Nathaniel Axel, Snakes and Ladders (2015), via Art Observed
Currently on view at Anton Kern Gallery in Chelsea is a scattershot, yet ultimately compelling series of paintings, sculptures and hybridized formats curated by New York-based critic Bob Nickas, united under the formidable Baudelaire epithet, The Painter of Modern Life.  (more…)
Ed Ruscha, Cold Beer Beautiful Girls (2009), © Ed Ruscha. Courtesy Gagosian Gallery. Photography by Robert McKeever
On view at Gagosian Gallery’s Paris exhibition space are two exhibitions entitled “Prints and Photographs†and “Books & Co.,†organized by Gagosian director Bob Monk to explore the innovation and legacy of Ed Ruscha across a range of printed media.
Kehinde Wiley, Arms of Hugo von Hohenlanderberg as Bishop of Constance with Angel Supporters (2014)
The Brooklyn Museum is hosting a mid-career retrospective of Kehinde Wiley, the L.A.-born and New York-based artist known for his juxtapositions of contemporary youth through the lens of a classical notion of aesthetic. Wiley’s mostly street-cast models, sporting untouched urban attires, replace the highly familiar figures of classic European paintings that generally exclude people of color.  Wiley consequently redeems what is missing from the canon of Western art in his intricately detailed oils on canvas, yet pays homage to Old Masters such as Velásquez or Ingres. Maintaining some distinct elements such as outfits and posture, his models, mostly young males of African descent, do not simply recreate what was already done centuries ago, but also reclaim a collectively missing part of their history. (more…)
Anish Kapoor has contributed to Artforum’s “500 Words” section this week, describing his recent work with the pigment Vantablack, and its capabilities for absorbing light to create a sense of infinite depth on a flat surface.  “I’m absolutely sure that to make new art, you have to make new space,” he writes.  “Malevich’s black square doesn’t just make a proposition about non-images or black as an image; it suggests that space works in a different way than previously conceived.” (more…)
Rudolf Stingel, (Installation View), all images courtesy Gagosian Hong Kong
On view at Gagosian Hong Kong is an exhibition of recent paintings by Rudolf Stingel, representing the Italian artist’s first major exhibition of work in Asia. Exploring the nature of memory and the relationship between artwork and artist, Stingel continues expanding the vocabulary of painting with this series of work.
Keith Haring, Untitled (May 29, 1984) (1984), via Art Observed
Culling a minimal selection of works from Keith Haring’s immense output over the course of his life, Skarstedt Gallery is currently presenting Heaven and Hell a series of colorfully surreal compositions from 1984 and 1985, several years before the artist passed away in 1990. (more…)
Writer Louis Menand is in this week’s issue of The New Yorker, reviewing the recent restoration of Mark Rothko’s Harvard Murals using a specially designed lighting system, and the small crowd that gathers each day to watch as the murals’ lights are turned off.  “You can still see the bones of the murals, the formal architecture—Rothko’s floating blocks, made to resemble portals in these pieces—but the glow is gone,” he writes.  “As one observer put it, when the lights go off, comedy turns into tragedy.” (more…)
The thieves behind the Isabella Stewart Gardner Museum have been identified, according to a report by Breitbart.  The career criminals George Reissfelder and Lenny DiMuzio were named as the perpetrators by anonymous sources within the FBI, which had recently been reinvestigating the case.  Reissfelder had previously been represented by Senator John Kerry during his days of private defense practice for a murder conviction, which was overturned.  “I don’t know if those paintings ended up on eBay,†Kerry once joked, “but they’re not on my wall!†(more…)
Lynda Benglis sits down with John Baldessari in this month’s issue of Interview magazine for an exchange in which the two artists compare working styles, mutual inspirations and their shared interest in hybrid forms of art making.  “I think I started doing the [paint] pouring because I couldn’t pour wax on the floor and make it work, and I wasn’t interested in straight canvases,” Benglis said.  “I had made these sort of popsicle-stick paintings that were limited in format. But I was mocking the whole issue of figure ground.” (more…)
Andrew Kuo, Oops (2/9/15) (2015)
Marlborough Chelsea and its second location on Broome street recently hosted a two-man show featuring the work of Andrew Kuo and Scott Reeder.  Entitled It Gets Beta, this ambitious selection stems from a subdued affinity Kuo and Reeder share in their artistic practice, combining Kuo’s juxtapositions of sharp-edged abstract structures and humorously mundane charts with Reeder’s equally, if not less, witty lists of random topics, a comical one-two punch that plays on various constructions of the art historical as a fertile ground for playful subversion. (more…)
The Helen Frankenthaler Foundation has given a $5 Million gift to Vermont’s Bennington College, which the artist graduated from in 1949.  “Helen‘s education at Bennington was critical to shaping her sensibility as a young artist, nurturing a spirit of risk-taking, experimentation, and inquiry that formed the basis of her creative process,” says Clifford Ross, chairman of the Helen Frankenthaler Foundation. “The foundation is delighted to be making this gift.”
