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 »

Sarah Lucas, Au Naturel (Installation View), via Art Observed

One of the most eagerly-anticipated shows of 2018, artist Sarah Lucas has touched down at the New Museum, bringing with her an expansive body of works that runs the full expanse of her craft.  Curated by the New Museum’s artistic director, Massimiliano Gioni associate, Margot Norton, the show, Lucas’s first in an American institution, spans three floors and any number of aesthetic modes, moving from sculpture to photography, wallpaper to video in ways that both explore each object and twist the original historical contexts of their works (gallery shows, museums and her renowned Venice Biennale show from 2015 all get their due here) into new configurations. Read More »

Works by Adam Pendleton, via Eva Presenhuber

Exploring two distinct voices in the evolution of art practice over the past 20 years, Eva Presenhuber has brought a strikingly confrontational, challenging exhibition to New York City, showing a body of works by Adam Pendleton and Liam Gillick that works between each artist’s strengths, and mines an ever-shifting understanding of the world around them to motivate and elaborate their respective iconographies.  
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Dan Colen, The Trap (2016-2018), via Gagosian

Currently on view at Gagosian Gallery’s Beverly Hills location in Southern California. Dan Colen has pulled together a body of paintings that feel decidedly at home in a location so close to Hollywood.  His show of new works, High Noon, is a striking interrogation of corporate image production, shared memories, and the cognitive effects of modern commercial communication, all pulled together by their use of a distinct style of background painting utilized heavily in the classic Wile E. Coyote cartoons of the Warner Brothers’ cartoon universe.   Read More »

Ken Price, NeGrum (1994), via Matthew Marks

Currently on at Matthew Marks Gallery’s New York exhibition space, a body of small-scale works by American sculptor Ken Price dot the room, each drawing the visitor’s eye with a meticulously arranged series of loping curves, compellingly evocative forms and lumpy, surrealist modes of expression.  This range of pieces, underscoring Price’s intuitive knowledge of bronze and its potential sculptural capacities, makes for a colorful, striking break from the chilling cold and overcast days of December in the city.  Read More »

Ugo Rondinone at Eva Presenhuber, via Art Observed

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