August 25th, 2016
Marco Barrera, Gaze (Exchange Rate) (2016), via Art Observed
The current group show at Moran Bondaroff is a swirling, surreal exercise in sculptural gesture, compiling a trio of uniquely-motivated artists whose works play on the intersection of materials, contexts, and conceptions of the human body. The show, which brings together new works by artists Agathe Snow and Marco Barrera in conjunction with a series of historical works by the Irvine, CA-based artist George Herms, emphasizes connections in the capability for everyday objects to escape their quotidian bounds by way of addition and juxtaposition.
Eternal at Moran Bondaroff (Installation View), via Art Observed
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August 23rd, 2016
Agnes Martin, Falling Blue (1963), via Art Observed
Currently on view at LACMA, Agnes Martin’s ambitious and expansive retrospective has touched down on American soil, giving the late artist her first major museum exhibition in the U.S. since 1992. Previously on view at the Tate Modern in London, the show studiously wends its way through Martin’s career, beginning with a series of New York School paintings from the late 1950’s that not only makes a strong case for her inclusion among the pantheon of the city’s great post-war painters, but equally hints at the artist’s later work. Even as her early work traces similar interests in space and the expressive capacity of color and form, a distinct focus on line and space makes her pieces here particularly noteworthy, with delicate yet careful attention paid to the interactions between each mark, and the qualities of weight and gesture that her minimal selections imply.
Agnes Martin, With My Back to the World (1997), via Art Observed
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August 23rd, 2016
Ken Price, Tubby (2011), via Art Observed
Continuing a series of exhibitions devoted to the estate of Ken Price, Matthew Marks Gallery’s dual exhibition spaces in West Hollywood are currently showing a selection of works spanning the West Coast artist’s long and industrious career, ranging from black and white interiors to his signature sculptural inventions. Echoing a similar curatorial focus from the last show of Price’s work in New York, the two-gallery exhibition pairs similar forms and images across media, ultimately tracing a line through the broad range of interests and series of reinventions that Price took over the course of his career.
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August 22nd, 2016
Bas Jan Ader, Fall 2, Amsterdam (1970), via Simon Lee
Shown in conjunction with the recently closed exhibition at Metro Pictures in New York, London’s Simon Lee Gallery is currently showing a selection of landmark video works and photographs by Dutch conceptual pioneer Bas Jan Ader, whose short career ended 40 years ago this year. Memorializing the artist across this series of pieces, the show underscores Ader’s ability to function along multiple theoretical lines and historical modes at once. Read More »
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August 20th, 2016
Shahryar Nashat at Made in LA (Installation View), via Art Observed
Currently on view at Los Angeles’s Hammer Museum, the third Made in L.A. Biennial is exploring the broad experiences and voices of the city’s thriving arts community, culling together a body of work running from digital subversions to more concretely conceptual work, each time underscoring ideas of interconnected and related experiences of the Southern Californian experience. With a subtitle written by poet Aram Saroyan, the show is intent on exploring concepts of expanded work, where the contributions and performances of those on view spill over into the city, and state, more broadly. Read More »
| Comments Off on Los Angeles – Made in L.A. 2016: “a, the, though, only” at the Hammer Museum, Through August 28th, 2016 | |
August 18th, 2016
Jenny Holzer/Lady Pink, Trust visions that don’t feature buckets of blood (1983-84), via Art Observed
Taking its own unique turn on the group exhibition, Sprüth Magers is currently showing a powerful two-floor exhibition devoted to the female artists on its roster, examining their shared interests in political and institutional critique, and explorations of the art object’s role in relation to the gallery. Culling together a series of seminal works from Cindy Sherman, Jenny Holzer, Barbara Kruger, Louise Lawler and Rosemarie Trockel, the exhibition is a well-executed work of its in, ultimately welcoming unforeseen material and political connections among this group of artists. Read More »
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August 17th, 2016
Oliver Croy and Oliver Elser, The 387 Houses of Peter Fritz (1916-1992), Insurance Clerk from Vienna’ (1993-2008), via Art Observed
Curated by Massimiliano Gioni, Natalie Bell, Helga Christoffersen and Margot Norton, The Keeper is an ambitious group exhibition for which the New Museum has reserved its three floors and lobby. Covering a broad chronological and geographical span, the works in this exhibition investigate one of the quintessential human instincts, that of preservation and collection. The ingrained urge to keep what is present for later, with all it stands for, imbues the works on view, presenting visitors with a wealth of perspectives on this human inclination, and its equally varied results.
Olga Fröbe Kapteyn, Untitled (ca. 1927-34), via Art Observed
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August 16th, 2016
The Female Gaze, Part Two: Women Look at Men (Installation View) feat. Louise Bourgeois, Filette (Sweeter Version) (1968-99) and Diane Arbus, Young couple on a bench in Washington Square Park, N.Y.C. (1965) via Art Observed
Cheim & Read is currently presenting the second installment of the gallery’s The Female Gaze series which had its inception with 2009’s Women Look at Women. In the succeeding episode, on view through September 2nd, the female eye remains the object, but its subject switches to men, forming a full circle subversion on the male-centric narrative of art history. Placed as the subject, men—dressed or stripped, confident or meek, benevolent or distant—fill in the role of the objectified model, triggering the question of how influential the gender of its author is for interpreting an artwork. The exhibition aims to investigate whether knowing these works, and their origins, impacts the viewer’s reading of each respective work. Read More »
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August 15th, 2016
Daniel Richter, yet to come (2016), via Art Observed
Regen Projects in Los Angeles has lowered the walls in its spacious Hollywood gallery for an impressively selected show of new works by German painter Daniel Richter, who brings his unique formal approach and interest in the twisting shapes of the human form to bear on a series of colorful abstractions.
Daniel Richter, a competition in sensitivity (2016), via Art Observed
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August 14th, 2016
Meg Webster, Concave Room for Bees (2016)
Coinciding with Socrates Sculpture Park’s thirtieth anniversary this summer, LANDMARK brings together an exhibition featuring projects by Meg Webster, Hank Willis Thomas, Brendan Fernandes and Abigail DeVille, among others, for a show that both reflects on the park’s history, and projects each artist’s own vision onto its open expanse. The park’s evolution from a landfill and illegal wasteland to an exhibition site with strong emphasis on three-dimensional works was spearheaded by Mark di Suvero, whose studio still resides alongside the park at the point where Astoria meets the East River. The outdoor museum benefits from its unique ambiance and the history of its neighborhood, presenting works that interact with nature, sunlight and the local community. Read More »
| Comments Off on New York — “Landmark” at Socrates Sculpture Park Through August 28th, 2016 | |
