(more…)

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…)

Andra Ursuţa, Erotic Cobwebs (2021-2022), via David Zwirner

This month in London, David Zwirner plays home to Joy Revision, an exhibition of work by artist Andra UrsuÅ£a, marking the Romanian-born, New York–based artist’s second solo presentation with the gallery. The exhibition will debut new photograms and lead-crystal sculptures that stem from a premodern conception of art as an essential tool to deal with mortality, loss, and grief. (more…)

Rodney Graham, Untitled (2022), via 303 Gallery

Rodney Graham, the Canadian artist whose restless and relentless body of work moved across photography, video, painting, and even music, has passed away at the age of 73 after a battle with cancer.  (more…)

Helen Marten, Third Moment Profile | The Almost Horse (Installation View), via Sadie Coles HQ

On view during the run of exhibitions and shows surrounding the bustle of Frieze London, Sadie Coles HQ’s fall exhibition welcomes the work of artist Helen Marten this month, playing on notions of monumentality, scale and production through a range of motifs and concepts. Centered on a single conceit: the attempt the depict a horse, the show unfolds through a range of materials and modes that underscore the artist’s conceptually rigorous, yet playful approach to art-marking. In each instance, a sense of the inaccessible stands in the way of success, failing to materialize a horse through language or image.

Helen Marten, Third Moment Profile | The Almost Horse (Installation View), via Sadie Coles HQ

(more…)

Christina Forrer, Sepulcher (2021), via Luhring Augustine

On view this month in New York, artist Christina Forrer marks her second exhibition at Luhring Augustine, on view at the gallery’s Tribeca location, with a series of new weavings and drawings, continuing her expressive and enigmatic approach to the medium with a range of works that mix together powerful symbolisms with an animated and vibrant sense of energy.  (more…)

Erika Verzutti, Churros and Rain (Installation View), via Andrew Kreps

Tactile in its approach, Erika Verzutti’s practice rests between sculpture and painting, drawing on a wide range of references from nature to popular culture. Shapes derived from fruits or vegetables recur alongside familiar objects, self-referential gestures, and images culled from social media to form a new vernacular. Firmly rooted in studio practice, Verzutti’s work revels in its process and explores how disparate ideas and perceptions take on a physical form. For her most recent exhibition at Andrew Kreps in New York, the artist continues that mode over a range of materials and approaches.  (more…)

Claudio Parmiggiani, Untitled (2022), via Bortolami

On view this month at Bortolami Gallery in New York, artist Claudio Parmiggiani has installed a body of new work that continues his enigmatic and materially-oriented approach through a range of new canvases. Utilizing simple operations of fire and ash posed against a stark white canvas, Parmiggiani’s work in the show makes the most of the most simple of operations to create lyrically rich subject matter.

Claudio Parmiggiani, Untitled (2022), via Bortolami

(more…)

Jack Pierson at Regen, all images via Art Observed

With the fall months pressing on, the annual fair stretch between London and Paris is an annual event, with galleries shuttling between the two European capitals for the usual run of art fairs. But this year, with FIAC sitting out on a 2022 edition, Art Basel has filled a gap in the annual fair offerings, opening the first run of a new fair, Paris+ at the Grand Palais Éphémère from Thursday, October 20 to Sunday, October 23, 2022. Bringing together 156 leading French and international galleries for this first program, the fair continues its reputation for exceptional artworks across all media – from painting and sculpture to photography and digital works. (more…)

Mary Heilmann, Glassy Wall (2020), via 303 Gallery

A California native, Mary Heilmann has been gazing out at the ocean since the age of three, and this fascination with the landscape and climate of her home state continues in her work to this day. Across Heilmann’s surfaces, waves swiftly build in one canvas before crashing over into the next. This notion sits at the center of Heilmann’s current show, Daydream, on view at 303 Gallery in New York. (more…)

Urs Fischer, Denominator (2020-2022), via Art Observed

Continuing his enigmatic and playful engagement with the languages of artistic production, pop culture and materiality, artist Urs Fischer returns to Gagosian in New York this month for a strikingly surreal and technologically-driven body of new works, unified under the title Denominator. Exploring concepts of data compilation and agglomeration, as well as the meanings that systems of organization and exhibition create, the show uses digital imagery as a structure of recontextualizing and complicating the act of creation and the understanding of an image.  (more…)

New York Art Book Fair (Installation), via Art Oserved

The leaves are changing in New York City, the fall equinox is on its way, and the time has once again come for the New York Art Book Fair to open yet again, kicking off its latest edition of a unique and energetic exhibition of young artists, publishers, writers and thinkers, each representing a small part of the national and international art publishing community.  Always free and open to the public, the event draws more than 35,000 individuals including book lovers, collectors, artists, and art world professionals each year.  (more…)

Anthea Hamilton at Thomas Dane, all images via Art Observed

As the chill of autumn washes over the British capital, another year of the Frieze London art fair has opened its doors, bringing with it a stream of sales and installations across its spacious halls that make for a fitting center to one of the city’s busiest art events. Opening in the midst of a challenging moment in British politics, the fair continued its role as a major staple of the fall art season, with impressive attendance and ample sales that seemed to ensure that the British art market was still showing its resiliency in the face of economic and political uncertainty.  (more…)

Cathy Wilkes (Installation View), via Ortuzar Projects

On this month at Ortuzar Projects in New York, artist Cathy Wilkes has orchestrated a subtle, yet incisive series of paintings, sculptures and readymades that continue her work in establishing tenuous and compelling narratives through delicate spatial arrangements. Marking her first show in New York since her her acclaimed solo exhibition at MoMA PS1 in 2017, this new installation combines subtle paintings, objects, and Wilkes’ characteristic papier-maÌ‚ché figures. Visions of landscapes and interiors from her childhood are often recognizable in the work, collapsing and reforming time and space repeatedly. Employing what the artist has called “hypostatic abstraction and intense social realism,” the exhibition conveys themes of separation, suffering, infancy, and fragility. (more…)

Lucy Bull, 17:50 (2022), via David Kordansky

On view this month at David Kordansky Gallery New York and artist Lucy Bull present Piper, her first solo exhibition in New York, featuring new paintings that underscore her use of resonant color, intensively worked vocabularies, and disorienting spatial experimentation. While Bull’s vision of abstraction takes shape on the canvas with abundant force, her approach is also notable for its insistent openness, which favors the creation of associative and narrative possibilities rather than the execution of pre-determined ideas regarding composition or any of the other constituent parts of painting.

