Francesco Clemente at Vito Schnabel, all images via Art Observed

Over the last several years, the Independent Art Fair has built a name for itself as a dynamic and focused exhibition project, culling together small selections of exhibitors that emphasize curation and focus over the sprawling aisles of mega fairs and blue-chip magnets. This year, the fair has launched a new offering for the run of The Armory Show further uptown, titled Independent 20th Century. The show, focusing in on historically-resonant works, makes for a striking new offering during Armory Week, and a fitting continuation of the fair’s well-established focus. Read More »

Macon Reed, via Art Observed

The first chills of September are in the air in New York, temperatures are cooling again, and, like clockwork, another art season is now underway, kicked off once again by the opening of the Armory Show and its satellite fairs in New York City. That means that, once again, the night before the fair is the domain of Spring/Break Art Show, the curator-first, project oriented fair that brings together a range of expressive and imaginative works under a broad curatorial banner. Leaving ample space for exploration and investigation, the fair is a perennial highlight, and, now in its 10th year, seems to have hit its stride.

Noah Kloster, via Art Observed

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Matthew Wong,  (2106), via Cheim & Read

On view this month at Cheim & Read, the late Matthew Wong is the subject of a targeted, curatorially minded show dwelling on a body of bright, colorful works the artist produced during a 2016 stay in Los Angeles. This is Wong’s second solo exhibition at the gallery, which follows Matthew Wong: Footprints in the Wind, Ink Drawings 2013–2017 (May 5–September 3, 2021), a suite of works that charted the artist’s exploration of ink wash on rice paper, materials traditional to Chinese landscape painting, some of which he began while living in Hong Kong and working in Zhongshan, China.  Read More »

Hans Josephsohn at Max Hetzler, all photos by Art Observed

With the first notes of fall drifting into the air, and August fading into September, attention turns this week to the South Korean capital of Seoul, where Frieze has opened the latest expansion of its burgeoning art fair franchise, running this weekend. The new fair, led by Frieze Seoul Director Patrick Lee, features over 110 galleries, with a strong focus on Asia alongside a range of galleries from 20 countries. The fair marks the continuation of several years of growth for Frieze, which has added expansions in LA, New York and now Seoul in several years of quick development.

Park Seo-Bo at White Cube

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Leslie Hewitt, Riffs on Real Time with Ground (Deep Reflection) (2021), via Anton Kern

On view this summer at Anton Kern Gallery in New York, Photographic Pictures arranges a body of work drawing on photography and the possibility for expanded senses of perception and representation through the medium. Curated by artist Anne Collier, the show culls together a range of works including pieces by the artist, Luigi Ghirri, Jack Pierson, and Jiro Takamatsu, whose 1972-73 series provides the central inspiration for the show. Read More »

Sabine Moritz, Lair I (2022), via Marian Goodman

On view this summer at Marian Goodman, a solo exhibition by Sabine Moritz brings forth a suite of new large-scale paintings and works on paper. The exhibition, the artist’s first presentation in the New York gallery, follows three previous exhibitions held at Galerie Marian Goodman, Paris. The presentation will be comprised of a new series of abstract paintings and new intimately scaled workson paper, all from 2021-2022. This vibrant, abstract terrain is presented in conjunction with four select representational works. This new body of work can be seen as the next chapter in Moritz’s phenomenological practice –– acts of deep looking that seek to understand the world.

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Samantha Vernon, Vacant Lots (2015-2022), via Canada

This month at Canada, the gallery presents a group show titled SUMMER Nights, featuring work by Addoley Dzegede, Julia Haft-Candell, Gi (Ginny) Huo, Abigail Lucien, Carly Mandel, Mary Manning, Lee Relvas, Beverly Semmes, Fin Simonetti, Hanae Utamura, Sam Vernon, Rachel Eulena Williams, and Kristine Woods. Exploring a range of works that oscillate between various fragments of architecture, the show draws on artists using memory and experience to create works meditating on world building, family, and the abstractions of daily life. Read More »

Francheska Alcantara, Tiger Jaw IV (2022), via Lehmann Maupin

On view this month at Lehmann Maupin in New York, the gallery welcomes New York City-based artist Teresita Fernández to curate a group show for the summer season, bringing together works by Francheska Alcántara, Carolina Caycedo, Adriana Corral, David Antonio Cruz, Kira Dominguez Hultgren, Leslie Martinez, Glendalys Medina, Jeffrey Meris, and Esteban Ramón Pérez. Engaging various degrees of abstraction, the works in the show are united by each artist’s focus on materiality, process, and tactility.  Read More »

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.  Read 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

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