Oscar Tuazon, Shelters (Installation View), All Photo credits: © Florian Kleinefenn
Courtesy of the artist and Galerie Chantal Crousel, Paris

Wordplay is the primary focus in Oscar Tuazon’s current exhibition at Chantal Crousel Gallery in Paris this month, pursuing a constantly folding, nebulous interpretation of concepts around reading, space, text and composition.  The show, Shelters, takes its title from the angular structures erected throughout the gallery, accompanied by wall-hangings and utilitarian sculptural works that offer multiple points of engagement and interaction with the viewer. Read More »

Joan Jonas, They Came to Us Without a Word II (2015), via Art Observed

This week, Joan Jonas returned to The Kitchen to present They Came to Us Without a Word,” a reprisal and reimagining of her work from the U.S. Pavilion at the Venice Biennale last year.   Working closely with a group of schoolchildren, and featuring a live score by her longtime collaborator Jason Moran, the show takes her initial project, and moves it closer towards a standalone stage production, dwelling on her interests in fragmented media, interrelated histories and meanings, and human understandings of the world.   Read More »

Anri Sala, Moth in B Flat (2015), via Art Observed

Spread across three floors at the New Museum, Anri Sala’s current career retrospective is an impressively deep, immersive offering; a lyrical, twisting series of pieces that investigate the phenomena of sound in its relations to cultural, institutional and technological containers.

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Urs Fischer, officeguy (2016), via Art Observed

Entering Gagosian’s fifth floor exhibition space on the Upper East Side, one is greeted with something of an exercise in phenomenological affect.  Smelling faintly of bacon (the artist stipulated that several slices must be cooked in the gallery space each morning), the space is adorned with sweeping brushstrokes on each of the walls, and topped with a series of aluminum panels, bearing cartoon icons twisted into abstract geometric arrangements.  The result is a twisting, surreal environment that feels as surreal as it looks. Read More »

Robert Rauschenberg, Tablet Series (1974)

Currently on view at Luxembourg and Dayan, the group exhibition In The Making seeks to shed light on the often overlooked, yet crucial creative dialogue between the artist and their assistant or assistants in the studio.  Organized by Tamar Margalit, the exhibition, which runs through April 16th, unfolds in a manner similar to a family tree, connecting infamous or remote dots in New York art scene after the 1950’s through shared studio spaces, practices, and the informal education process that often occurs in the relationship between artist and their hired team. Read More »

Adam McEwen, Harvest (Installation View), via Art Observed

Embarking on winding pathways through the landscape of modernity, Adam McEwen’s work frequently dwells on the structures and representations of cognition, discovery and intellectual unraveling, mixing consumer objects, banal materials and re-inscriptions of symbolic systems to create interconnected bodies of work that are as mysteriously compelling as they are varied. Read More »

Carroll Dunham, Mound A (1991-1992), via Art Observed

Flexing his curatorial muscle at both Skarstedt Gallery locations in New York, David Salle has compiled an intriguing collection of recent paintings by a vastly diverse group of artists, and examines their shared interests in the grounds of abstract painting: formal concerns of size, scale and focus, in combination with the compositional elements of color, contrast and hue. Read More »

Sherrie Levine, Pink SMEG Refrigerator and Renoir Nudes (2016), via Art Observed

Opening her first exhibition with David Zwirner in New York City, Sherrie Levine has taken over the 2nd floor of the gallery’s 20th Street Flagship, bringing a body of works that feels like a fitting first entry in her collaboration with Zwirner, while signaling new steps forward in her challenging and cerebral practice.

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