Shio Kusaka, (Installation View), via Art Observed
Blum and Poe in Los Angeles is currently hosting an exhibition of new works by artist Shio Kusaka, her second solo exhibition with the gallery.  Culling together a broad selection of ceramics ranging from pottery to small figurative totems, the exhibition examines shifting concepts of rhythm and tone as the viewer moves through the exhibition.  Read More »
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Pia Camil, Bust Mask Sulphur (2016), via Art Observed
Taking over the townhouse exhibition space of Blum & Poe on Manhattan’s Upper East Side, Pia Camil is currently showing a series of new sculptural works, with show titled Slats, skins and shop fittings.  Mining the vocabulary and iconography of commodity production and the performance of capitalism within social interactions or group participation, the exhibition pays express homage to the Copper paintings of Frank Stella, while suspending the post-war master’s work in a broader hierarchy of industrial manufacturing and material sources.
Pia Camil, Slats, skins and shop fittings (Installation View), via Art Observed
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I Talk with the Spirits (Installation View), via Art Observed
Spanning both exhibition spaces in its expanded West 24th Street home, Marianne Boesky has opened a new show of works exploring the potency of sculpture and painting, ranging from self-taught artistry through to powerful, yet nuanced meditations on the act of creating as a spiritual force in and of itself.  Drawing its title, I Talk with the Spirits, from a piece by the famous jazz saxophonist Rahsaan Roland Kirk, the show mimics Kirk’s multifarious approach to the creation and execution of his artistic vision, drawing on contemporary modes and materials in conjunction with a deep-rooted, and highly studied perspective on ancient forms and practices. Read More »
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Nan Goldin, Heart-Shaped Bruise, New York City (1980), via Art Observed
Few bodies of work have left an impact on the development of photography in the way that Nan Goldin’s Ballad of Sexual Dependency did when it was first presented.  The ever-evolving compilation of photographs from Goldin’s life and travels between New York, Boston, Berlin, and elsewhere shows both fragility and joy, lust and love, life and death through a deeply personal focal point, as Goldin placed her own friends and familiars before the camera, and then reflected them back towards themselves during a series of slideshow performances in which she projected the images in a series to gallery audiences.
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Diane Arbus, Child with a toy hand grenade in Central Park, N.Y.C. (1962), via Art Observed
In 1956, Diane Arbus struck off on a path that would redefine the practice of photography in the 20th Century, adopting a wide-ranging yet equally nuanced eye for subjects and situations in the teeming metropolis of post-War New York City and beyond.  Culling together a selection of these works, including a wide grouping of previously unseen shots from the artist’s personal archives, the Met Breuer has opened a landmark exhibition documenting the artist’s formative years, titled In The Beginning, and spanning the first seven years of her practice as an artist (1956 to 1962). Read More »
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Mika Rottenberg, Bowls Balls Souls Holes (Bingo) (2014), via Andrea Nguyen for Art Observed
Currently on view at Palais de Tokyo for its annual summer exhibition, Argentinian-born, New York-based artist Mika Rottenberg presents a broad selection of works, bringing a series of her expansive installation and video works, alongside new commissions, to the Paris institution’s grounds.  Centered around the artist’s recent Venice Biennale commission, NoNoseKnows, the show runs across a broad variety of the artist’s work over the last decade, exploring themes of production, economy, and the body through her own uniquely madcap lens. Read More »
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Wangechi Mutu, Throw (2016), via Art Observed
Blackness in Abstraction is Pace Gallery’s museum level survey of a candid, simple concept—the use of the color black in art since the 1940’s—stemming from the visual impact of its subject color and spreading toward its various pertinent connotations.  Curated by Adrienne Edwards, the selection, featuring twenty-nine intergenerational artists, puts a particular emphasis on monochromes, yet a broad array of media, including video, sculpture and photography, is available in an exhibition that joins in on the highly populated list of conceptually potent summer group shows.  Read More »
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Rachel Whiteread, Yellow Edge (2007-2008), via Art Observed
Continuing its slow but steady expansion around the globe, Gagosian Gallery has inaugurated a new exhibition space in downtown San Francisco, opening a spacious and beautifully lit gallery on Howard Street, just across from the recently re-opened SFMoMA.  Taking the opportunity to flex its roster in its new home, the gallery has curated a strong exhibition, Plane.Site, taking intersections of form, practice and material across a variety of artists from the gallery’s expansive representation. Read More »
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Kenneth Noland, Adjoin (1980), via Art Observed © Estate of Kenneth Noland/Licensed by VAGA, New York, NY www.vagarights.com
Like many of the forms of 20th Century abstraction, the shaped canvas invites both dedication and constant reinvention, a technical fold in the painterly language that allows an artist to work between the picture plane/mark-making relationship of traditional practice, and the more sculptural elements of the art form that have developed alongside critical reappraisals of the medium since the historical avant-garde.  Twisting the canvas and the artist’s gestural vocabulary around edges and into curious re-examinations of space, it has remained a core element of the craft ever since the advent of minimalism pushed a new language of space both within the canvas, and around it.  Read More »
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Fine Young Cannibals (Installation View), via Petzel Gallery
Fine Young Cannibals, a summer group show currently up at Petzel Gallery’s 18th street location, is currently undertaking the perpetually ambitious task of examining the current state of painting.  Bringing together work from sixteen different artists, the show poses the question of whether the type of contemporary work sometimes categorized as “Zombie formalism,†borrowing a term first coined by critic Walter Robinson, is purely market driven, or whether the work should be given more consideration.  The pieces on view, which range from challenging formal workouts to coy, momentary operations on canvas, offer an intriguing look at current threads in the painterly discourse, adopting a fairly even-handed approach to the artists on view, and their respective interests.
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