Jonas Wood, Still Life with Red Panels (2018), via Gagosian

Jonas Wood’s rapid rise in the past few years to representation at Gagosian seemed to happen almost overnight. But for followers of the Los Angeles-based painter, his ascension comes as no surprise. Wood’s impressive approach both painting and drawing showcases a masterful sense of patterns, perspectives and color, using figurative vantage points to arrive at beguiling images and innovative constructions of the picture plane. On view this month at Gagosian, a range of works from the artist underscores this ability, and delves ever deeper into his creative practice. Read More »

Alissa McKendrick, Untitled (2018), via Team

Painter Alissa McKendrick is presenting a solo exhibition at Team Gallery this month, bringing a selection of paintings to bear on the gallery’s project room series “Gallery B.” The artist, whose works mine a particular language between the surreal, figurative and narrative, makes for a refreshing summer entry in the gallery’s programming. Read More »

Annette Messager, Sleeping Pacific (2017), via Marian Goodman

Artist Annette Messager has brought a series of new works to Marian Goodman Gallery in Paris this month, orchestrating a series of drawings and wall mounted works as well as her first video install, Lost in Limbos (2019).  The show, continuing Messager’s incisive material inventions and impressive orchestration of varied states and conceptual operations, is on view through July 19th.

Annette Messager at Marian Goodman (Installation View), via Marian Goodman

Read More »

Oscar Murillo, Manifestation (2018-2019), via David Zwirner

Currently on view at David Zwirner London, artist Oscar Murillo has brought forth a selection of new works exploring both his past visual language and a range of expressive new iterations of his technique, delving into the visual history of his paintings as a shared exchange with both history and modernity.  On view through the end of the month, Murillo brings out a new range of pieces and projects that underscore his continued engagement with the painted canvas. Read More »

Olga Balema, Brain Damage (Installation View), via Bridget Donahue

Upon entering the gallery space at Bridget Donahue this month, one is greeted by a peculiar selection of objects.  Small-scale, think strips of elastic material are laid up against the walls of the space, or twisted out along the floor.  The pieces, with their slight impressions upon the viewer’s perception of space, seems to lend the already raw Chinatown space a look of material temporality, of objects held in momentary sway, as if left behind in between residents.  Read More »

Piero Manzoni, Achrome (1961-62), via Hauser & Wirth

In 1960, at the height of his artistic maturity and of his awareness on the gradual path and progression of his work, artist Piero Manzoni would branch out into a series of material experimentations and evolutions that would mark one of the most prolific stages in his career, and also one of the most conceptually fruitful. The artist, utilizing diverse natural and synthetic materials, such as cotton wool, canvas, polystyrene, phosphorescent paint, and even bread, stones, and straw, would ultimately create a broad range of his Achromes, arrangements of material that both draw on their compositional elements and on their sheer mass to create a new awareness of the object and the space around it, a new manner of seeing branching directly out from the piece itself. Simultaneously, the artist would explore a range of other practices and performative works, focusing in particular on the realization and execution of extensive “lines,” traced across papers, photos, and even across the gallery space. Delving into this important period in the artist’s career, Hauser & Wirth New York has brought together two concurrent exhibitions devoted to the artist’s work, unfolding over two floors and focusing on Manzoni’s most significant bodies of work.

Piero Manzoni, Linea lunga 7200 metri (1960), via Hauser & Wirth

Read More »

Julia Scher, Glückshaube (2006), via Ortuzar Projects

For over three decades, artist Julia Scher has explored the relationship between surveillance, authority, and exhibitionism, orchestrating complex and intimate explorations of the way human and non-human parts of the modern technological apparatus function, both in the creation of and the limitations of personal expression and individual freedom in the modern world. Delving into how technology creates new and divergent relationships to the existing structures of power, Scher investigates just how these relationships bound and inform our place in the world. Read More »

Joan Mitchell, La Seine (1967), via David Zwirner

Currently on view at David Zwirner’s 537 West 20th Street location in New York, the gallery is presenting  a selection of multi-paneled paintings by American master Joan Mitchell, the first exhibition to look specifically at Mitchell’s work in this format, and the possibilities for her work brought forth through the use of expansive amounts of space. Read More »