Do Ho Suh at Lehmann Maupin

With the weather turning increasingly chilly, and the fall months coming on in full stride, the art world would normally turn its attention this week to London, where the tents would be up and the halls would be ready for another edition of Frieze Art Fair in the British Capital.  Yet the fair’s annual run is just one more event moved online this fall, as Europe and the United States continue to contend with the heightened stress and security concerns of the COVID-19 pandemic.  This week, the British staple of the annual art calendar has popped up online, open for the next week with a broad set of works on view, and a range of galleries logging in from around the globe.

Gretchen Bender at Metro Pictures

Read More »

Pieter Schoolworth, Shifted Sims #9 (Eco Lifestyle) (2020), via Petzel

Currently on at Petzel in New York City, painter Pieter Schoolwerth brings a collection of new canvases to bear, exploring a series of psychoactive tableaus and surreal depictions of humanity, a body of work that feels particularly apt in the strange landscape of a post-lockdown COVID-19 world.  Drawing on a range of signifiers and image sets for his works, the artist swirls his illusory, dream-like landscapes through the halls of the gallery. Read More »

Bruce Nauman, Two Leaping Foxes (2019), via Sperone Westwater

Welcoming Bruce Nauman back to New York City as the artist prepares to open his retrospective survey a the Tate Modern this month, Sperone Westwater’s SoHo Gallery plays home to a series of imaginative, surreal sculptures.  Marking his thirteenth solo at the gallery, his first 45 years ago in 1976, the show presents a set of new sculptures, underscoring the artist’s continued practice across a wide range of diverse mediums, including his own body, language, sound, film, video, neon, holograms and 3D technology. Once again reflecting on the perceptions, preconceptions and contradictions which characterize our existence in the world, the series of works on view underscores Nauman’s capacity to expand and elaborate on the capacities of art in the 21st Century.

Bruce Nauman, Walking a Line (2019), via Sperone Westwater

Read More »

Lucia Nogueira, Mischief (1995), via Art Observed

Touching down in Tribeca this fall for the first show in its newly opened space, New York’s Luhring Augustine opens its new doors with an illuminating show of works by the late Lucia Nogueira, a London-based, Brazilian-born artist whose brief but remarkable career saw her explore a range of captivating formal iterations and exploratory projects.  Marking her first solo exhibition in the United States, the artist’s work is quite at home in the classic New York architecture of the new space, and invites an intriguing first entry both for her work in the US, and for the gallery’s new home.   Read More »

Pat Steir, Untitled (2008), via Levy Gorvy

Taking over Lévy Gorvy’s New York exhibition space this fall, artist Pat Steir has compiled a selection of works from her ongoing series of Waterfall Paintings, this time focusing in particular on her pieces executed on paper.  Walking a fine line between the grand scale and gesture of her paintings on canvas as well as the more intimate sizes of the works here, the show traces a unique aspect of Steir’s engagement with the form.   Working on paper has been a quintessential aspect of Steir’s practice since the 1970s, producing a body of work that often saw prints and drawings coming out of the same conceptual exercises as her large-scale canvases.  As the show press release notes, these pieces have rarely been seen outside of museum collections, with Steir’s own personal holdings unseen for many years.  For this show, the artist pulls back the veil to explore the ways in which her practice is informed by these pieces on paper.  Read More »

Michele Abeles, 10/28/19, 5:00PM (2020), via 47 Canal

Upon entering the doors of 47 Canal Gallery, one is immediately greeted by a strangely familiar, and oddly timely series of images.  Skeletal hands, ghoulish visages and ghostly figures dance across a series of photos, while other frames bear the image if close up novelty gravestones and other Halloween decorations.  One month out from Halloween, the exhibition, presented by artist Michele Abeles, turns these familiar features into a meditation on commercial iconographies, capitalism and the spiritual undertones that these systems draw on, always centering the body in these conversations on space and time, the body and mortality.   Read More »

Kelly Akashi, via Tanya Bonakdar

The fall art season is in full swing, at least in name, with galleries cautiously reopening, and a tense consideration for ways forward currently in the air, all serving as a fitting backdrop for the second iteration of Art Basel’s Online Viewing Room program.  Filling in for the cancelled Basel and Miami Beach editions of its fair program, the recently opened OVR:2020 invites a select group of artists and galleries to make up some lost ground in their seasonal calendar, and to offer works for sale, amplified by the fair’s global reach. Read More »

Carmen Herrera, Painting in Process (Installation View), via Lisson

Since her time in post-war Paris when she first developed her signature hard-edged style, painter Carmen Herrera has instilled a rigorous practice to create her distinctive body of work, culling together a range of various color structures and elusive geometric arrangements to arrive at her engaging and unique constructions.  Now, the artist is opening a show of recent works at Lisson, bearing the title Painting in Process, exploring her construction and exploration of her works before their final form.  Read More »

Renée Green, Excerpts (Installation View), via Art Observed

Entering Bortolami Gallery for its first show of the fall season, one is immediately greeted by a flurry of color.  Bright   banners hang from the ceilings, adorned with dazzling fluorescent pairings that emphasize the fragments of text that dot each piece, and which find a fitting counterpoint in a ring of framed pieces encircling the gallery walls.   The pieces are the product of artist Renée Green, whose body of new works returns to an ongoing interest in the concept of color and language, text and space, perception and understanding.   Spanning the artist’s three decades of working with color’s polyvalent effects, the works in Excerpts manifest her open-ended questioning of invented yet established taxonomies, in order to play with and to displace designations that may seem to be known. Read More »