David Salle, Yellow Fellow (2015), via Art Observed

Painter David Salle is currently presenting a new body of work at Skarstedt’s Chelsea outpost, returning to his previous Product Paintings series in a set of vividly rendered prints and paintings that seem to address not only the artwork as object and commodity, but also that relation to the Post-War canon. Read More »

Kazimir Malevich, Suprematism, 18th Construction (1915), via Sotheby’s

Following the big ticket sales in Art Basel this past week, the art market’s focus will shift to London this week, where a pair of major Impressionist and Modern Evening sales will launch the last two weeks of market activity before the summer months and their lull of activity.  Both Christie’s and Sotheby’s will face off again following last month’s monumental sales results in New York, with a number of extremely impressive works offered, often with equally impressive price tags. Read More »

Richard Prince, Original (Installation View)

Richard Prince’s Original series is currently the subject of a new exhibition at Gagosian Gallery, nestled at the gallery’s Upper East Side bookstore showroom, and using Prince’s ‘arrangements’ of soft-core adult novels with artworks created for their covers, showing the next step in the artist’s fascination with collecting, ownership and presentation.  An ardent, perhaps even obsessive collector himself, Prince often mines and unfolds worn and sometimes clandestine images, not only from vintage pulps, which serve for the selection here, but also from copies of influential literary pieces, a pattern the artist has studied throughout his career of media appropriations.  A devoted member of a group of artists who started experimenting with appropriation in the ‘70’s, Prince usually employs minimal alteration to his subject matter; rearranging, editing and sometimes even rephotographing what already exists. Read More »

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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