Amadeo Luciano Lorenzato, Sem título (1993). All images via David Zwirner.

Now through February 9, David Zwirner is presenting work by the Brazilian-born painter Amadeo Luciano Lorenzato, making the the first time Lorenzato’s work is being shown in the United Kingdom, and the first solo show by the artist outside of Brazil. One of the foremost painters of his generation, Lorenzato developed a body of work that centers on subjects he encountered in his hometown of Belo Horizonte, Brazil, where the Brazilian Concrete Art movement emerged in the 1950s. These include land- and townscapes, favelas, and individuals he met in his daily travels. Read More »

Dana Schutz, The Visible World (2018), via Petzel Gallery

Marking her third solo exhibition with Petzel Gallery, artist Dana Schutz returns to New York this month with “Imagine Me and You,” a solo show of new paintings and sculptures. Diving deeper into her kinetic, often bizarre juxtapositions and alterations of physical space, Schutz’s work in the show marks a continuation and elaboration of her aesthetic practice. Read More »

Claudia Comte, The Morphing Scallops (Installation View), via Gladstone

Marking the first exhibition dedicated solely to the painting practice of Claudia Comte, Gladstone Gallery’s current show of wall paintings arrives at a particularly ironic moment in American politics.  As the US government goes unfunded over a restrictive physical structure on its Southern border, the Swiss artist presents her works as coy investigations of physical limits, and the internal worlds that they make possible to express and elaborate. Read More »

Erik Parker, New Soul, 72 Ø (2018), via Art Observed

It’s hard to boil down the vivid, swirling compositions of painter Erik Parker into any one point, or even a series of entry points. His canvases combine pop cultural signifiers, swirling cartoonish caricatures, and a bright, day-glo sentiment as if his paintings were in the midst of some high-contrast meltdown. This approach gets a series of conceptual and figurative workouts in the artist’s show of works this month at Mary Boone Gallery, which compiles a range of pieces mixing both figurative and abstract techniques into an almost inextricable mass. Read More »

Dread Scott, Imagine a World Without America (2007), via James Cohan

Taking over the gallery’s two exhibition spaces in New York, James Cohan Gallery is currently presenting a group exhibition to kick off a year charged by harsh political rhetoric and an ongoing government shutdown over the future of the United States’s Southern Border.  The show, fittingly titled ‘Borders,’ offers a meditation on the political, ideological and formal concepts of border lines, walls, national identities and its attendant concepts of state power, sovereignty and national identity.
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Lena Henke, Germanic Artifacts (Installation View), via Art Observed

Currently on view at Bortolami Gallery this winter, artist Lena Henke has opened her first solo exhibition with the space, delving back into her ongoing exploration of diverse historical convergences, cultural forms and the history of sculpture as both aesthetic field and technical necessity. Read More »

   
Rodney Graham, Tattooed Man on Balcony (2018), via 303 Gallery

Artist Rodney Graham returns to 303 Gallery this month, bringing with him a new series of works that blend together his ongoing investigations of the iconography of various social spheres with a body of works that simultaneously seem to blend his constructed worlds with the space of the viewer.  The show, which opened this past week, includes both lightbox works and paintings, each informing a shared space that Graham allows to float in a certain degree of indeterminacy.

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Josef Albers, Study for Homage to the Square (1964), via David Zwirner

Delving into the varied psychological and ephemeral aspects of Josef Albers’s practice, and his strong affinity for music, David Zwirner’s current exhibition at its 20th Street location, Sonic Albers, is a flowing, fluid affair.  Taking a far-reaching look at often overlooked prominence of music in both the artist’s sites of personal inspiration, and on the material aspects of his practice, Sonic Albers features a selection of paintings, glassworks, drawings, and ephemera from throughout Albers’s career, including a number of the album covers he designed in the late 1950s and early 1960s. Read More »

James Welling, Chemical (2018), via David Zwirner

Over the course of the last decade, photographer James Welling has branched out into a series of more experimental modes of image production, often welcoming degrees of abstraction and indeterminacy into the creation of his photographic images.  Using unorthodox photographic procedures in conjunction with varied processes that see his works moving between abstraction and representation, his recent series of work are emblematic of the breadth of his ongoing experimentation with the conventions and materials of photography. Read More »

Richard Deacon, House & Garden (Installation View), via Marian Goodman

Drawing together a body of new photographs, ceramics and sculpture from the past year of artist Richard Deacon’s ever-evolving studio practice, the current solo show at Marian Goodman Gallery, House & Garden, explores relationships between materials and processes, representing innovations in Deacon’s thinking about sculpture, and the relationships of image to surface, object making to the pictorial, and sculpture to the plinth, all notions that have been present in his work and are at the nexus of his steadfast interest in a multiplicity of modes of production. Read More »