Donald Moffett, Lot 040616 (cobalt and pecans) (2016)

Spanning Marianne Boesky Gallery’s two adjacent Chelsea locations, including the recently-opened space at 507 W. 24th Street, any fallow field, a show of recent work by seminal New York artist Donald Moffett’s investigates some of the reoccurring themes in his multi-media practice.  Moffett’s work emerged in the midst of a New York art scene that, during the ‘80s, was dealing with the debilitating impact of AIDS, a point that made tremendous impact on his complex practice. Moffet’s work sees gender and identity politics explored through oblique, yet elegant, gestures, while remaining heavily invested in representation of form, texture and paint. Read More »

Dolores (Installation View), via Art Observed

The current exhibition at Team Gallery, Dolores, captures a series of disjointed, often confounding narrative arcs, and places them into close conversation through each piece’s respective architectural and spatial implications.  Drawing on the various trappings and appointments of modern domesticity, the show, curated by Todd von Ammon, twists familiar forms and functions through a variety of technical and visual alterations.

Max Hooper Schneider, Dielectrix I: Division Electrophorus (2016), via Art Observed

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Andrea Zittel (Installation View), via Art Observed

Taking over Andrea Rosen’s main Chelsea exhibition space on 24th Street, artist Andrea Zittel is showing a body of new works exploring not only the intertwined concepts of abstracted sculpture and utilitarian object that informs her object-based practice, but equally delving into the experience of space in relation to each piece.  Showing a series of works on view in multiple places simultaneously, Zittel’s practice realizes a distinctly indeterminate space between landscapes and contexts of use. Read More »

Madeline Hollander, Drill (2016), via Art Observed

Signal Gallery kicks off its fall season this month with a pair of exhibitions by artist Madeline Hollander and Aidan Koch, an enigmatic combination of formal interests and performative translations of material split between two rooms in the gallery’s Bushwick exhibition space.  Drawing from varied takes on illustration, movement and conveyance of information, the show’s connecting threads are distinctly understated, welcoming the viewer to consider each show’s work in its relation to material, cultural moorings, and each show’s internal systems of objects and actors.

Aidan Koch, Iris (Installation View), via Art Observed

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Jessica Stockholder, The Guests All Crowded Into the Dining Room (Installation View), via Art Observed

In The Guests All Crowded Into the Dining Room, Jessica Stockholder’s scattered arrangements of sculptural elements play with assumed boundaries to become a fluid meditation on space.  Through a variety of materials and forms, Stockholder avoids overtly breaking down traditional artistic lines, so much as she highlights that they have never truly existed at all.  Here, in her third show at Mitchell-Innes & Nash, Stockholder adds new dimension to her longstanding interest in intersection and continues to define the multifaceted significance of surface and structure.

Jessica Stockholder, Security Detail [JS 688] (2016), via Art Observed

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Jonas Wood, Rosy in my Room with His Cat (2016), via Art Observed

Taking over both rooms at Anton Kern’s Chelsea exhibition space, LA painter Jonas Wood has brought a well-rounded and entertaining series of new paintings, which chart the artist’s continually playful and inventive approach to figuration.  Mixing together abstract signifiers with a cool, even-handed approach to the world around him, Wood’s pieces here are an exceptional entry in the discourse of modern painting.

Jonas Wood, The Bat/Bar Mitzvah Weekend (2016), via Art Observed

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Rashid Johnson, Untitled Anxious Audience (detail) (2016), via Art Observed

Taking over the full expanse of Hauser and Wirth’s 18th Street location, Rashid Johnson has brought a series of new paintings, sculpture and assemblage to New York for his first gallery show in the city in several years.  The show, which dwells on concepts of escape, anxiety and history, is a concise examination of Johnson’s practice through a range of theoretical approaches and material interests.     Read More »

James Turrell at Dorotheenstadt Chapel (Installation View), via Art Observed

The memorial chapel of the Dorotheenstadt Cemetery in Berlin is temporarily home to James Turrell’s most recent light installation, a gradually shifting arrangement of colored lights that fills the space with a gentle glow.  Every Monday and Saturday through December, the chapel will fill with light in time with the setting sun and envelope attendees in the otherworldly, immersive experience, as a series of LED lights hidden in the architecture of the chapel turn on as the sun begins to set, and change over the course of the next hours to correspond to the light outside of the space. Read More »

Wassily Kandinsky, Improvisation 10 (1910), via Fondation Beyeler

In terms of the various rejections of painterly convention that defined the early decades of the 20th Century, few schools of thought left the same lasting imprint on the act of painting as “Der Blaue Reiter” (The Blue Rider).  The internationally distributed group of artists, Wassily Kandinsky and Franz Marc chief among them, were early entries in the varied schools of thought and practice that sought to change the aesthetic and political energies of their craft through a combination of dynamic invention in their craft, and iconoclastic, ideological fervor in their writing and organization.  Making the case for a practice divorced from rote representation, the pair of artists instead relied on color and line themselves, affording these essential elements a much broader range of expressive capacity and spiritual evocativeness that would ultimately pave the way for much of the century’s adventures into abstraction.

Wassily Kandinsky, Murnau—Obermarkt with Mountains (1908), via Fondation Beyeler

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