Untitled Gallery and Zach Feuer will merge to form two similarly titled spaces sharing resources and artists in the L.E.S. this May, Art News reports.  The two spaces, Feuer/Mesler and Mesler/Feuer, continue previous collaborations, including 2013’s Jew York show, which was on view at both dealers’ respective spaces.  “It’s an interesting time for galleries on the Lower East Side,” says Untitled’s Joel Mesler says. “It’s become an establishment in and of itself.”  (more…)

Sarah Sze, Still Life with Desk (2013-2015), via Victoria Miro

Through the month of March, the Victoria Miro Gallery will host a solo exhibition by the artist Sarah Sze that spans all of the gallery’s London exhibition spaces. This is Sze’s third solo exhibition with the gallery and the artist’s first time she has shown in Europe since the Venice Biennale in 2013. (more…)

Virginia Overton, Untitled (2015 ), all images courtesy White Cube

On view in London at White Cube in Mason’s Yard is an exhibition of new large-scale minimalist sculptures by American artist Virginia Overton. The exhibition is Overton’s first in the UK.

(more…)

Allora & Calzadilla, Raptor’s Rapture (2012) all images courtesy Philadelphia Museum of Art

On view at the Philadelphia Museum of Art is an exhibition of recent work by Puerto Rico-based artists Jennifer Allora and Guillermo Calzadilla. Entitled Intervals, the projects on display allude to the notion of the interval: “the time between events, the measure between two points in space, or the range between musical notes.”

(more…)

Allora & Calzadilla, The Bell, The Digger, and the Tropical Pharmacy (2013), all images courtesy Lisson Gallery

Cross Section of a Revolution, on view at Lisson Gallery in London, brings together seven artists and pairs of artists whose work explores questions of trade, contested territory and trauma in a global context. These substantial themes are approached through a variety of mediums that speak to both individual and collective experiences in Central Asia, Pakistan, Kenya, Europe and the United States,opening lines of inquiry into aspects of cultural and political fragmentation, and reveals strategies for art and aesthetics in relation to cultural, geographic and religious division. This group exhibition does not shy away from inspiring or explicitly asking large questions about the nature of globalization and aesthetics. For instance: how is a modern understanding of culture, politics, and religion shaped or impacted by a continual flow of visual information?  (more…)

Subodh Gupta, This is not a fountain (2011), via Ross Maddux for Art Observed

Subodh Gupta’s most recent show at Hauser and Wirth is an exercise in the personal.  Long known for works combining the intensely personal with broader social constructs and ritualistic approaches to the art object, his current exhibition places an even more central focus on the intensely personal, communal relations life in India, and his emphasis on the unifying, material structures over which daily life proceeds. (more…)

The New York Times reports that Hauser and Wirth is building a new, multi-story exhibition space on 22nd Street between 10th and 11th Ave, which the gallery will move to following the expiration of its 18th Street lease in 2017.  The building, designed by Annabelle Selldorf, will open in 2018. (more…)

The New York Times profiles gallerist Bridget Donahue’s new space at 99 Bowery, founded by the former Gavin Brown’s Enterprise director and focusing on a broad selection of artists, including “older, under-the-radar, and anti-establishment” artists.   (more…)

Brendan Lynch, Not Quite Spring (2015), via Art Observed

The Still House Group has always presented something of the enigmatic in their works and performances, lifting objects and materials directly from the quotidian landscapes of modernity and refashioning them as something of a compositional element, or a compositional subject in their own right.  Take Brendan Lynch for example, the young painter whose work has embraced slurs and gobs of paint, concrete, and plastic water bottles as elements for surreal installations.  A certain commodity element dominates Lynch’s work, blended in with a certain material fascination with surfaces and textures. (more…)

The Wall Street Journal evaluates the trend towards galleries moving into Manhattan’s flower district, as many dealers tire of the rapidly increasing rents and steady stream of towering condos.  “The spirit of the neighborhood is dramatically changing,” says Casey Kaplan. “A lot of the conversations I’ve had with artists have been about wanting to break out of the art mall and have a different experience.” (more…)

Photographer Donald Graham has sent a cease and desist letter to Richard Prince and Gagosian Gallery, after a work of his ended up in Prince’s recent show of Instagram appropriations.  Interestingly enough, the work itself was already used without license on user @rastajay92’s account, which is the image Prince apparently printed. (more…)

Smithsonian outpost The Freer Gallery of Art in New York will close next January for renovations, a major project that will add additional lighting and updated technological capabilities for the museum.  “Some of it will be very subtle, but we are trying to take it back to the way it opened in 1923,” says Katie Ziglar, director of external affairs. (more…)