John Baldessari is featured on Vogue this week, discussing the formal and thematic concerns he reads in Philip Guston’s Stationary Figure, part of The Met’s new series featuring contemporary artists discussing their favorite works from the museum collection.  “He’s almost a dumb artist, and I’m using dumb in a good way,” Baldessari says.  “It’s seemingly clumsy but very sophisticated brushwork.  I guess it comes out of Van Gogh’s painting of a pair of old boots: you don’t need to paint a cathedral, you just need to be an interesting painter.” (more…)
An El Greco from the collection of industrialist Julius Priester, and seized by the Gestapo during WWII, has been returned to its rightful owners.  Portrait of a Gentleman has traveled widely since its confiscation in 1944, turning up in galleries in Stockholm, New York and London before a European Commission for Looted Art claim led to its return.  “The story of the seizure and trade of this painting shows how much the art trade has been involved in the disposal of Nazi-looted art and how difficult it is for those who have been dispossessed to find and recover their property,†says Anne Webber, co-chair of the Commission. (more…)
An article in The Atlantic this past week acknowledges the 25th anniversary of the notorious Isabella Stewart Gardner Museum theft in Boston, and examines the public fascination with art heists, examining this phenomenon against the difficulty in unloading stolen works of such cultural prestige.  “The true art isn’t the stealing, it’s the selling,†says Robert Wittman, founder of the FBI’s Art Crimes division. (more…)
Roy Lichtenstein’s The Ring (Engagement) will be one of the top prizes at Sotheby’s Contemporary Evening Sale this May in New York, the Wall Street Journal reports, with initial estimates placing the work’s sale price at about $50 million.  That figure nearly matches Lichtenstein’s $56.1 million record set in 2013.  “I think it’s so sexy how he takes this quiet moment of a proposal and turns it into an exciting crash,†says Chicago plastics magnate Stefan Edlis, the work’s current owner. “Clearly, the woman accepted.†(more…)
Blinky Palermo, Wooster Street (1975), all images via David Zwirner
In collaboration with the Palermo Archive, David Zwirner presents an exhibition of rarely displayed works by Blinky Palermo at its 537 West 20th Street gallery. The works on display in this exhibition were made by the artist from 1973 to 1976, and range from objects to paintings and large-scale drawings. Following two years after David Zwirner’s exhibition of Palermo’s works on paper from 1976–1977, this show further explores the artist’s short but influential career, which is largely associated with abstraction, Minimalism, and Conceptual Art, but also extends beyond these realms.  These pieces are being presented together for the first time since their installation in Heiner Friedrich, New York in 1974.
