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 »

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 »

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 »

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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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 »

Olafur Eliasson at Tanya Bonakdar, via Art Basel

As the year rolls into December, and businesses remain shuttered over Covid-19, the Art Basel fair franchise has launched another edition of its Online Viewing Rooms series, marking off the string of days normally occupied by Art Basel’s famed Miami Beach fair with a more restrained, but equally well-stocked outing that seems to have notched strong response in its early hours.  Long marking the end of the art world’s fall season, and serving as a much-needed last bash of the year for art lovers and art workers worldwide, this year’s edition of Art Basel’s December fair comes without the endless string of afterparties, replaced with a range of online offerings. Read More »

Evgen Copi Gorisek at Plan X, via Untitled

Each year, the first week of December is normally reserved for Miami Beach, a bastion of sun and sand that welcomed international hordes of art lovers to its Art Deco havens and bustling streets for the proceedings of Miami Art Week and, at its center, Art Basel Miami Beach.  Yet with the new surge of Covid-19, and the challenges the disease has posed to the art world, this year sees the annual end of year fair and its hordes of parties practiced in proxy, with a similar bevy of sales events heading online.  Not least of those is Untitled Art Fair. Read More »

Theaster Gates, Black Vessel (Installation View), via Art Observed

Marking his first solo exhibition in New York City, artist Theaster Gates has touched down at Gagosian Gallery, bringing with him a diverse and conceptually-rich selection of works that underscore his work as a prominent activist and cultural force in American art.  Underscoring the artist’s complex and intuitive work with a range of materials, equally anchored in the histories of racial and social justice movements, and in the canon of art history, not to mention the artist’s own personal narrative, the show traces a range of ideas and concepts through the artist’s body, making for a powerful first show in the Big Apple.

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Alex Da Corte, Helter Shelter Or: The Red Show! or… (Installation View), via Sadie Coles HQ

Marking a new wrinkle in an ever-evolving artistic oeuvre, artist Alex Da Corte touches down this month at Sadie Coles HQ for a show of works that continues his approach towards larger than life spaces and gestures, orchestrating a surreal series of physical pairings and semiotic exchanges within the framework of the gallery. Taking his expressive and intriguing body of works into a broader bend of language and understanding, the artist makes the most out of a relatively minimal setup. Read More »