Asger Jorn, Portrait of Odilon Redon (1958), via Art Observed

Despite a remarkably expressive hand and a pioneering range of styles, Asger Jorn’s work has long been somewhat under-appreciated in the United States. The Danish artist and COBRA co-founder’s work ranges across a broad series of compositional techniques and practices that defined him as a founding voice of post-war abstraction, yet his reputation seems almost underemphasized by comparison to his stature in Europe.  It’s this contrast that makes his show currently on view at Petzel Gallery feel like such a well-kept secret, a balanced, well-organized exhibition that spans a wide range of the artist’s practice.  Read More »

Claire Fontaine, Caught (2016), via Galerie Neu

Working along a similar thread as Reena Spaulings (a faceless project by several Bernadette Corporation collaborators), the French “artist”/collaborative Claire Fontaine works at the margins of the 20th Century’s most iconic artistic modes: readymades, monochromes, and perhaps more broadly, the studio artist-assistant relationship itself.  Throughout each of its formats, the group delves into the space of production for the artist in modern society, a field plagued by contradictions, imbalances of power, and capitalist tendencies that they seek to outline while operating within them.

Claire Fontaine, May Our Enemies Not Prosper (Installation View), via Galerie Neu

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Berlin Biennale at the Kunstakademie, all photos via Anna Corrigan for Art Observed

While the DIS-curated Berlin Biennale is spread across a range of exhibitions and venues in the German capital, the beating heart of this year’s show is arguably the Academy of the Arts, a sleek modernist building located adjacent to the Brandenburg Gate and perched over a square heaving with tourist activity and history.  Walking into the foyer of this building, one immediately encounters a series of large, high-resolution photographs depicting warped, fragmented nationalities and identities.  Further upstairs, the cluster of screens, plastic and digital games that have come to define this Biennale buzz take over, creating a clustered, albeit striking experience of the post-digital arts landscape.  The location is densely packed with artists and works whose nationalities and political concerns range from brand-name art projects to a poignantly honest confessional rap about the refugee experience in Berlin.

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An Installation by Puppies Puppies

The 9^th Berlin Biennale for Contemporary Art, curated by DIS (the New York art collective formed by collaborators Lauren Boyle, Solomon Chase, Marco Roso and David Toro), has long promoted a vision of the future as now.  Steeping their work in the ambitious task of interrogating relationships between the human and the digital, the collective has been turned loose on the prominent art biennial, using their unique brand of commentary on politics, happiness, commercial branding and the paradox of the modern age to frame the show as a brand, a tourist trap, and a materialization of the virtual in tandem. The Present in Drag channels the discomfort and drastic uncertainty that is a product of uncertain links and porous borders established by technological advancement.  Expanding beyond its traditional venue at the KW Institute for Contemporary Art, additional sites for this Biennale are scattered throughout the city in various buildings and institutions. Its main point of departure is the Academie der Künst, located off Pariser Platz, and to the tourist mainstay Brandenburg Gate, and moves through the fabric of the city with its humorous, haunting and at times grotesque commentary on contemporary art in the digital age. Read More »

Roy Lichtenstein, Entablature (1975), via Quincy Childs for Art Observed

The Entablatures represent my response to Minimalism and the art of Donald Judd and Kenneth Noland. It’s my way of saying that the Greeks did repeated motifs very early on, and I am showing, in a humorous way, that Minimalism has a long history … It was essentially a way of making a Minimalist painting that has a Classical reference. – Roy Lichtenstein

Sometimes a show strikes a perfect balance between surprise and expectation, even more so when the works selected coincide so effortlessly that the artists seem presented anew. Castelli Gallery’s show, Donald Judd, Roy Lichtenstein, Kenneth Noland: A Dialogue, does exactly that.  Taking inspiration from a quote by Roy Lichtenstein on his Entablature paintings, the show examined each artist’s work at the intersections of the architectural and the purely aesthetic, the functional and the pictorial. Read More »

Martha Rosler, If You Can’t Afford to Live Here, mo-o-ove!! (Installation View), all photos by Osman Can Yerebakan for Art Observed

Adopting its title from Ed Koch’s response to complaints regarding New York’s rising housing concerns, Martha Rosler’s current Mitchell-Innes & Nash exhibition If You Can’t Afford to Live Here, mo-o-ove!! promises a compact look at the artist’s influential 1989 exhibition If You Lived Here…, which was exhibited at Dia Foundation as a three part show.  Similarly, this current interpretation is a trilogy, culminating in this grand finale at the Chelsea gallery and proving the relevance of issues raised almost thirty years ago in the original version. Read More »

Trevor Shimizu, Sophia’s Teddy (2016), via Art Observed

Currently on view at 47 Canal, Trevor Shimizu has realized a swirling fantasia of parenthood, a series of paintings, sculpture and video that turn the act of parenting into an otherworldly, almost surreal experience through his ragged, often comedic sensibility.     Read More »