David Simpson, Blue to Yellow Air (1967), via Haines Gallery

The hustle and bustle of the spring art season has fallen over New York, and the anticipation is building for this year’s edition of Frieze New York, set to open its doors in just a few days at its annual haunt at Randall’s Island.  This year, as the fair reaches its seventh edition, some adjustments and tweaks to the schedule will look to expand the fair’s offerings and appeal in an increasingly crowded circuit. Read More »

Marc Camille Chaimowicz, Your Place or Mine… (Installation View), via Jewish Museum

Given Marc Camille Chaimowicz’s works are in many ways “sites” unto themselves, it can be easy to forget that the pieces themselves are also site-specific. In turn, New York’s Jewish Museum seems like the perfect space for Chaimowicz’s first solo museum exhibition in the United States, given its prior history as a family home, yet that equally omits some credit due still to Chaimowicz. The crown moldings and wood floors and banisters that make the space familiar have become part of his narrative here, yet each gallery is made distinct, and the intimate effect of his works would result even working within a white-cube gallery space.  This exchange between site and space, artistic inclination and the fluid acts of design are at the center of this show. Read More »

Maria Lassnig, New York Films: 1970 – 1980 (Installation View), via Art Observed

Following the passing of renowned Austrian artist Maria Lassnig, a body of new films was unearthed from the artist’s estate, pieces that marked a continuation and elaboration of her unique and exploratory approach to the human form and its movements. This body of films has traveled to New York this month, following a close collaboration between the Maria Lassnig Foundation and the Austrian Film Musuem to execute an attentive and exacting restoration, resulting in their presentation as Maria Lassnig: New York Films 1970–1980 at MoMA PS1. Read More »

Lorna Simpson, Five Properties (2018), via Hauser & Wirth

Marking her first exhibition with Hauser & Wirth London with a body of new works, artist Lorna Simpson’s Unanswerable features new and recent paintings, photographic collages and sculpture.  Continuing the artist’s pioneering approach to conceptual photography, which features powerful juxtapositions of text and staged images, often bringing into question the nature of representation, identity, gender, race and history, the show is a fitting reintroduction to Simpson’s work for a broader audience, and one that marks the continued impact and importance of her practice today.  Read More »

Doug Aitken, New Era (Installation View), via Art Observed

Walking into the shadowy depths of 303 Gallery this month, viewers are confronted with an almost completely destabilizing series of visuals.  Huge explosions of color and line expand out from the center of television screens placed in the pitch-black space, swirling movements and patterns created by arrangements of various technologic peripherals and paraphernalia.  Accentuated by the hall of mirrors the artist has constructed inside the gallery space, the video creates a alienating effect, the feeling of being awash in technologic constructs we are inventing faster than we can fully comprehend their effects on communication, knowledge or expression. Read More »

Mark (Installation View), via Team Gallery

The word “mark” takes the center stage in Team Gallery’s ongoing group exhibition, featuring works by Erica Baum, Louise Fishman, Suzanne McClelland, Shannon Ebner, and Al Loving. Aptly and simply titled mark, the exhibition gathers a group of two dimensional works in print and painting that loosely investigate the impact of visual culture on personal and collective memory. Initiated through varied linguistic and social traits of the word finding to its current use and connotations in modern English, the various approaches here explore differing meanings of the “mark,” each of which serve as tactics to examine societal codings of information, ethics, and culture. Read More »

Sean Raspet, Receptor-Binding Variations (Installation View), via Bridget Donahue

Taking over the large main room of Bridget Donahue this month, artist Sean Raspet has assembled a strangely minimalist arrangement of objects along the walls of the space.  Small white machines jut out into space, each humming quietly and dispensing a subtle scent.  These timed micro-diffusers are each emitting a scent designed by the artist, an experiment in scent reception that plays on his interests in synthetic compounds and their phenomenological capabilities. Read More »

Jeff Koons and Gagosian Gallery are facing a lawsuit over three allegedly undelivered sculptures by the artist, filed by collector and MoMA trustee Steven Tananbaum. “Behind the ostensible façade of Jeff Koons’ art world triumphs and record-breaking auction prices,” a filing by litigator Aaron Richard Golub charges, “lurks a well-oiled machine, more specifically an established, archaic System as old as the hills applied to the art world to exploit art collectors’ desire to own Jeff Koons sculptures.”  Read More »

Sarah Crowner, Folded Greens (2018), via Casey Kaplan

Notching her second exhibition with Casey Kaplan Gallery, artist Sarah Crowner has returned to the dealer’s Flower District space for a show of new paintings and a site-specific installation that underscores her continued interest in the language and lineage of the natural world in modern painting. Drawing on any number of figurative and abstract histories of painting the world around us, Crowner’s work is a refreshingly nuanced interpretation, one that draws similar graceful curvatures and natural forms from cut and sewn canvases.  Read More »