Art Observed would like to send out a message of support and encouragement to all affected by the COVID-19 crisis.

Art Observed will be changing in reaction to a world that is itself in a state of change.

Restricted ability to physically engage with art work does not prevent us from the experience of viewing and thinking about art as well as connecting with each other in the process.

Art Observed will continue to transmit information on shows and the news surrounding them, but in new ways.

Art Observed will look to continue to support those in the art world whom we covered before, as well new participants whom we can connect with meaningfully through a digital format.

We also hope to continue to develop a passionate following of those interested in new phases and frontiers for art.

We invite all to collaborate with Art Observed as we look to adapt, restructure and continue our role to promote and support the art world.

While we look forward to returning to providing our readers and supporters live and timely coverage of art exhibitions, fairs and projects in the near future, we also look forward to taking this new step with you in the time in between.

If you are interested in exploring new strategies and ideas with Art Observed, please feel free to contact us at the handles below:

Email: info@artobserved.com
Instagram DM: @ArtObserved

Gerhard Richter, Painting After All (Installation View), via Art Observed

Editors Note: Art Observed was on site for the opening of the exhibition and photographed this show before the closings related to COVID-19.   

The Met Breuer is closing its doors this summer, following a fittingly ambitious final exhibition, a sprawling review of the work of Gerhard Richter, marking the first major exhibition in the United States on the work of the German artist in nearly twenty years.   Read More »

Paul Kasmin, via Kasmin Gallery

Dealer Paul Kasmin, who was a formative voice in the development of the Chelsea gallery scene over the last 20 years has passed away at the age of 60.  Read More »

Trevor Shimizu, Landscapes (Installation View), via 47 Canal

In 1998, the Museum of Modern Art opened an ambitious and expansive exhibition of the work of Pierre Bonnard.  Among those winding through the galleries of the show was Trevor Shimizu, who left the museum ultimately disillusioned by the possibilities of painting in the modern age, and convinced that he should abandon the format.  The artist would turn, as a result, to video and performance art as a result, exploring approaches driven in part by his disappointment in the possibility of painting.  Read More »

Leidy Churchman, Kishkindha Forest (Jodhpur) (2020), via Matthew Marks

Currently on view at Matthew Marks in New York, painter Leidy Churchmann presents a wide-ranging selection of canvases exploring the artist’s ever-evolving sensibility and eye, exploring the landscape of modernity at a range of scales and points of inquiry.  Titled Earth Bound, the show is a nuanced and intriguing exploration of the world, treating its residents and phenomena as a stream of images, and exploring the effects of their simultaneous presentation within the gallery. Read More »

Jordan Wolfson, ARTISTS FRIENDS RACISTS (Installation View), via David Zwirner

Twenty holographic videos and nostalgic photographs printed on brass comprise artist Jordan Wolfson’s latest, unsettling work entitled ARTISTS FRIENDS RACISTS, currently on view at David Zwirner in Paris. Utilizing a range of autobiographical and cultural iconographies, the artist explores the convergent power of images and language in the framing of any cultural epoch. Read More »

Liam Gillick, Redaction (Installation View), via Casey Kaplan

Taking over Casey Kaplan’s midtown exhibition space with a selection of works outlining his incisive and intricate exploration of labor, modes of legibility and the conscription of a body politic, artist Liam Gillick reflects on the various stages and of his career. Unifying a selection of key texts, abstract structures and installations, spanning the early 90s to the late 2000s, and will coincide with the gallery’s 25th anniversary. Read More »

New Images of Man (Installation View), via Blum & Poe

In 1959, MoMA launched the exhibition New Images of Man, a show that combined a disparate and imaginative body of works that brought together a group of artists grappling with the human condition and with new modes of representation in painting and sculpture in the wake of the Second World War.  Returning to this subject matter for a new show exploring both the original exhibition and its echoes through culture in the following sixty years, Blum & Poe Los Angeles has mounted a new take, part homage, part radical revision, that spans two floors in the gallery and reconstitutes emblematic figures from the original MoMA line up of artists alongside artists from this era and beyond to re-examine its motivations and impact. Read More »

Michael Willams, Curb Your Enthusiasm (2020), via Gladstone

Comprising a new body of works that continues his approach towards brightly colored and texturally rich compositions, artist Michael Williams returns to Gladstone Gallery this month.  The artist, whose work often explores narrow corners and specific emotions drawn from the experience of the world, exhibits a selection of works that continue and expand his vocabulary. Read More »

Michael E. Smith (Installation View)

Currently at Andrew Kreps Gallery, a line of floor-fans run in a single file through the doorway of the main gallery space, emitting a slight whine that makes the presentation of the work all the more illusive.  Unable to tell if the fans are on or if there is some other element emitting the sound, the arrangement conjures a strange sense of animated material, a sort of life outside the human body that makes the viewer question just what they are viewing.  So goes the work of artist Michael E. Smith, whose arrangements frequently mine this sort of uncertainty from the familiar objects of the world around us. Read More »