Ryder Ripps, Heater (2014), via Art Observed

If there’s one thing that can be said about Ryder Ripps, it’s that the artist loves context.  Over the past few years, the artist has produced a number of timely and often razor-sharp critiques on the notions of authorship and production in the digital sphere, including his “WhoDat.Biz” troll of Kanye West, and his recent, controversial Ace Hotel performance piece, in which the artist hired a group of “sensual masseuses” to draw pictures for him to protest what he saw as an inequitable payment situation. (more…)

Harmony Korine, Fex Chex (2014), all images Courtesy Gagosian Gallery

Currently on view at Gagosian Beverly Hills is a group of new paintings by American film director, producer, screenwriter, author, and artist Harmony Korine. Although he is primarily working within the mediums of film and writing, Korine has recently begun publicly displaying his works, immense, swirling compositions composed in a variety of techniques and palettes.

(more…)

Mamma Andersson, Behind the Curtain (Installation View)

Currently on view at David Zwirner is Behind the Curtain, a new body of work by one of the most recognized contemporary artists from Sweden, Mamma Andersson. The Stockholm-based artist has gained international acclaim in recent years with her solo shows in Aspen Museum of Art, Douglas Hyde Gallery in Dublin and a mid-career survey that travelled to Finland and UK after its Swedish premiere several years ago. (more…)

Polly Apfelbaum, HWP 10-20 (2014), via Art Observed

The White Columns Annual offers a particularly resonant opening note for New York’s art world each year.  Refusing an overly objective approach to the curation of a “year in review” style group show, the event encourages, and even emphasizes subjectivity, turning the keys over to one group or person each year.  This year, the all-female art collective Cleopatra’s has been handed the reigns for the Annual’s 9th Edition, with the end result being a colorful, expansive show that is at turns somber, wry and compelling. (more…)

Hauser and Wirth has announced that it will serve globally as the representative for the Mike Kelley Foundation.  Established by the artist in 2007, the organization issues grants to artists working on challenging projects among Kelley’s preferred mediums.   (more…)

Following a notable expansion project that boosted its gallery size from 800 square feet to 1,800, James Fuentes Gallery is opening a 400 square foot “project space” inside its space titled Allen & Eldridge.  “Because we’re starting a new chapter with the gallery, with the new space,” Fuentes says, “it just seemed like a really great juncture to try and incorporate some new voices into the program and have the ability to present these intimate exhibitions by great and interesting young artists.”  The space opens tonight with a show of work from Edward Shenk and Victor Vaughn’s ongoing series of King of the Hill inspired pieces. (more…)

The Still House Group will open a new space at 3 Howard Street this week, where the group will be presenting programming and gallery exhibitions for the next year, as announced by the collective earlier today.  The space, fittingly titled Howard St, opens Saturday night with a show of new work by Brendan Lynch.   (more…)

Vito Schnabel will reportedly take over the St. Moritz gallery space formerly occupied by Bruno Bischofberger when the dealer vacates at the end of this season.  Bischofberger is reportedly moving his main space in Zürich into a 250,000-square-foot complex, and will be operating without a physical location in the meantime. (more…)

Takashi Murakami is featured in Nowness’s ongoing artist profile series this week, discussing his recent show at Gagosian Gallery in New York, and the inspiration behind his new works.  “For me, (the works) look like 25 years ago,” Murakami says, “with the crazy economy and then the crash.”
(more…)

W Magazine takes an inside look at the design and architecture of artist Ugo Rondinone’s New York studio and loft, built in an abandoned church in Harlem Rondinone gut renovated for $4 million.  “Somehow I thought it was a bargain,” the artist says.  “I love the church. I can stay here for weeks without going out.”  (more…)

Anish Kapoor will be the next artist given a solo show at the Palace of Versailles, the organization announced this week.  Kapoor’s show will run from June to October of 2015, and was chosen “because he has something particular to say in this setting,” says Chief Administrator Catherine Pégard. (more…)

The Wall Street Journal notes the growing trend for museums to collect visitors data as they pass through the museum, using the information in exhibition planning, marketing, and other strategies in running a successful institution, despite some criticism.  “It’s not as if people going out of museums say, ‘Jeez, I wish that museum knew a lot more about me, I would’ve had a lot better experience,’” says Marc Rotenberg, the law professor heading the Electronic Privacy Information Center.  “It’s being driven by the possibility of increased sales, advertising and better marketing.” (more…)