Helen Marten, Brood and Bitter Pass (2016), via Art Observed
Helen Marten, the Macclesfield-born, London-based sculptor known for her disjointed, endlessly inventive configurations of materials, has taken home the 2016 Turner Prize, the second major award that the artist has won in the past month. Marten, who takes home a£25,000 purse for the award, was selected from a pool of artists including Anthea Hamilton, Michael Dean, and Josephine Pryde.
Helen Marten, via W Magazine
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Denise Kupferschmidt at Halsey McKay, via Art Observed
Walking through the doors of the Deauville Hotel and Resort, a sense of familiarity is in the air, with NADA Miami Beach returning to its old stomping grounds in North Beach. Maintaining the same familial atmosphere and adventurous spirit that keeps the fair among the more popular of the week, this year’s edition (its 14th total) is particularly strong, with a renewed focus on painting alongside a series of more striking projects and pieces. Read More »
| Comments Off on AO On-Site – Miami Beach: NADA at the Deauville Resort and Hotel, December 1st – December 4th, 2016 | |
Art Basel Miami Beach, via Art Observed
After a first evening of parties in both Miami proper and Miami Beach, the main event of Miami Art Week, Art Basel Miami Beach, has opened its doors at the Miami Beach Convention Center, bringing with it another round of special projects, talks, and other installations alongside the more traditional booths. The 15th edition of the fair, which draws 269 galleries from a total of 29 countries from around the globe, was clearly feeling some tightness from a slower market, with shorter lines for the VIP Preview today, and less of a rush towards premiere works, but strong sales seemed to continue throughout the day, revealing a buyer pool that seems more invested than feverish.
Toiletpaper for Fondation Beyeler, via Art Observed
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Untitled Art Fair, via Art Observed
Spread across the sandy vistas just off Miami Beach’s iconic Ocean Drive, Untitled Art Fair opened its doors this week for the 5th annual edition of its fair during Miami Art Week. Recognized for a curator-first mentality and a focused, yet exploratory tone, the fair’s early hours offered a striking first look at the caliber and diversity of works on view in Miami this week. The fair, has hit its stride with this year’s offering, bringing a group of exhibitors that push distinctly cohesive threads and perspectives over the course of the fair, even as each offers a singular perspective on their chosen media or discourse. Read More »
| Comments Off on AO On-Site – Miami Beach: Untitled Art Fair on Ocean Drive, November 30th – December 4th, 2016 | |
Thomas Bayrle at ICA Miami (Installation View), via Art Observed
As dealers, artists and insiders continue to arrive en masse to South Florida, the first days of Miami Art Week have kicked into full gear, with a first round of openings and events setting the pace for the week before Art Basel Miami Beach opens to the public tomorrow. With both first looks at several fairs and a number of premiere openings, Tuesday night’s proceedings were a first look at the hectic week ahead.
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Josef Albers, Homage to the Square: Zwischen Zwei Blau (Between Two Blues) (1955), via David Zwirner
As 2016 winds into its final weeks, the art world will once again head south for the annual fairs and festivities of Miami Art Week, headed by Art Basel Miami Beach, its satellite fairs, and other openings, events, parties and performances spread across the Biscayne Bay. Taking up almost a full week this December, the increasingly diverse offerings should offer a packed last week of major sales and shows before the art world closes out the fall season.
Gao Ludi, Untitled (2015-2016), via White Space
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Pipilotti Rist, Pixel Forest (2016), via Art Observed
Pixel Forest, the first New York City museum survey dedicated to the work of Swiss artist Pipilotti Rist, has opened this month at the New Museum, turning three floors of the museum into a swirling progression of images and senses, colors and lights. Twisting and moving through a series of works from the full breadth of Rist’s career, the show melds classic pieces with new commissions, well-regarded installations with new information and conversations across the expanse of her practice. Read More »
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William Eggleston, Untitled from The Democratic Forest, (c. 1983-1986), via Art Observed
There are few photographers who have left a mark on their medium in the way that William Eggleston has over the course of his career. Pioneering an approach to the photograph as meticulous as it is seemingly effortless, Eggleston’s work has charted a path and progression through both his own chosen craft and the American landscape. Capturing subdued, yet sublime moments of life across the country, from momentary pauses in urban bustle to the somber stillness of the American rural South. Now, the Tennessee-born artist is revisiting his landmark project The Democratic Forest at David Zwirner in New York, a look back at the artist’s career that simultaneously marks his first exhibition since joining the gallery for global representation.
William Eggleston, Untitled from The Democratic Forest, (c. 1983-1986), via Art Observed
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Maurizio Cattelan, Novecento (1979), via Art Observed
“This exhibition is the very first, after the Guggenheim show, that has more than three of my works altogether: it is a special editing of things I’ve done before retiring. Let’s say it is a post-requiem show, where, like in a Poe’s novel, I’m pretending to be dead, but I can still see and hear what happens around.” So states Maurizio Cattelan in the opening of his press release for Not Afraid of Love, a “comeback at work” that brings together a sizable collection of the artist’s irreverent sculptures and installations at the Monnaie de Paris, a show that stands as both a look back at the artist’s work and a renewed perspective on just what the art world has been missing since Cattelan took a step back from producing art several years ago.
Maurizio Cattelan, Untitled (2007), via Art Observed
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Louise Bourgeois, My Blue Sky (1989-2003), via Hauser & Wirth
During the last decade of her life, Louise Bourgeois began immersing herself in the techniques of soft-ground etching, rendering delicate lines and twisting, nuanced forms on a series of copper plates before transferring the images to paper. Combining a number of the artist’s long-running pictorial interests in conjunction with her often inventive approach to both her tools and her own personal history, the works stand as a striking, yet subdued, re-interpretation of her own practice, branching out into new modes of practice in her final years.
Louise Bourgeois, Turning Inwards (Installation View), via Hauser & Wirth
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