Valentin Carron, 1 2 3 (after Max Weiss) (2015), via Eva Presenhuber
Currently on view at Eva Presenhuber in New York, the gallery is presenting And So America Opened Up, the gallery’s eighth solo exhibition by the Swiss artist Valentin Carron. Carron, whose work is defined by a fascination for modernity and its decay, here presents a series of works created over the past 13 years, unified by studies in modernist history, architectural detail, and the slow stream of history. Read More »
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Kevin Dudley, Think Positive Thoughts (2021)
Post Sponsored in Collaboration with Silvershed, Walter’s Cube and Gallerie Kleindienst
Over the course of the last two years of pandemic-driven isolation, few trends have been made more readily apparent than the current capabilities and implications of widely accessible commercial technology in augmented and virtual reality, metaverse narratives, and the capacity for interconnectivity over the internet. Art fairs continued in online viewing rooms, artists continued to meet and collaborate over Zoom and other online video chat technologies, and new modes of socializing, connecting and collaborating developed quickly in the vacuum created by the demands for self-isolation. With these new modes, or, perhaps, more visible variants of existing developments in modern tech, so too come ideas of expressivity and emotionality, new modes of language and interaction. This concept sits at the core of On Waves, a show of work hosted by Leipzig’s Gallerie Kleindienst in collaboration with online viewing platform Walter’s Cube and curated by New York’s Silvershed, an artist-run project in downtown Manhattan that explores contemporary art values, ethics and aesthetics of the 21st century.
On Waves (Online Installation View)
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Shahryar Nashat, Hounds of Love (Installation View), via Gladstone
Gladstone Gallery presents an enigmatic and engaging body of new work by artist Shahryar Nashat this month at its Chelsea exhibition space this month, a selection of works that meditate on the body, space and perception in the realm of the digital. Read More »
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Repeater (Installation View), via Sadie Coles HQ
On view this month in London, Sadie Coles HQ presents REPEATER, a show that makes the most of a reflection on repetition and difference, the act of continued movement, duplication, and continuation over a range of approaches and media. Encompassing a wide range of artists, the show examines ideas of sequence, seriality and replication – whether in the form of modular sculpture, painting in series, or digital reproduction – in order to highlight the potential that exists in the act of repeating. Read More »
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Taboo!, View From My E. 5th St Studio 5th Floor Walkup (2021), via Karma
On view at Karma this month, the gallery presents Citysapes, a show organized in collaboration with Gordon Robichaux around the work of New York artist Taboo!. Spread across both galleries, the exhibition reflects on the artist’s ongoing landscape work, painting a range of cityscapes that document New York’s iconic skyline from a range of vantage points and perspectives. This joint exhibition presents the most comprehensive survey to date of Tabboo!’s cityscape paintings from the last three decades.
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Nate Lowman, Irma (2021), via David Zwirner
This month in New York, David Zwirner opens a show of new work by Nate Lowman, continuing the artist’s inquiries of the languages and images of modernity. Lowman has become known for deftly mining images culled from art history, the news, and popular media, transforming visual signifiers from these distinct sources into a diverse body of paintings, sculptures, and installations. That mode takes center stage here, with a series of works that draw from meteorological readouts, embellished Xeroxes, and other interpolations of technological and technical images. Read More »
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Raque Ford, In A Year of 13 Moons (2022), via Greene Naftali
Marking her first exhibition with Greene Naftali Gallery, artist Raque Ford presents a new body of work this month abstraction with narrative potential; dense, layered arrangements in both two and three dimensions that underscore the artist’s weaving of the personal and architectural through inflections of text and material. By turns slick and diaristic, intimate and bracing, Ford’s latest wall works and sculptures expand the formal possibilities of her signature material: fragments of language incised into sheets of colored acrylic.
Raque Ford, Nighttime Grudge or How I Wanted to Be a Rockstar (Installation View), via Greene Naftali
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Ad Reinhardt, Abstract Painting (1956), via Pace
This month at Pace Gallery, James Turrell marks his new work at the gallery’s New York flagship with an accompanying curatorial effort, assembling a show of works by the American painter Ad Reinhardt. Reinhardt, whose own work in the exploration of light and perception through color, serves as a foundational point of entry to Turrell’s work, and here is offered an extended point of reflection in relation to the light and space master’s own work. Read More »
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“Lure” by Ruben Ortiz Torres at The Last Tenant (Photography by Aleph Molinari)
Known for taking over unique architectural spaces for their exhibitions, MASA is a nomadic art and design collective co-founded in Mexico City by Age Salajõe, Hector Esrawe, and Brian Thoreen in 2018. It has since evolved into a collaborative creative platform, each year presenting stellar exhibitions in different locations throughout Mexico City, as well as Oaxaca and an upcoming show in New York City. Its itinerant nature allows MASA to play with space and architecture, form and function, and to cleverly present art in unique locations away from the confines of the traditional white-cube gallery space. MASA collaborates with artists, architects, and designers by challenging them to create functional works that blur the line between art and design. What ties together the young and established artists at MASA’s exhibitions is a deeply-felt sense of Mexicanness: multi-faceted and complex, constantly changing but never unmoored from its vibrant history. Their exhibitions are related to the history of the site and are often meditations on time and memory, and how the spaces we inhabit serve as vessels for both. Read More »
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David Byrne, How I Learned About Non-Rational Logic (Installation View), via Pace
Artist and musician David Byrne rarely stays in the same conceptual space for long, moving from recorded music to sculpture, painting and drawing to film. The longtime frontman of the Talking Heads, and a vital force in the history of downtown New York’s art scene from the 1970’s to today, it’s hard to find a mode of work he hasn’t tried at least once. This vision finds a fitting home at Pace Gallery this month for How I Learned About Non-Rational Logic a show of work from the artist’s dingbats series of drawings made during the COVID-19 pandemic, a group of his tree drawings from the early 2000s, and a selection of his drawings of chairs from 2004–07.
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