Candida Höfer, Schauspielhaus Düsseldorf I (2012), Image via Sean Kelly Gallery

Some of the more subtle technical and aesthetic currencies of architectural design are found in the details of space, namely, how that design deals with, circulates and shapes the spatial conceptions of any given construction. Throughout her career, Candida Höfer has captured these deep design concerns through brightly-lit and grand photographs, and the artist turns this gaze to Düsseldorf, Germany for her newest exhibition at Sean Kelly Gallery, a show of large C-Print photographs elegantly laid out throughout a two-floor, multi-series exhibition. Höfer’s work is presented in three parts: color photographs of grand interiors, multi-level buildings altered to form curving spirals, and even a series of much smaller-scale observations of space.

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Michael Heizer, Altars, via Art Observed

In Gagosian Gallery’s 24th Street Outpost, lithe, twisting steel platforms sprawl across the floor, smooth lines that undulate across the faded, industrial steppes that they lay across. In another room, an immense boulder hangs suspended from the ceiling, displayed in a case cut between two walls of the gallery so that viewers can see the rock’s sides from two separate rooms. The show could only be the work of Michael Heizer, one of the founding voices of American land art, whose new work continues his pioneering investigations into the construction of space and time along abstract, self-realized formats. Read More »

Lucas Samaras, XYZ 1700 (2015), via Pace Gallery

On view at its 25th Street galleries, Pace is currently presenting Lucas Samaras’s exhibition Albums 2, featuring over 700 digitally enhanced photographs and a mirrored room installation.  Samaras’s exhibition showcases his continued exploration of manipulated imagery as a way of plumbing his own existence, this time playing through his autobiographical accounts with digital technologies. Read More »

Lee Ufan, (Installation View), via Bria Cole for Art Observed

If tranquility could serve as a physical construct, rather than a state of mind, then a state of calm could perhaps be considered as a reconditioning of vision, a way to perceive extended relations of time, material and space.  This sense of the perceptual retooling, and its effects, is one reading offered by Lee Ufan’s continuous series Relatum and Dialogue, the most recent version of which is currently on view at Pace Gallery.   The artist tends towards a relationship between philosophy and the objects he creates with artistic significance, in order to provoke subtle perceptual reconsiderations, as proposed in his writings and contributions to the Mono-ha school of artistic practice.

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Cecily Brown, The English Garden (Installation View), Rachel Williams for Art Observed

Currently at Maccarone Gallery are a set of intimately-sized canvases by painter Cecily Brown.  Aggressively captivating beyond their small boarders, the artist’s works here ignite a series of personal experiences as viewers stand inches away from canvases no more than 18 inches in height or width. Organized by novelist and art writer Jim Lewis, The English Garden contains garden scenes rather than traditional landscapes.  Sharp lines inside Brown’s expressionist marks create additional horizons that depict mysterious and often open-ended garden scenes. Read More »

Robert Motherwell. Opens (Installation View) All Images Courtesy Andrea Rosen Gallery.

Now through June 20, Andrea Rosen Gallery will host a comprehensive exhibition of Robert Motherwell’s Open series, composed from 1967 through the 1970s, and set to coincide with the centennial of the artist’s birth.  This historical marker exemplifies the gallery’s ongoing commitment to looking to the recent past of contemporary art in order to expand upon trends currently emerging, and to trace the influence of major figures in the art world.  As the gallery’s press release states, “Opens not only allows us to compare these masterworks against the present-day focus on abstraction, but also encourages us to reconcile the breadth of Motherwell’s rigor and clarity.”  This comprehensive exhibition of one of the artist’s lesser-known series provides the opportunity to deepen public understanding of the legacy of Motherwell as an artist and a significant force in mid-twentieth century New York City.

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Karen Kilimnik, The Cold Winter Lane, The Polish Countryside, A Delft Landscape (2013) via Sprüth Magers

Artist Karen Kilimnik returns to Sprüth Magers this month, showcasing her small-scale, painted appropriations, mixed with the influence of traditional Delftware.  Kilimnik’s work focuses on expressing her own views of openness and precision, elegance and humor through a variety of mediums, often creating site-specific projects that mimic 19th Century interiors and often incorporating the design and fashion of the era.  Her small paintings overlay found imagery with new landscapes and imagined scenarios, reinforcing the atmospheric effects of the painterly surface while maintaining the scale and shape of the landscape and her palette. Read More »

Yinka Shonibare MBE, Ballet God (Apollo) (2015)

Currently on view at James Cohan Gallery is Yinka Shonibare MBE’s new body of work, including exuberant, playful sculptures along with digital prints.  The UK-based Nigerian-born artist came into recognition with his hybrid sculptures, utilizing Dutch wax fabric, a textile material of complex patterns and tight allusions to colonialism due to its long, bureaucratic history of trade.  In his recent exhibition, Shonibare weighs on a broader issue compared to his familiar themes of colonialism, political supremacy and racial identity, looking at global climate changes and growing effects of these permutations throughout the world. Read More »