Liu Xiangdong at Lisson, all images via Art Observed

Since moving its running dates away from the hustle and bustle of Armory Week in New York, the ADAA Art Show has emphasized and capitalized on its reputation as a special and singular event in the New York and international market calendar. Liberated from the usual hustle and bustle of the surrounding fairs, The Art Show’s curatorially-focused programming and emphasis on project-based booths has made for an ever stronger draw, welcoming a casual, meandering pace, with its gentle lighting and wide aisles, all driving home its exploratory and thoughtful program. This year, the event was no different, and its return to the aisles of the Park Avenue Armory was met with enthusiasm with guests during the opening reception last night.

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Edward Hopper, New York Movie (1939), via The Whitney

For Edward Hopper, New York was a city that existed in the mind as well as on the map, a place that took shape through lived experience, memory, and the collective imagination. It was, he reflected late in life, “the American city that I know best and like most.” This concept sits at the center of Edward Hopper’s New York, a new exhibition of works by the artist on view this winter at The Whitney. Edward Hopper’s New York takes a comprehensive look at Hopper’s life and work, from his early impressions of New York in sketches, prints, and illustrations, to his late paintings, in which the city served as a backdrop for his evocative distillations of urban experience.  Read More »

Mira Dancy, Between Worlds (2022), via Night Gallery

On view this month in Los Angeles, artist Mira Dancy presents Madonna Undone, an exhibition of new work at Night Gallery that marks her fourth exhibition with the gallery. Continuing the artist’s studied and lyrical approach to the canvas space, Madonna Undone sees Dancy executing her signature take on chromatic figuration into expanded compositional fields, her subjects exuding strength within vivid naturalistic scenes. Dancy moved from New York City to Los Angeles in 2020, and evidence of this shift in environment is alluded to throughout the exhibition: wide skies, the craggy forms of mountains, and the more impressionistic features of the landscape, such as the sun’s intensity and the heat of the air.

Mira Dancy, Madonna Undone (Installation View), via Night Gallery

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Anicka Yi, ̧W†RRñ†0 (2022), via Gladstone

Few artists in the past decade have outlined a more exploratory and incisive practice than Anicka Yi. Focusing on foreign agencies and complicit interactions with non-human actors, the artist’s interest in biology and ecology has seen her utilize bacteria, scent, and animal performers in her works, ultimately arriving at a practice that defies easy material or media classification. Yet here, in Yi’s first solo exhibition with Gladstone Gallery, the artist has turned to painting as a central tentpost of her practice, and presents a body of works that seem to function as a complement and study of the materials so often present in her other works.  Read More »

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Beatriz Milhazes, Roda Piao (2021), via Pace

This month at Pace’s New York flagship, artist Beatriz Milhazes has installed ten vibrant, large-scale paintings created between 2021 and 2022, as well as a large scale mobile sculpture that underscores and exemplifies Milhazes’s uncanny ability to forge dynamic, unified choreographies with seemingly disparate elements, patterns, and hues. Drawing inspiration from European Modernism, Baroque decorative arts, the Brazilian Antropofagia movement, and other art historical sources, Milhazes continues her enervating plays of color and form in her paintings, collages, prints, and installations. Read More »

Jessi Reaves, Bad Apartment Shelf (2022), via Bridget Donahue

On view currently at New York space Bridget Donahue, artist Jessi Reaves has returned to the gallery with a new body of works that continue and expand her uniquely inventive turn on sculpture, drawing on shared languages of design, interior space, domestic languages and the possibilities of these elements to work in tandem, here taking shape in a series of floor sculptures and hanging works, investigating and reposing questions of varied histories of making, and how they ultimately converge, twist, and reform. Read More »

Andra Ursuţa, Erotic Cobwebs (2021-2022), via David Zwirner

This month in London, David Zwirner plays home to Joy Revision, an exhibition of work by artist Andra UrsuÅ£a, marking the Romanian-born, New York–based artist’s second solo presentation with the gallery. The exhibition will debut new photograms and lead-crystal sculptures that stem from a premodern conception of art as an essential tool to deal with mortality, loss, and grief. Read More »

Rodney Graham, Untitled (2022), via 303 Gallery

Rodney Graham, the Canadian artist whose restless and relentless body of work moved across photography, video, painting, and even music, has passed away at the age of 73 after a battle with cancer.  Read More »

Helen Marten, Third Moment Profile | The Almost Horse (Installation View), via Sadie Coles HQ

On view during the run of exhibitions and shows surrounding the bustle of Frieze London, Sadie Coles HQ’s fall exhibition welcomes the work of artist Helen Marten this month, playing on notions of monumentality, scale and production through a range of motifs and concepts. Centered on a single conceit: the attempt the depict a horse, the show unfolds through a range of materials and modes that underscore the artist’s conceptually rigorous, yet playful approach to art-marking. In each instance, a sense of the inaccessible stands in the way of success, failing to materialize a horse through language or image.

Helen Marten, Third Moment Profile | The Almost Horse (Installation View), via Sadie Coles HQ

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