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 »

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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Steven Parrino, Untitled (1991), all images courtesy Patrick Seguin

On-view through November 26^th, 2016, Galerie Patrick Seguin presents Olympia, in collaboration with New York-based gallery and bookstore Karma, one in a series of annual shows hosted by the gallery, entitled Carte Blanche, in which international galleries are invited to organize and curate exhibitions at the Paris space.  Drawing on a wide range of artists’ works on paper, the show features pieces by Wade Guyton, Sigmar Polke, Willem de Kooning, Louise Bourgeois, Pablo Picasso, and more. Read More »

Carmen Herrera, Green and Orange (1958), via Art Observed

Taking over the top floor of the Whitney this fall is Lines of Sight, an exhibition delving into the first thirty years of Cuban-born artist Carmen Herrera’s unique investigations into the color field, minimalist abstraction, and the practice of painting.  On view through 2017, it provides a fitting context for the artist’s ongoing body of work, which now reaches into its seventh decade. Read More »

GCC, Positive Pathways (+) Version II (2016), All images © GCC; Courtesy of the artists and Mitchell-Innes & Nash, NY Photo: Adam Reich

GCC, an art collective tapping on cultural and social implications of change in the Arab Gulf Region, last exhibited in New York in 2014, when MoMA PS1 opened the group’s first American solo exhibition, Achievements in Retrospective, followed by their inclusion in the New Museum exhibition Here and Elsewhere.  The collective, comprised of eight artist-“delegates,” all born or raised in the region, returns to the city for Positive Pathways (+) at Mitchell-Innes & Nash this month, presenting the show’s eponymous sculpture, originally exhibited at the DIS-curated Berlin Biennale this summer, alongside a group of sculptural reliefs created using Thermoforming techniques. Read More »

Gerhard Richter, A.B. Still (1986), final price: $33,987,500, via Sotheby’s

Concluding the last major week of auction sales before the end of a rollercoaster calendar year, Sotheby’s capped an impressively consistent sale of Post-War and Contemporary artworks last night in New York City, a 64-lot outing that saw the auction house continue to upend expectations in a week that has been defined by unexpected records and several marquee auction records.  The sale reached a final tally of $276,560,750, with 4 of 64 works unsold. Read More »