Lucy Bull, Piper (Installation View), via David Kordansky

(more…)

Madsaki, Untitled (2022), via Perrotin

Over the course of the past decade, artist MADSAKI has achieved success as a painter exploring and undermining dichotomies between high and low art, good and bad taste, and the nature of both skill and precision in the act of painting. Drawing on visual resources that range from the classics throughout art history to newspaper images and pop culture icons, often embellished with spray paint applied with lose splatters and pools of color, the artist’s work often pulls at threads around the notion of painting as an “elevated” art form, instead using it as a jumping off point for broader conversations of image culture and production. For the artist’s most recent show at Galerie Perrotin in Shanghai, the artist takes a new approach, exploring landscape painting as a new mode of practice.  (more…)

Zoe Leonard, Untitled (2020/2022), via Hauser & Wirth

This fall in New York, Hauser & Wirth plays home to a selection of images culled from artist Zoe Leonard’s latest work Al río / To the River (2016 – 2022), a six-year undertaking in which the artist photographed the 1,200-mile stretch along the Rio Grande / Río Bravo that runs between Mexico and the United States and is used to demarcate the border. Using geographical landmarks and the political connotations drawn from them, the work is a subtle, yet commanding meditation on borders, landscapes, and the politics that develop from them. The full work, ‘Al río / To the River,’ encompassing hundreds of photographs, debuted at MUDAM, Luxembourg, in February, and will travel to the Musée d’Art Moderne, Paris this fall. Hauser & Wirth’s exhibition presents excerpts from this epic project for the first time in the United States. (more…)

Dan Colen, Woodworker (Violin) (2022), via Art Observed

On view this month at Gagosian Gallery, artist Dan Colen returns with a new body of paintings that continue, and complete, a series of Disney-inspired pieces that he first began in 2003, as well as pair of sculptures by the artist’s father, Sy. Titled Lover, Lover, Lover, the show draws on the aesthetics of classic animation stills to reflect on the presence and absence of the many “lovers” that come and go over the course of one’s life. The show, conceived of during another pivotal moment in the artist’s life, explores this perception in concert with ideas of tradition, influence, and the always-fraught American dream. (more…)

Mario Ayala, Truck Stop (Installation View), via Jeffrey Deitch

On view this month at Jeffrey Deitch Gallery in New York, artist Mario Ayala brings Southern California’s Inland Empire to bear on the East Coast, ruminating and celebrating the landscape of California with a series of paintings and sculptures, including a truck stop chapel, tire shop and roadside billboard installed in the gallery to create the context for his new work. Ayala’s meticulously crafted paintings extend the American Pop tradition into the present, drawing on a unique combination of art historical and vernacular influences shaped through his own life experience. (more…)

Jill Mulleady, The Remedy (2022), via Gladstone

Continuing a body of work that mines peculiar tensions and surreal moments, artist Jill Mulleady presents a series of new works at Gladstone Gallery in New York this month. The artist, whose work fuses together memory and the imaginary in a range of permutations and versions, here exhibits an impressive selection of pieces that span her own aesthetic capacities as much as they do subject matter.  (more…)

Christina Quarles, Try n’ Pull tha Rains in on Me (2022), via Hauser & Wirth

Hauser & Wirth presents its first solo exhibition with Christina Quarles this fall at its New York exhibition space, bringing together a body of new works that continue the artist’s own investigations into the human form, human identity, and their constructions amidst the art historical and within the modern discourse of American and world culture. (more…)

Renee Cox, Springs WinterWonderland (2021), Image courtesy of Superposition Gallery

On view at Eastville Museum (Eastville Community Historical Society) is a group exhibition titled “Resilience,” honoring the Eastville Museum in Sag Harbor—an institution founded in the 1980s to preserve the history of Black and Indigenous people in the community. Curated by Storm Ascher, the exhibit brings together 21 contemporary artists who have been called to respond visually to the curatorial theme of resilience. The Eastville Museum is situated within the Sag Harbor Hills, Azurest, and Nineveh Subdivisions, (a.k.a SANS) region of Sag Harbor, one of the oldest Black communities of the Hamptons, established in the 1940s. The tight-knit coastline community of SANS, written about at length in Pulitzer Prize winning author Colson Whitehead’s autobiographical novel, Sag Harbor, was officially added to the National Register of Historic Places in 2019.
(more…)

Marco Pariani, ABANDONED TREE (2022), via Cheim & Read

This month, Cheim & Read presents Marco Pariani: Trees and Traditions, an exhibition of new paintings and drawings by the Brooklyn-based, Italian-born artist that marks his second show with the gallery. Citing Christmas trees and decorations as a secondhand reference point here, the show casts an ironic eye on the stress, materialism, and forced good cheer endemic to the holiday season, with Pariani focusing in particular on the inflatable decorations that bloom across suburban lawns and town squares as the holiday approaches. (more…)