On the Nature of Things (Installation View), via Andrew Kreps
On view this month at Andrew Kreps Gallery, the gallery presents a meditation and exploration of the history of Assemblage, culling together a range of works that span over eighty years and drawing from the work of more than forty artists who explored and shaped that mode of practice. (more…)
Kathleen Ryan, Bad Peach (Bite) (2022), via Josh Lilley
On view this month at Josh Lilley’s London exhibition space, artist Kathleen Ryan presents a new body of works, presenting a series of intriguing topographies and structures that mix together engaging mechanical and organic symbolisms to create peculiar, surreal objects. Walking a line between cityscapes, cells and circuit boards, Ryan’s work mines an engaging and resonant set of commentaries on modern life, suspending her images and objects in a space between technology and bodies.
Kathleen Ryan, Bad Melon (Double Rainbow) (2022), via Josh Lilley
The Patriot (Installation View), via O’Flaherty’s
O’Flaherty’s, the gallery project of painter Jamian Juliano-Villani, has, in its short time, has built a reputation for challenging and engaging shows, operating a program that has made the small gallery a central voice in the representation of young artists and historically resonant projects overlooked by larger galleries. It should be no surprise then, that the pioneering space would take an equally iconoclastic and engaged approach to the summer groups show, lampooning the format with The Patriot, an open call exhibition that has packed the gallery to the gills with art for the past month.
The Patriot (Installation View), via O’Flaherty’s
Raoul de Keyser, Come on, play it again nr. 2 (2001), via David Zwirner
On view through the end of this week at David Zwirner’s Hong Kong location, artist Raoul de Keyser presents a selection of works the continues and elaborates on a previous show at the gallery in 2021. Among the notable works that will be on view are representative paintings from the Belgian artist’s seminal Come on, play it again; Hal, and Hayward series, made during the height of his career, from the middle of the 1980s to the 2000s. (more…)
Cayetano Ferrer, Surrogate Pylon Display Unit (replica) (2015-22), via Petzel
Marking its entry in a summer of group shows, Petzel Gallery’s uptown space hosts Commonwealth and Council, a show dedicated to the Los Angeles gallery of the same name, celebrating over ten years of work supporting young artists and the growth the gallery has seen in recent years. Founded in 2010, Commonwealth and Council has committed itself to a dynamic program building counter-narratives that reflect individual and collective realities. On view here, artists Cayetano Ferrer, Gala Porras-Kim, Nikita Gale, rafa esparza, and Suki Seokyeong Kang, showcase interests and focuses on the underrepresented, acknowledging that meaning occurs at a host of myriad idiosyncratic registers—and propose alternative modalities of knowledge, speech, and value systems. (more…)
Hugh Hayden, all images via Art Observed
Lisson Gallery wades into summer group show month with The odds are good, the goods are odd this year, a group exhibition that highlights a new generation of New York-based sculptors. Bringing together artworks across a range of mediums, the presentation showcases the divergent ethoses behind sculpture-making today. The featured artists favor the handmade, creating a spectrum of artworks that range from the polished and conceptual, to the raw and visceral. (more…)
The British Museum is testing the waters on a “Parthenon partnership” that could send the Elgin Marbles back to Greece, Bloomberg reports. “What we are calling for is an active ‘Parthenon partnership’ with our friends and colleagues in Greece,” says deputy director Jonathan Williams, noting that the move seeks to “change the temperature of the debate” around the disputed works. (more…)
Barbara Kruger, Untitled (Your body is a battlefield) (1989/2020), via David Zwirner
Barbara Kruger makes her first outing with David Zwirner Gallery this summer, marking her inaugural show with the exhibitor three years after announcing she was joining the mega-gallery. Spanning the gallery’s three locations on West 19th Street in New York, the show is a monumental review of her work, and quite a timely one. Kruger powerfully and directly engages with viewers through a distinctive visual language, utilizing images, text, and technology as tools of communication to reveal and question established power structures and social constructs, challenging power structures through their direct address. (more…)
Andreas Gurksy, Bauhaus (2020), via Art Observed
On view this summer at Gagosian New York, photographer Andreas Gursky compiles a selection of both new and recent images, continuing his documentation and exploration of the landscape of modernity. Gursky’s large-scale photographs evoke the global flow of information, the chaos of contemporary life competing with the classical desire for order. He portrays the visual extremes of the present moment with an objective eye, capturing built and natural environments on a grand scale in richly detailed images of autobahns and cruise ships, mountains and waterfalls. While comparable in their scope to early nineteenth-century landscape paintings, Gursky’s works retain the precision of photography. Many have been digitally manipulated, and often reveal a sensitivity to the damaging effects of human systems on the natural world. (more…)
Catechism (Installation View), via Bridget Donahue
Throughout the layout of the current group exhibition at Bridget Donahue, one can’t help but trace the works as a series of pointing arrows. Bright colors and strange, lumpen arrangements seem to trade barbs with each other, while other works create a series of conversations on typography and text, design and craft. In each case, the show seems to tug at a series of half-ideas, as if allowing the show to breathe anew in each moment of encounter.
Evelyn Reyes, Four Carrots, Pink (2004-2009), via Bridget Donahue
Robb Pruitt, Avery (2022), via 303 Gallery
On view this month at 303 Gallery, a body of new work by Rob Pruitt marks a continuation of the artist’s mining of the tension between comic renditions, heightened emotional states, and deep, rich engagements with the history of pop art, all centered around his latest series of Face paintings. (more…)
Sarah Ortmeyer, DAVID (2022), via Galerie Eva Presenhuber
Combining together a series of works and a range of different approaches and series from her practice, artist Sarah Ortmeyer presents a selection of pieces at Galerie Eva Presenhuber this month, united under the title SPORTS CLUB NEW YORK.
