Gillian Wearing, Me As an Artist in 1984 (2014), all Photos Courtesy of Regen Projects Los Angeles.

One of the most prominent members of the Young British Artists, Gillian Wearing, who in the past few decades has established a unique and enduring voice in the contemporary discourse, is presenting her new body of work at Los Angeles’ Regen Projects. The artist’s fourth collaboration with the gallery, everyone, features two new video pieces as well as various multimedia works that juxtapose Wearing’s investigations on personal memory, confrontation with past and unfolding of angst as a direct result. Read More »

Diana Thater, Science, Fiction (2014), via Art Observed

Diana Thater’s new exhibition on view at David Zwirner’s 19th Street Exhibition is an exercise in restraint.  Consisting of a pair of video compositions and a monumental structure in a light-saturated installation piece, the artist moves towards an experience of space, both in an immediate and more figurative sense, that engages the magnitude of human experience on both macro and micro scales. Read More »

Egon Schiele, Death and Maiden (1915), via Kunsthaus Zurich

The Kunsthaus Zürich is currently presenting a historical study in portraiture and figuration over the course of a century, comparing the output of Austrian painter Egon Schiele with YBA-affiliated painter Jenny Saville, and tying together the pair’s varying approaches to powerful and, at times, visceral depictions of the human body.  Culling works from across the expanse of both artist’s careers, the exhibition seems to function both as a pair of parallel historical studies in each artist’s inspirations and development, while allowing a certain degree of overlap and cross-referencing into the various techniques each artist employed. Read More »

Mary Weatherford, La Noche (2014), via Art Observed

The Museum of Modern Art’s highly anticipated exhibition of contemporary painting, curated by Laura Hoptman, presents a cursory survey of current trends in this ever-evolving medium. Taking the concept of nonlinear time as its conceptual crux, The Forever Now: Contemporary Painting in an Atemporal World attempts to parse the impact that the daily experience of digital media has had on painting specifically, and on visual culture more broadly.  Read More »

Henri Matisse, The Snail (1953), via Art Observed

There’s a moment at the end of Henri Matisse’s landmark exhibition of his late “cut-out” works, currently on view at MoMA in New York, when the viewer emerges into the last room to view Matisse’s final canvases, immense explosions of color and form that immediately arrest the viewer with their dynamic, minimal surfaces. Read More »

Peter Doig, 100 Years Ago (Carrera) (2005-2007), courtesy of Centre Pompidou, Musée national d’art moderne and Centre de création industrielle, Paris

Currently on view at Fondation Beyeler in Basel is a survey of important oil paintings by Peter Doig (1959), as well as a number of seminal works on paper and a monumental mural.

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David Altmejd, Flux (Installation View), via Art Observed

Canadian-born, New York-based artist David Altmejd brings his uniquely executed sculptures and installations to the Musée D’Art Moderne in Paris this winter, the artist’s first career retrospective in France, and one which sees him realizing one of his most ambitious new sculptures to date, alongside a selection of his work from the past twenty years. Read More »

Richard Tuttle, I Don’t Know, or The Weave of Textile Language, (Installation View), all images courtesy Tate Modern

The largest work ever created by American sculptor Richard Tuttle (1941) is currently on view at Tate Modern’s Turbine Hall, which has been the host to some of the world’s most striking works of monumental contemporary art.  I Don’t Know, or The Weave of Textile Language was a commissioned work, composed of vast cuts of fabrics designed by Tuttle himself from both manmade and natural fibers. Three vibrant colors are hung in a bold, majestic display, making use of its coiling form to generate a sense of movement within the massive hall.

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Al Taylor, Full Gospel Neckless (Middelfart) (1997), via Art Observed

Al Taylor’s work sits at a unique intersection of material fascination and object politics.  Combining the familiar materials of modern construction and design, Taylor’s work often investigated the pairings and interrelations of objects formed not only by the human’s aesthetic agenda, but equally by the complementary formal designs of the materials themselves.  These intersections can be seen in quite stark execution currently at David Zwirner, where the gallery’s 20th Street location is currently presenting a body of work created 1989 and 1997. Read More »

Joseph Mallord William Turner, Ancient Rome; Agrippina Landing with the Ashes of Germanicus (1839), all images courtesy Tate Britain

On view at the Tate Britain is the first exhibition devoted entirely to the work of Joseph Mallord Wiliam Turner, created between the years of 1835 and his death in 1851. The show brings together major series of works including a group of square pictures highlighting Turner’s tendency towards innovation, even at the end of his life.

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