November 29th, 2017
Shirazeh Houshiary, Exuviae (2016-2017), via Ondine Charlesworth for Art Observed
Iranian-born, London-based artist Shirazeh Houshiary returns to Lisson Gallery this month for a show of new works at the gallery’s New York location on 24th Street in Chelsea, continuing her nuanced exploration of architectural and gestural interactions. Reflecting on physical and immaterial qualities that shape art and human life, the artist’s work in her new show draws on dualities of structure and chance, friction and fluidity, and the nuances of space that both bound and interact with the work itself.
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November 28th, 2017
Thomas Hirschhorn, DE-PIXELATION (detail) (Installation View), via Art Observed
Complementing his large-scale sculptural practice and near-constant interrogation of the state of mass media, political power and imagery, Gladstone Gallery is currently presenting a body of works by Swiss artist Thomas Hirschhorn. Marking a continued investigation of the act of depiction, the strategies of control and dissemination in modern media, and the utility of horror that often underwrites modern image creation, the artist has created a body of pixelated collages, culling together scenes of modern sectarian violence with a sense of constant instability and unease. Read More »
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November 21st, 2017
Gilbert & George, Beardfence (2016). via Art Observed
Marking the 35th Anniversary of their collaborative practice, the famed British duo Gilbert & George have opened a show of new works at Lehmann Maupin in New York City, continuing their recent, enigmatic exploration of more violent, grotesque themes through their familiar blend of pop iconography and deep personal engagement with their work.  Long-billed as a “living sculpture,” this new selection of works by the pair explore their own visages, embellished with surreal beards in each image. Read More »
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November 20th, 2017
Camillle Henrot, Days Are Dogs (Installation View), via Art Observed
Camille Henrot works better on a grand scale. The Golden Lion-winning French artist, whose enigmatic and playful sculptures, paintings and installations dwell on the phenomenology of life, and an often overwhelming range of lived experience, seems to draw additional strength from working with as much space as possible, perhaps best seen in her last show at Metro Pictures in New York, where a range of concepts and ideas allowed the viewer to move effortlessly through experiences of neurosis, guilt, pain and anger through to more primal emotions, and on through to a coy fusion of the two in the language of modernity.  Read More »
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November 19th, 2017
Chris Burden, via Art Observed
For its newest exhibition on view at its 24th Street exhibition space in New York, Gagosian Gallery takes a look to the west, embracing the recent potency of Los Angeles’s fine arts community with a show of works that both spotlight the gallery’s representation of artists currently working in the Californian metropolis, while simultaneously exploring the cultural landscape and iconographies of a city that has shaped their work as much as they have shaped its perception in the art world. Drawing on work from Alex Israel, Mary Weatherford, Jonas Wood and others, the show is a striking introduction to the Californian artists currently working with Gagosian, and the shared lineage of Californian art that the gallery has long participated in supporting. Read More »
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November 16th, 2017
Peter Doig, Red House (1995-1996), final price $21,127,500, via Phillips
Throwing its hat into the ring on a bustling week of sales in New York, Phillips concluded its offering in the 20th Century and Contemporary Auctions , bringing a final tally of $113.9 million for its 44-lot sale. The Phillips event was a quick affair, running mechanically through its offerings to achieve its result, with only a small handful of works going unsold. Read More »
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November 16th, 2017
Roy Lichtenstein, Female Head (1977) final price: $24,501,500, via Sotheby’s
The final hammer has fallen and the doors have closed on the final major art sales of 2017, as Sotheby’s concluded its Contemporary Evening Sale tonight at its York Ave location in New York. Capping a 74-lot offering with a steady, well-run sale, the auction house achieved a final tally of $310,229,350, bringing the week’s marathon auctions to a close
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November 15th, 2017
Leonardo da Vinci, Salvator Mundi (circa 1500) final price: $450,312,500, via Christie’s
Capping its second major sale of the week, and likely one of the more momentous sales of work in recent history, Christie’s capped an astronomical sale this evening in New York, complementing its Contemporary offerings with the much trumpeted Leonardo Da Vinci work Salvator Mundi to reach a record sale total of $785,942,250.
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November 15th, 2017
Claude Monet, Les Glaçons, Bennecourt (1893), via Sotheby’s
Following a landmark sale last evening at Christie’s, Sotheby’s took its turn this past evening in the Impressionist and Modern category, pursuing the exceptional results its rival notched over the course of the evening. Tonight was no different, as the auction house led a wild sprint through its 67-lot sale to reach a final tally of $269,718,600. Read More »
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November 14th, 2017
Fernand LeÌger, Contraste de formes (1913), final price: $70,062,500, via Christie’s
The first of the fall’s New York auctions kicked off this evening, as Christie’s capped the first of the week’s Impressionist and Modern Evening sales, surging out of the gate with a strong series of sales that set an impressive tempo for the week, and laid down an impressive challenge to the other auction houses. Notching a final sales total of $480,414,000, Christie’s sent a strong message of stability in a year marked by uneven, unpredictable auction sales. Read More »
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