Oli Epp, Surrogate (2022), via Perrotin
On view this month at Galerie Perrotin, artist Oli Epp collects a range of works that mine a strange and otherworldly relationship with the language of painterly figuration and abstraction. Presenting a series of tightly constructed images that twist and warp bodies into playful new iterations, his works on view moving from human figures to animals to objects, always returning to the same deconstructive approach.
Oli Epp, Dead Center (2022), via Perrotin
B. Wurtz, Untitled (2017), via Garth Greenan
On this month at Garth Greenan Gallery in New York, artist B. Wurtz presents Monuments, featuring a number of the artist’s playful sculptures and mixed media works deconstructing elements of scale and monumentality and marking the artist’s first show at the gallery. Known for his repurposing of everyday flotsam into joyous, humorous, and beautiful sculptural objects. The works in the presentation, spanning the past four decades of Wurtz’s career, take the language of the everyday, and transpose it, creating strange tensions and relationships between materials. (more…)
Claes Oldenburg
Artist Claes Oldenburg, a foundational voice in the development of American contemporary and pop art, has passed away at the age of 93. Known for his monumental constructions that turned every day objects into large-scale sculptures and installations, the artist’s work re-created a range of iconic American images. “My intention is to make an everyday object that eludes definition,” he said. “I’ve expressed myself consistently in objects with reference to human beings rather than through human beings.” (more…)
Jeppe Hein, Changing Spaces (Installation View), via Art Observed
This summer, artist Jeppe Hein has installed Changing Spaces, an interactive public art installation on Rockefeller Center’s Center Plaza, a swirling torrent of “liquid architecture” that continues the artist’s use of space and phenomenon to encourage visitors and passerby to stop and interact with the work. (more…)
Nicola L., We Don’t Want War (1974-75), via Alison Jacques
Marking the first large-scale exhibition of artist Nicola L. in the UK, Alison Jacques brings together an expansive selection of works by the artist. The show, presented in partnership with the Nicola L. Collection and Archive, Los Angeles, anticipates a forthcoming monograph, published by Apartamento in Autumn 2022, and a major survey at Camden Art Centre in 2024. (more…)
Paul McCarthy, A&E, MOTHER, Santa Anita session (2021), via Hauser & Wirth
Confronting the complex mechanisms of power, politics, desire, and history, artist Paul McCarthy opens a show of new works on view at Hauser & Wirth in his home of Los Angeles this month capping a new series of “A&E” drawings, an offshoot of Paul McCarthy’s ongoing video series with German actor Lilith Stangenberg. An initialism for Adolf & Eva, Adam & Eve, and Arts & Entertainment, ‘A&E’ is a multi-disciplinary project that evolved out of the artist’s film project NV Night Vater (2019 –). Originally drawing from Liliana Cavani’s sadomasochistic erotic drama The Night Porter (1974), the project continues McCarthy’s exploration of the origins of fascism, Hollywood, the contemporary art world, and the current political climate.
Paul McCarthy, A&E, Adolf Adam & Eva Eve, Santa Anita session (2021), via Hauser & Wirth
Michelangelo Pistoletto, Uomo che guarda attraverso la gabbia (2018), via Simon Lee
Marking a newe perspective on the storied output of artist Michelangelo Pistoletto, Simon Lee Gallery has opened a show of recent works by the Italian artist. For his fifth exhibition at the gallery, the artist presents a series of mirror paintings that reflect on themes of captivity, isolation and restriction at a fractured moment in contemporary history. (more…)
Harold Ancart has joined the roster at Gagosian after leaving David Zwirner, the gallery announced this week. (more…)
Michael Williams, Frogs 9 (2022), via Eva Presenhuber
Over the course of his work, painter Michael Williams has developed a suite of interconnected paintings out of a drawing, not uncommonly focused on a human figure or surrogate. In the case of Frogs 1 – 9, the source is Untitled (Frog) (2019–2020): a small sheet given over to a greying man-cum-jester, hollowed nostrils shaped like an electrical outlet and mouth agape, forming an unlikely heart as he pinches a small frog. Here, at Eva Presenhuber’s Vienna exhibition space, this image becomes the ground for a series of interventions and reinventions of the image, spanning both drawing and painting.
Ajay Kurian, Tiresias (2022), via 47 Canal
On view this month at 47 Canal, Brooklyn-based artist Ajay Kurian has produced a body of work that delves into the constructions of personality and place that underscore conceptions and understandings of home. Installing a body of works that concentrate on concepts of denial and assimilation, generational trauma and dislocation, the work on view this month takes a long route through the symbolisms and abstractions that underscore a conception of the body and self.
Ajay Kurian, Missing Home (Installation View), via 47 Canal (more…)
Fischli Weiss, Untitled (Paris/Air France) (1998), via Eva Presenhuber
On view this month at Galerie Eva Presenhuber presents Airports and Cars, the gallery’s fourth exhibition by Peter Fischli and the late David Weiss. Fischli Weiss began the Airports series in 1987 and continued it for 25 years, a project that saw them repeatedly photograph and document the various scenes and landscapes of international airports, focusing on tarmacs and loading zones—the abstract-opaque logistical space, which passengers predominantly glimpse through panes of glass and see themselves detached from. (more…)
Karin Sander, What You See is Not What You Get (22 Exhibitions) (Installation View), via Esther Schipper
On view at Esther Schipper in Berlin, artist Karin Sander presents an enigmatic and unique installation under the title “What You See is Not What You Get” (22 Exhibitions). Combining a body of work to explore intriguing questions of space and presence, the artist presents bodies of work curated and then withheld from the public.