Gunther Uecker, Lichtbogen (2020), at Levy Gorvy
Marking a new wrinkle in the artist’s already boundless body of work, artist Gunther Uecker has brought forth a new selection of pieces on view currently at Lévy Gorvy recently inaugurated Paris exhibition space. The show features a range of new pieces, a dramatic development in the artist’s seven-decade practice, radiant paintings that vibrate with the energy of their creation, embodying fluidity and light. Read More »
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Xinyi Cheng, Julien (2017), via Palais de Tokyo
Marking one of the more engaged and critically-considered reflections on the past year in and out of quarantine, Palais de Tokyo in Paris is currently presenting Antibodies, a show delving into new projections and perceptions of the body, touch, closeness and proximity in the era of the pandemic lockdown. On view through the end of the weekend, Antibodies looks at the state of the world, and the human bodies that move and interact within it, questioning how social and political conception of the body itself have changed in the past year.
Forensic Architecture, Cloud Studies (Still), via Palais de Tokyo
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Sue Williams, Betsy Ross Composite (2020), via 303 Gallery
Marking her eleventh solo exhibition at 303 Gallery, painter Sue Williams has brought a selection of dynamic new paintings to bear on the New York space, continuing her particular brand of incendiary, uncompromising social critique through her craft. In a body of work that expands across a range of varied technical approaches and materials, the show outlines Williams’s impressive capacity carry her themes and concepts across a broad framework.  Read More »
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Lynda Benglis, Early Work 1967-1979 (Installation View), via Cheim & Read
Closing today at Cheim & Read and previously on view through December 3rd at Ortuzar Projects, Lynda Benglis’s early work gets a renewed perspective, exploring the artist’s dense material innovations and explorations of the body in relation to sculpture. Compiling a range of works that have proved crucial to the development of Lynda Benglis’s practice during her first decade in New York, the show spans three separate locations, offering an impressive and expansive look at the artist’s work. On at Cheim & Read’s uptown exhibition space, a series of lozenge-shaped wax paintings are juxtaposed with Benglis’s latex and polyurethane pours, while one floor up and the Ortuzar viewing room, one can view a selection of gilded wall sculptures inspired by the caryatids from the porch of the Erechtheion at the Acropolis in Athens. Sparkle and metallized knot sculptures, including the multi-part installation North, South, East, West, 1976 – last shown in New York at a 1981 Whitney Museum exhibition – are on view at Ortuzar Projects on White Street in Tribeca. Read More »
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Mary Weatherford, No. 4000 (2017-2018), via Gagosian
Marking her first solo show with Gagosian Gallery in London, Mary Weatherford has brought forward a body of new works under the title Train Yards, a series of works that pursues Weatherford’s foundational interest in the poetics of place—especially sites of mass transportation, and locations where the conditions of urban life reveal themselves with a particular intensity. Read More »
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Tschabalala Self, Carpet (2020), via Eva Presenhuber
Currently on view at Eva Presenhuber’s New York exhibition space, American artist Tschabalala Self presents Cotton Mouth, her debut solo exhibition with the gallery. Read More »
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Carroll Dunham, Big Men (1) (2019-2020), via Gladstone
Marking a continuation and expansion of exploration of visceral states and fluid body movements across a series of new canvases, Carroll Dunham returns to Gladstone Gallery this winter, exhibiting a group of “wrestlers,” engaged in physical struggle. Dunham’s newest groups of wrestling matches are set amidst barren landscapes, deserted for all but one single tree, wherein the aggressive men are locked into differing moments of struggle. Employing formal techniques developed throughout his career, the works exemplify Dunham’s unique ability to continually recontextualize his distinct visual language through new and recurring modes of art making. Read More »
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Fredrik Værslev, World Paintings (Installation View), via Andrew Kreps
Artist Fredrik Værslev operates at an intriguing intersection of formalist and minimalist concepts, drawing on cultural signifiers, semiotic assumptions and linguistic fragments to explore the edges of painting, that space where the canvas becomes a stand-in for something larger than just a picture. For his most recent show at Andrew Kreps Gallery, the artist continues that practice with World Paintings. Read More »
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Tracey Emin, The Hunter’s Moon (2019), via White Cube
Opening a new exhibition at White Cube in London, Tracey Emin has brought forth an enervating body of new works that continue her expressive and lyrical approach to her life and her work. The paintings, neon, sculpture and film in this exhibition take their cue from the elemental, sometimes primal, artistic expression, culminating with a screening of her 1998 film Homage to Edvard Munch and all My Dead Children.
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Soyeon Shin at Mrs., all images via NADA
Returning to Miami amidst the pressures and concerns of the current Covid-19 crisis, this year’s iteration of NADA Miami from the New Art Dealers Alliance feels a bit different. Reworking the format to fit the travel concerns and logistical issues posed by the virus, this year’s iteration, its 18th, manages to showcase an international series of presentations from a diverse roster of 47 NADA Members and 27 first-time exhibitors for a total of 97 galleries from 44 cities, both in gallery spaces and online. Read More »
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