Blinky Palermo, Objekt mit Wasserwage (Object with Spirit Level, 1969–1973) (more…)
A Mark Rothko painting from 1958 will lead Christie’s Contemporary and Post-War Auction in New York this coming May, the New York Times reports.  Estimated at $30 to $50 million, competition is expected to be fierce, and initial indications hint that the work may near the artist’s $87 Million record.  “There’s a perception that these kinds of paintings come and they come regularly, but in reality they’re becoming more and more rare,†says Christie’s Contemporary and Post-War Chairman Brett Gorvy. “The year 1958 was probably Rothko’s all-time high as a recognized artist.â€Â (more…)
New research confirming the painting Moulin d’Alphonse as the work of Van Gogh has led to its exhibition for the first time in 100 years, The Guardian reports.  The piece, identified by a series of small numbers on the back of the work (traced to Van Gogh’s sister in law, Johanna), will be unveiled at TEFAF Maastricht, and is for sale for around $10 million. “Johanna was left with the life’s work of this artist, her brother-in-law who, in theory, she had mixed emotions about. But she set about trying to build a legacy for him,” says lead researcher and art dealer James Roundell.  “She could have just burned the lot because, at that point, Van Gogh had no real market.†(more…)
Rita Ackermann, Burn Up in Heaven 2014, all images courtesy Hauser & Wirth
On view at Hauser & Wirth Zürich is an exhibition of paintings on chalkboard by Hungarian-American artist Rita Ackermann, representing a step further into the artist’s investigation into the deconstructive process, presenting a series of many images which seem to have been repeatedly executed and expunged by erasure or weathering. The exhibition will remain on view through March 14th.
A self-portrait attributed to Van Dyck has been reconfirmed as a work by the master painter, after a study of the work uncovered a gold watch that was the property of the artist himself.  The work is currently held at the Minneapolis Institute of Arts, Minnesota, and was confirmed by four separate experts on the painter.  It is considered particularly relevant as it was a work the artist had intended to complete as his ideal portrait, and was documented as an etching for his book Iconography. (more…)
Bjarne Melgaard, The Casual Pleasure of Disappointment (Installation View), all images courtesy Galerie Thaddaeus Ropac
On view at Galerie Thaddaeus Ropac’s location in the Parisian neighborhood of Marais is the first solo exhibition from the controversial, yet highly respected Norwegian painter Bjarne Melgaard. Entitled The Casual Pleasure of Disappointment, The exhibition is a collaborative effort confronting themes inspired by French film director Catherine Breillat.  Known for confronting taboos and shocking audiences into self-reflection, Melgaard takes his cues for his new exhibition exhibition from Breillat, whom he has elevated to the role of a mythical figure. The works in this exhibition center around the 2014 film Abuse of Weakness, and take a shared interest in the beauty industry’s manipulation and domination of perceptions and judgments of others as a generator of profit and cultural currency.
Luc Tuymans, The Shore (2014), All images courtesy David Zwirner Gallery London.
The Shore, a solo exhibition by Belgian artist Luc Tuymans is on view at the David Zwirner Gallery in London through April 2, a new body of work from the artist credited with helping the revival of painting in the early 1990s.  Since his early work, Tuymans has continued to produce compositions that interrogate and intervenes in the definition of this medium. He was one of the first artists to be represented by David Zwirner, joining the gallery in 1994, and The Shore marks his second solo exhibition in the space since Allo! marked the opening of the gallery’s first European location. (more…)
The Museo Jumex in Mexico City is facing criticism after canceling an exhibition on the work of Hermann Nitsch, the Vienna Actionist painter whose frequent use of blood and animal viscera led to the institution calling off the show.  “This is a different kind of shocking,†Nitsch said.  “They wasted a lot of money. They wasted my time.  I was very, very sad.†(more…)
The Guardian has published an article examining the comic sensibilities of René Magritte, and his deliberately succinct style of painting that some liken to its own brand of a visual punchline.  “Magritte always claimed he was against interpretation,†says Professor Elsa Adamowicz. “His images suggest narratives or meaning, but that meaning is suspended, as in our dreams.†(more…)
