Haim Steinbach, Untitled (fins, dolphin, seahorse) (2017). All images via White Cube Gallery.

Now through January 20th, 2018, White Cube is presenting jaws, a series of new works by Haim Steinbach at Mason’s Yard, featuring a new series of shelf works and the major installation Design #15–Design for a Yogurt Bar, first conceived in 1981 and reconfigured for the gallery space. Centered around ideas of leisure and health, Steinbach’s works in the show draw on cultural models from the 1970s and 1980s to reveal novel and unexpected meanings through juxtaposition.

Haim Steinbach, starbucksroast (2017)

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Ashley Bickerton, Catalog Terra Firma Nineteen Hundred Eight Nine #2 (1989), Courtesy the artist and Lehmann Maupin, New York and Hong Kong.

Bali-based artist Ashley Bickerton’s first U.S. survey dedicated to his multimedia work serves as a compact retrospective of his four-decade long career, shaped by various geographical and ideological milestones that show a continued response to the artist’s ongoing quest for meaning and space for contemplation in modern age. The exhibition, on view now at The FLAG Art Foundation proceeds a larger survey, Ornamental Hysteria, which opened in the spring of 2017 at the Damien Hirst-owned Newport Street Gallery in South London, including a total of 51 familiar and new works by the artist. The artist offers a range of work from both his current time in Bali and his long residency in New York, where Bickerton emerged in the 1980’s alongside Jeff Koons and Peter Halley. The show offers selections from various periods of his career, mostly including sculpture and painting, two mediums that have always remained intertwined since his early days. Read More »

Jannis Kounellis at Luxembourg and Dayan, via Art Observed

A contingency is a future event or circumstance that is possible but cannot be predicted with certainty, one that may rely on distinct conditions or concessions made in the present. This conditional framework serves as the namesake of the most recent exhibition of work on view at Luxembourg and Dayan this month, one that poses its exploration of the Italian post-war as contingent on a viewer’s willingness to freely-associate between various modes of practice in contemporary art. Read More »

Lucy and Jorge Orta at Jane Lombard, via Art Observed

Turning the corner onto the iconic drag of Ocean Drive, one’s attention is immediately drawn to the slender white tent laid out along the ocean skyline, a gleaming structure that houses the Untitled Art Fair underneath its minimalist structure.  Its annual home, placed squarely in the midst of boozey beachgoers, restaurant soundsystems, and the annual flood of Art Basel Miami Beach visitors, the fair has one of the more unique positions in a week full of unique offerings, one that balances some of the most familiar sights of the city with the impressive work on view inside.  Compounded by the floor to ceiling windows in the fair tent, the fair is an annual must-attend for those looking to get their dose of dynamic contemporary art and Florida sun in one go. Read More »

Lin May Saeed at Jacky Strenz, via Art Observed

As far as fairs go each year in Miami, few can compare with the unique flair and spirit of the New Art Dealers Association’s annual production in Miami, taking over hotel lobbies and ballrooms with a collection of works from young artists, smaller galleries and inventive projects that always make for an engaging, freewheeling time matched only by the fair’s impressive eye for vintage Miami charm.  So when the brutal storms that ravaged the southern tip of Florida this year made for some complications in planning at the fair’s annual haunt up-beach at The Deauville, it seemed as if some of the wind had been kept from its sails. Taking over Ice Palace Studios in an area close to downtown Miami, NADA’s most recent iteration manages to make the best of an unfortunate situation, adding the familiar atmosphere and communal spirit of the fair to an intriguing new locale on the other side of Biscayne Bay.

Molly Zuckerman Hartung at Rachel Uffner, via Art Observed

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Nate Lowman, Maria (2017), via Maccarone

As another year in the art world draws to a close, global attention turns to the southern tip of the U.S. for another year of Art Week Miami, the sprawling multi-fair spectacle that each year flood both Miami Beach and Miami proper with waves of art lovers, artists, collectors and revelers for a range of installations and exhibitions, not to mention the infamous schedule of parties and events surrounding the week. Read More »

Geta Bratescu, The Leaps of Aesop (Installation View), via Art Observed.

This spring, the Romanian Pavilion at the Venice Biennale opened its exhibition for this year’s iteration of the institution’s ongoing exhibition. The show, a string of drawings and paintings creeping up the walls of the gallery, and running across each of the rooms formed dense networks of gestures and panels that made each of their respective movements and concepts all the more powerful.  The show was a review of the career of Geta Bratescu, the 91-year old artist whose career has investigated the range of 20th Century practice as her own relationship to it grew and evolved over the course of her life. In the months running up to the opening of the exhibition, Bratescu joined on with Hauser & Wirth, and now brings a range of her works to bear on the gallery’s Chelsea exhibition space.   Read More »