Virginia Overton, Untitled (2015 ), all images courtesy White Cube

On view in London at White Cube in Mason’s Yard is an exhibition of new large-scale minimalist sculptures by American artist Virginia Overton. The exhibition is Overton’s first in the UK.

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Allora & Calzadilla, Raptor’s Rapture (2012) all images courtesy Philadelphia Museum of Art

On view at the Philadelphia Museum of Art is an exhibition of recent work by Puerto Rico-based artists Jennifer Allora and Guillermo Calzadilla. Entitled Intervals, the projects on display allude to the notion of the interval: “the time between events, the measure between two points in space, or the range between musical notes.”

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Allora & Calzadilla, The Bell, The Digger, and the Tropical Pharmacy (2013), all images courtesy Lisson Gallery

Cross Section of a Revolution, on view at Lisson Gallery in London, brings together seven artists and pairs of artists whose work explores questions of trade, contested territory and trauma in a global context. These substantial themes are approached through a variety of mediums that speak to both individual and collective experiences in Central Asia, Pakistan, Kenya, Europe and the United States,opening lines of inquiry into aspects of cultural and political fragmentation, and reveals strategies for art and aesthetics in relation to cultural, geographic and religious division. This group exhibition does not shy away from inspiring or explicitly asking large questions about the nature of globalization and aesthetics. For instance: how is a modern understanding of culture, politics, and religion shaped or impacted by a continual flow of visual information?  Read More »

Subodh Gupta, This is not a fountain (2011), via Ross Maddux for Art Observed

Subodh Gupta’s most recent show at Hauser and Wirth is an exercise in the personal.  Long known for works combining the intensely personal with broader social constructs and ritualistic approaches to the art object, his current exhibition places an even more central focus on the intensely personal, communal relations life in India, and his emphasis on the unifying, material structures over which daily life proceeds. Read More »

Call and Response (Installation View)

Since its establishment at its Broome street location in 1994, Gavin Brown’s Enterprise has stood as one of the stables in the New York gallery scene, maintaining a distinct profile partially due to its non-Chelsea location and partially by its founder’s ubiquitous presence in the art world. Brown himself emerged in the 90’s as one of the young dealers in the then-booming market, and built himself into one of the world’s leading dealers, proven by his inclusion into The Guardian’s 2014 list of ‘the most powerful people in the art world’. Read More »

On Kawara, July 16th, 1969 (1969), via Art Observed

Taking On Kawara’s work at face value, one could imagine that the artist had been preparing for years for a career retrospective.  His near-endless stream of date paintings, accounting records for every book he read or person he met, and his series of postcards and maps are a record of the artist’s daily experience as he lived it, leaving behind a steady stream of locations, times and movements from each day of his life. Read More »

Jésus Rafael Soto, Ambivalencia en el espacio color no. 12 (1981) all photos via Galerie Perrotin

On view at Galerie Perrotin, both in Paris and in New York is a double exhibition dedicated to Venezuelen artist Jesús Rafael Soto, who lived from 1923-2005. Curated by Matthieu Poirer, the exhibition is comprised of around sixty works created between 1957 and 2003, drawn from the estate and from various institutions.  The title of the exhibition, Chronochrome, is meant to describe “the kinetic exploration of the monochrome,” a reference to the filmic production process that underscores the artist’s interest in multiple layers of carefully executed optics, creating a subtly shifting and alternating space within works for the viewer to discover. The eye’s movement back and forth, often between the two layers, the artist hoped, would produce a sense of visual vibration and a new perception of color.

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The New York Times profiles Edward Dolman, current head of Phillips, and his mission to turn the smaller auction house into a perennial competitor with Sotheby’s and Christie’s in the field of Contemporary Art.  “The trouble is the old business model services all collecting categories, and that puts stress on the cost base of these companies,” Dolman says.  “Christie’s and Sotheby’s are almost like institutions that are struggling to provide a broad range of services across tastes, age groups and art forms. This is difficult to sustain.” Read More »

Brendan Lynch, Not Quite Spring (2015), via Art Observed

The Still House Group has always presented something of the enigmatic in their works and performances, lifting objects and materials directly from the quotidian landscapes of modernity and refashioning them as something of a compositional element, or a compositional subject in their own right.  Take Brendan Lynch for example, the young painter whose work has embraced slurs and gobs of paint, concrete, and plastic water bottles as elements for surreal installations.  A certain commodity element dominates Lynch’s work, blended in with a certain material fascination with surfaces and textures. Read More »

Christian Marclay, Actions: Smak Squish Splsh (No 2) (2013), all images via White Cube

In his most recent  solo exhibition at the White Cube Bermondsey space, Christian Marclay presents a number of new works exploring the connection between image and sound, performance and artifact. From static onomatopoeias screen printed on canvas, to words racing around a video projection, to live performances within the gallery, Marclay explores the role of sound in art from numerous perspectives and forms, particularly in how they translate from one medium to the next. Read More »