December 24th, 2015
Brice Marden, Eastern Moss (2012-2015)
Brice Marden is the subject of a solo exhibition that spans three all three 22nd street locations for Matthew Marks Gallery, unveiling a new body of paintings and drawings that continue a number of the artist’s ongoing interests with the narrative potential for color. The works on view here possess a demure yet captivating appeal, underlining the New York-based artist’s continued interest in the intersections of 20th Century abstraction, broader art histories, and the use of color-field composition in varying applications. Read More »
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December 23rd, 2015
Jeff Koons, Gazing Ball (Fragonard Young Girl Playing with her Dog) (2014-2015)
Challenging the established notion of history as linear entity, art history often manifests itself as an intergenerational pattern, embedding variant heterogenous theories, movements and phenomena onto compound structures, while just as often disregarding its most sound chronological hierarchies. Jeff Koons, whose current exhibition at Gagosian Gallery continues his entries in his series of Gazing Ball works, takes this opportunity to scrutinize the constellation of art history, drawing his own threads and theories through a diverse and complexly interrelated series of works. Read More »
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December 22nd, 2015
Mark Bradford, Deimos (2015)
Over the past several years, Mark Bradford has had something of a meteoric rise in the art world, garnering impressive recognition, critically and commercially for his exhilarating painterly style and vivid shifts in form and technique . Committed to creating uncompromisingly grandiose and ambitious works of art, Bradford has been the subject of rightfully increasing acclaim, most recently proven by his solo exhibition Scorched Earth at the Hammer Museum in his hometown Los Angeles, and his recent commission for a massive installation to accompany his upcoming retrospective at the Hirshhorn Museum in Washington, DC. Read More »
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December 19th, 2015
George Baselitz, Untitled (2015), via Rae Wang for Art Observed
Intertwining his own personal artistic process with distinct threads of historical reference, wry humor and disparate aesthetic threads, Georg Baselitz is currently on view at Gagosian Gallery’s 980 Madison space for a small exhibition of new works, positioning the artist’s drawings and watercolors as a “visitation,” as the artist terms it, by Japanese ukiyo-e master Katsushika Hokusai.
Georg Baselitz, Visit from Hokuskai (Installation View)
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December 18th, 2015
Willem de Kooning, Clamdigger (1972), via Art Observed
It’s an interesting trajectory to follow when an artist, late in their career, strikes out into new media, carrying over a fully articulated, steady aesthetic sensibility that has been honed over decades of work. The results are often dynamically contrasted against the artist’s broader body of work, and often evinces a renewed creative energy and a fresh vigor for formal investigation or subversion.
Willem de Kooning, Seated Woman on a Bench (1972), via Art Observed Read More »
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December 17th, 2015
Joseph Kosuth, Agnosia, an Illuminated Ontology (Installation View), all photos via Osman Can Yerebakan for Art Observed
A preeminent member of the pioneering group of conceptual practitioners that sought to dissolve art making from declarations of objective emotion or feeling, Joseph Kosuth remains a marker stone for the reach and potential for Conceptual Art, still using his work to scrutinize the limits and definitions of contextual meaning, often removed from primarily aesthetic concerns, at age 70. Agnosia, an Illuminated Ontology strikes the viewer as a large-scale installation orchestrated by Kosuth at Sean Kelly Gallery, where the artist, who splits his time between New York and London, is showing his first exhibition since 2011. Read More »
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December 16th, 2015
Rudolf Stingel (Installation View), Copyright the artist, courtesy Sadie Coles HQ, London
Italian artist Rudolf Stingel takes over both of Sadie Coles HQ’s locations in London this month, bringing with him a typically enigmatic body of work that combines the artist’s interests in the role, transformation and translation of the painted image, taken in conjunction with its relation to photographic context, time and the natural world. Read More »
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December 16th, 2015
Donald Judd, Untitled (1979), via Rae Wang for Art Observed
Over the course of his sculpting career, Cor-ten steel remained a consistent source of inspiration for Donald Judd, its variance in texture, hue and responsiveness to light offering the artist a malleable yet solid framework to continue his investigations in spatial interaction, light and time throughout his pieces. Taking this material fascination as its starting point, David Zwirner is presenting a series of pieces from across the artist’s career, joined together by his use of Cor-ten, and underscoring the metal’s complementary characteristics when applied towards Judd’s aesthetic project. Read More »
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December 15th, 2015
Marina Abramovic and Igor Levit, Goldberg (2015), photo by Marco Anelli
Over the course of the past two years, Marina Abramovic’s work has shifted towards the meditative, and the participatory simultaneously, a seemingly dissonant set of parameters that have resulted in a range of peculiar performances experimenting with sensory deprivation, mediated experiences of space, and gentle brushes with the artist’s person, as she acts as a guide through her own created environments. Her practice continues this month at the Park Avenue Armory, where the the artist has partnered with pianist Igor Levit for Goldberg, a meditative concert of J.S. Bach’s Goldberg Variations. Read More »
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December 13th, 2015
Nari Ward, We the People (2011), via Sophie Kitching for Art Observed
Positioned just off the MacArthur Causeway in downtown Miami, the Perez Art Museum stands as a striking icon of Miami’s new art world caché, and seems to be a favorite auxiliary stop among Art Basel fairgoers each December. Its lush, airy Herzog de Meuron design and expansive gallery spaces host one of Art Week Miami’s more popular evening events with its annual commission performance. This year, the museum has opened its doors to a series of impressive exhibitions during Miami Art Week, including a group exhibition titled Global Positioning Systems, and a retrospective dedicated to Jamaican-born artist Nari Ward.
Nari Ward, We the People (2011), detail, via Sophie Kitching for Art Observed
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