Ai Weiwei, Stacked (2002), Installation view Pérez Art Museum Miami Photo credit: Daniel Azoulay photography

The doors of Miami’s newly completed Perez Art Museum opened this past December with a landmark exhibition of works by Chinese artist and dissident Ai Weiwei, the first major international retrospective of the artist’s work.  Charting the artist’s signature blend of irreverence, scale, architectural techniques and sculptural conceptualism, the exhibition is a remarkable introduction to Ai’s challenging and oftentimes difficult work, drawing on political aggression and irony to open dialogues on contemporary politics around the world.

An Ai Weiwei Zodiac Head outside the PAMM, via Art Observed

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Artist Martin Creed is profiled in the New York Times, previewing the artist’s upcoming career retrospective at the Hayward Gallery in London, and discussing his unique take on conceptions of the word “art.”  “I would not disagree with me not being an artist, because I don’t know what art is,” Creed states. “I’m just making a painting or a sculpture or whatever it may be. I’m not making art, because art would seem to me to be in the eye of the beholder.” (more…)

Isa Genzken, World Receiver (2012), via Daniel Creahan for Art Observed

Open since November, Isa Genzken’s retrospective at the Museum of Modern Art is a colorful affair, combining the artist’s playful manipulation of consumer objects, every day materials and multiple media forms with a studied historical perspective that underlines her architectural and structural interests.

Isa Genzken. Rot-gelb-schwarzes Doppelellipsoid ‘Zwilling’ (Red-Yellow-Black Double Ellipsoid “Twin”), 1982. Lacquered wood, two parts. Overall: 9 7/16 x 8 1/16 x 473 1/4″ (24 x 33.5 x 1202.1 cm) Part one: 5 1/8 x 8 1/16 x 236 1/4″ (13 x 20.5 x 600 cm) Part two: 4 5/16 x 5 1/2 x 237″ (11 x 14 x 602 cm). Collection of the artist. Courtesy the artist and Galerie Buchholz, Cologne/Berlin. © Isa Genzken (more…)

Indian artist Subodh Gupta is profiled in the Wall Street Journal, as his first major museum retrospective opens at the National Gallery of Modern Art in New Delhi.  Titled Everything is Insisde, the show is curated by former Venice Biennale director Germano Celant, and includes a number of new works.   “A good artist starts with his roots and uses that cultural identity to say something larger to the international art world,” Mr. Celant said. “But for an artist like Subodh, it’s also important to come back and be seen at home.” (more…)

The New Museum has announced its 2014 schedule of exhibitions, prominently featuring a show by Polish artist Pawel Althamer, which will include a highly public, participatory aspect.  Alongside the artist’s immediately recognizable sculptural works, the show will also welcome visitors to paint the walls of the museum’s spacious lobby.  The show opens on February 12th. (more…)

Sarah Lucas, Nice Tits (2011), Copyright of the artist, courtesy Sadie Coles HQ

English sculptor, photographer, and installation artist Sarah Lucas has long been labeled as the “wildest” member of the Young British Artists who emerged in the 1990s, with a career of pieces that has openly and aggressively challenged sexual identities, psychological states, and cultural images of the body through her evocative and often grotesque assemblages and Situations. Entitled SITUATION Absolute Beach Man Rubble, her current retrospective at Whitechapel Gallery examines this ongoing interest in the body and its cultural reifications.

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Coinciding with Art Basel, the Museum of Contemporary Art North Miami will open Tracey Emin’s first American museum show, exhibiting a selection of the artist’s neon works.  Confronting spiritual and human concerns, the works offer a strong overview of the artist’s career, even though some may overlook her more religion-focused pieces.  “Because sex sells, they actually filter out the ones about love or God,” the artist notes. (more…)

Isa Genzken spoke with the New York Times recently, discussing her current retrospective at MoMA, her long career, and the public reception of her art.  “I think my work is very difficult to understand. Sometimes people do and sometimes they don’t. I can’t do much about that.” (more…)

Robert Indiana, The American Gas Works (1962), Courtesy of The Whitney Museum of American Art

Robert Indiana‘s lasting fame in the canon of American post-war modernism will forever belong to his iconic LOVE sculpture—that immediately recognizable logo of stacked letters animated by it’s slanting O, which graces merchandise as ubiquitous as the US postage stamp. This beautifully simple graphic, originally conceived as a design for a Christmas Card for MoMA, has in fact so eclipsed Indiana’s expansive career that his name has become synonymous with its text. And yet this fall’s large retrospective at the Whitney, Robert Indiana: Beyond LOVE, plumbs the depths of his oeuvre to present an artist far more complex than those four well-worn letters. Curated by Barbara Haskell, the exhibit presents paintings and sculptures by the pop artist that highlight Indiana’s sociopolitical conscience as boldly as their hard-edged execution, and traces his developing formal vocabulary of language and abstraction, from biting political commentary, to personal biography, to literary allusion, Indian’s broad selection of works on view dispel any notion of the artist as one-hit-wonder.  This exhibit demonstrates the thematic expanse Indiana pursues “beyond Love”, including American identity, the American Dream, and the politics of race and sexuality. Rife with literary references to American authors and indebted to artistic predecessors such as Charles Demuth, the textual program is often as radical as his post-painterly abstraction.

