermann, Vertical Vanish (2021), © Rita Ackermann, Courtesy the artist and Hauser & Wirth Photo Thomas Barratt

On this month in Los Angeles, artist Rita Ackermann has brought forth a series of new canvases at Hauser & Wirth’s expansive Los Angeles exhibition space, showcasing the artist’s continued exploration and reinvention of the painterly language. Composed primarily of large-scale oil paintings that intuitively recast the interplay of line, color and form, Vertical Vanish makes a game of repeated gestures, figures and motifs.

(more…)