David Ostrowski, The Thin Red Line (Installation view), courtesy Sprüth Magers, Photography: Voytek Ketz, London & postproduction by Hans-Georg Gaul, Berlin

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Darren Almond, Time will Tell (Installation View), via White Cube

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Seth Price, Hell Has Everything (2018), via Petzel

In the past several months, artist Seth Price has taken to making and posting mixtapes on his personal SoundCloud page. Described in a recent Art News post as “soundtracks for painters,” his mixes (and the article itself), underscore Price as an inveterate consumer of media and information, embracing a constant stream of data that he often delves into or twists up into the language and production of his works.  This compilation of information sits at the core of Hell Has Everything, the artist’s first show of work at Petzel Gallery in New York in six years.
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Chiharu Shiota, Me Somewhere Else (2018), via Blain Southern

Japanese-born, Berlin-based artist Chiharu Shiota brings her signature techniques in environmental installation to bear at Blain|Southern this fall for her first exhibition at the gallery’s London space. Compiling a selection of new works that include a new site-specific installation, along with sculpture and works on canvas, the artist’s show, Me Somewhere Else, underscores her practice in attempting to connect and reframe the operations of her own memory in exchange with the world around her. Read More »

Ellsworth Kelly, Color Panels for a Large Wall II (1978), via Matthew Marks

In 1978, Ellsworth Kelly was commissioned to create a painting for the lobby of a new building in Cincinnati. His piece, Color Panels for a Large Wall, was the resulting work, a 30-by-125-foot painting that clocked in as his largest ever made. Yet the artist’s work in this vein would live well beyond this specific installation, reprised in several iterations of shows and installs in Amsterdam, New York, and Munich. In 2003, Kelly reconfigured the painting’s eighteen panels — from two rows of nine to three rows of six — when it was installed in its permanent home at the National Gallery of Art in Washington, DC. Read More »

Bruce Nauman, Disappearing Acts (Installation View), via Art Observed

The long-awaited career retrospective of artist Bruce Nauman is now open in New York City, filling both MoMA PS1 and the sixth floor of MoMA’s main exhibition building in Midtown with the artist’s challenging, often outrageous body of work in sculpture, video, light works, and other formats.  The show, which is on view through February, is an intriguing and in-depth look at the work an artist always looking to push the boundaries of his craft, and often the viewer’s comfort level. Read More »

Hannah Wilke, Untitled (1974-77), via Alison Jacques

Bringing together works from the early 1960s through to 1987, Alison Jacques Gallery in London is currently presenting an exhibition spanning three decades of the American painter, sculptor, photographer, video and performance artist Hannah Wilke’s work, in partnership with The Hannah Wilke Collection and Archive, Los Angeles. This is the first time since Wilke’s death in 1993 that her paintings on canvas from the 60s have been exhibited. 
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Stanley Whitney, In the Color (2018), via Lisson Gallery

Color inspires and informs the work of Stanley Whitney, whose paintings explore the many possibilities for juxtaposition and movement across the canvas, each drawing on irregular rectangles in varying shades of strength and subtlety. His work creates fluctuating series of intensities and reliefs, draw on the composition of adjacent nodes, a structure that seems to welcome exchanges between freedom and constraint, open space and riding control, all bound together by the evolving exchanges in color.   He returns to New York this fall for his fourth exhibition with Lisson Gallery, marking the first solo show of the artist to occupy both of New York gallery spaces. Investigating his profound and nuanced relationship to color and its spatial effects throughout his career, the show includes paintings and drawings dating back to the 1990s in one gallery, and a suite of brand new works in the other.  Read More »

Blinky Palermo, To the People of New York City (1976), via Art Observed

One of his most iconic bodies of work, German artist Blinky Palermo’s To the People of New York City comes home this fall, placed on view at Dia: Chelsea.  Part of Palermo’s Metal Pictures series (or Metallbilder), the pieces reflect the artist at the peak of his abilities, and underscore his enduring contributions to the the landscape of the 20th Century avant-garde. Read More »

Agnes Martin, Affection (2001), From The Collection Of Laura Arrillaga-andreessen, © 2018 Estate Of Agnes Martin:artists Rights Society (Ars), New York

Having traveled from coast to coast for exhibition in New York City, Pace Gallery’s current show examined the shared aesthetic space of painter Agnes Martin and the meticulously crafted blankets of the Navajo (Diné) people of the American Southwest touches down for a striking last show of 2018.  The exhibition, which explores the shared use of parallel lines and tight grid-work in both the painter’s canvas and the blanket-maker’s loom, makes for a fascinating investigation of two aesthetically distinct visions that found their most compelling articulation amongst the landscape of the American desert. Read More »