Robert Indiana, LOVE (1961), Courtesy of The Whitney Museum of American Art (more…)

London’s Hayward Gallery has announced plans for a retrospective of the work of Martin Creed, featuring a broad selection of work from the Turner Prize winner.  The exhibition, set to open in January of next year, will also include exhibitions at the Southbank Centre and the Royal Festival Hall.  “If people find the exhibition exciting, that would make me happy.”  Creed says. (more…)

With the first career retrospective of artist Pierre Huyghe set to open at Centre Pompidou this week, the French artist sat down Art Newspaper to discuss his selection of works for the show, the act of exhibition, and the focus of his work.  “I look at how things change, are transformed, or metabolise. The word might not be perfectly appropriate and I might change it. But I am trying to find a word to say ‘something that is alive.'”  He says. (more…)

In anticipation of her upcoming show at the Brooklyn Museum, New York Magazine sat down with artist Wangechi Mutu to discuss her elusive, layered collage techniques, her influences in science fiction and mythology, and her views on images of international black identity.  “In National Geographic you always saw pictures of tribal Africa. And here I am sitting in Nairobi, in our suburban house, watching TV and thinking, ‘Why is it always going to be these tribal people that are the ambassadors of our image?’”  She says. (more…)

Peter Coffin, Untitled (Dog), 2012. Courtesy Hirshhorn Museum.

Now through October 6, the work of Peter Coffin is on view throughout the Hirshhorn Museum in Washington DC. Here and There presents this collection of work through an installation that demands the viewer engage in the play of a hunt, or the happenstance of casual encounter.  Photography, sculpture, video installation and lithography are a few of Coffin’s mediums  scattered through both the museum and its online site.  A checklist that serves as a guide to the exhibition can be found on the museum’s website.

Peter Coffin, Untitled (Design for Colby Poster Company) (2008),  Courtesy Hirshhorn Museum. (more…)

Gary Hume, Blackbird (1998), all images courtesy Tate Britain

The Tate Britain is currently presenting an exhibition of works by British painter Gary Hume, created throughout his career. On display are 24 recent paintings, rare works never before seen in the UK, as well some of his most well-known pieces, offering a pointed view of his minimalist style and challenging aesthetic practice.

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Ellsworth Kelly,  Chatham I White Black (1971), Courtesy of MoMA

Coming off the wide success of his early experiments in shaped canvases, pure color fields and architectural investigations in the late 1960’s and early 1970’s, artist Ellsworth Kelly withdrew from the New York City art world that had helped him attain such a high degree of success, settling in the upstate villa of Spencertown.  It was here, painting at a rented studio in nearby Chatham, that the artist would begin a new series of works that would help develop and refine his artistic practice to a fine point.

Ellsworth Kelly,  Chatham XII Yellow Black (1971), Courtesy of MoMA (more…)

For the first time in 25 years, MoMA’s PS1 campus will play host to a full-building retrospective, focusing on the work of the late Mike Kelley this October.  The retrospective first debuted at the Stedelijk Museum in Amsterdam last year, featuring over 200 works from Kelley’s body of work. (more…)

In conjunction with the late Richard Artschwager’s ongoing retrospective at the Hammer Museum in Los Angeles, the museum has partnered with the Los Angeles Nomadic Division and the Cosmopolitan Hotel in Las Vegas to install a series of the artist’s blps pieces across the cities of LA and Las Vegas.  The museum is also hosting a contest around the blps installation, entering any viewer who posts an image of one on Twitter or Instagram for a drawing to win an Artschwager prize pack.    (more…)

The Museum of Modern Art has announced a new show, opening this December, focusing on the life and patronage of collector Ileana Sonnabend, a Romanian emigré who at one time was married to Leo Castelli, and presided over the New York art world, eventually developing a collection valued at well over $900 million, and championing artists like Robert Rauschenberg and Mario Merz.  “For us, the emphasis will clearly be on the history she made.” Says Chief Curator Ann Temkin. (more…)

James Turrell, Breathing Light, (2013) Courtesy Los Angeles County Museum of Art, Copyright James Turrell. Photo copyright Florian Holzherr.

Part of his three-museum, nationwide retrospective, James Turell lights up LACMA with a retrospective that exhibits works from the artist’s nearly fifty-year career.  Extending across an entire wing of the Resnick Pavilion, and an entire floor in the Broad building, the exhibition is easily the heaviest concentration of works by Turrell in one place that one could hope to see in a lifetime.  Loosely chronological, the show begins with a projection work from the first years of Turrell’s light experiments, and ends with an immersive environment created this year.  These works, Afrum (White) (1966) and Breathing Light (2013), provoke pure wonderment, emphasizing the device central to Turrell’s artistic investigations: that the work itself doesn’t necessarily exist in the space, but within the viewer’s experience, moving through the work.

James Turrell, Afrum (White), (1966), Courtesy Los Angeles County Museum of Art, Copyright James Turrell. Photo copyright Florian Holzherr. (more…)

James Turrell, Aten Reign (2013) (Installation View) © James Turrell, Photo: David Heald © Solomon R. Guggenheim Foundation, New York

The highly anticipated James Turrell exhibition at the Guggenheim Museum, which opened last month, and remains on view through the summer, has renewed the ongoing debate surrounding contemporary artworks of Disney-esque proportions, especially considering whether or not these spectacle-inducing affairs are worthy of the attention they often command. Like his ongoing work-in-progress, Rodin Crater (a massive naked-eye observatory built within an ancient crater near Flagstaff, Arizona), Turrell’s multi-venue comeback is not exactly a modest undertaking, with concurrent exhibitions on view at The Los Angeles County Museum of Art and The Museum of Fine Arts in Houston. At the Guggenheim, Turrell joins Matthew Barney, Nam June Paik, Maurizio Cattelan, and others who have mediated Frank Lloyd Wright’s iconic rotunda through Turrell’s site specific Aten Reign, which uses an ingenious system of stretched fabrics and LED lights to create the illusion of billowing clouds of color that unfold in concentric rings through the rising levels, with visitors invited to watch the dizzying light show from the rotunda floor. Four other historical projected light works, three of which date to the 1960s, are also on view in adjacent galleries along with a selection of thirteen aquatints that, with expert lighting and position, appear to emit a soft glow. However, it is Aten Reign that has generated the most buzz, both good and bad.

James Turrell, Aten Reign (2013) (Installation View) © James Turrell, Photo: David Heald © Solomon R. Guggenheim Foundation, New York  (more…)

Los Angeles’s Museum of Contemporary Art, the first planned location for a traveling retrospective of the work of Jeff Koons, has announced that it will no longer be hosting the show.  The news comes in the wake of Director Jeffrey Deitch’s resignation from his position.  The exhibition will now open in New York at The Whitney Museum in June of next year. “It was decided by MOCA and the Whitney that it would be better for an exhibition as complex and ambitious at this one to be developed over a longer period of time,” said Whitney spokesman Stephen Soba. “And that the show should open in June in New York.”  (more…)

James Turrell, Prado, Red (1968), Courtesy of Almine Rech

James Turrell is a pioneer in perceptual art using light as his medium, and Almine Rech Paris, capitalizing on the artist’s current nationwide exhibition in his native United States, is currently presenting  his seventh exhibition in its gallery. Shown across three rooms, this collection offers insight into Turrell’s celestial inspiration for his abstract pieces.

James Turrell (Installation View), Courtesy of Almine Rech (more…)

The Museum of Modern Art has announced an expansive retrospective for artist Sigmar Polke, set to open on April 19th, 2014.  Pulling from the artist’s broad explorations in painting, film and performance, the exhibition will feature some of Polke’s largest paintings and digitally rendered works, requiring their exhibition on the second floor of the museum, which is generally reserved for special exhibitions.  “Some of the paintings are so big, they can only fit on the second floor,” says MoMA Associate Director Kathy Halbreich. “This is one of the largest shows MoMA has ever done.” (more…)

Floor Cone (1962), in front of Dwan Gallery, Los Angeles, (1963) Image courtesy of Oldenburg van Bruggen Studio.

Claes Oldenburg (b. 1929, Stockholm) is widely regarded as one of the founding pioneers of Pop Art, a superstar in the history of art, and a visionary who opened new doors on the world of conceptual practice, sculpture and performance.  Embracing this foundational role, the artist’s current retrospective at the Museum of Modern Art maps the early beginnings of Oldenburg’s career, alongside the formative years of Pop Art.  (more…)