Tacita Dean’s JG, 2013, is titled after late author J. G. Ballard, with whom Dean enjoyed a long correspondence about Robert Smithson. The 35-mm film, which was acquired by the Musée d’Art Moderne in 2014, is an ode to Smithson’s masterpiece, Spiral Jetty, 1970, and is a tour de force of Dean’s “aperture gate masking” technique, which she developed for her monumental installation FILM at Tate’s Turbine Hall in 2011.
Thirty rarely seen collages provide a fascinating glimpse into Rosenquist’s painting practice, which involves translating small, collaged imagery onto large canvases using a simple gridding system. Artworks in their own right, the torn and taped compositions present intimate impressions of contemporary life that are in stark contrast to the iconic billboard-style paintings on view at Ropac’s converted factory space in Pantin (through January 7).
JAMES ROSENQUIST THE COLLAGES, 1960-2010
Having explored the natural world with precise and direct gestures for fifty years, Penone’s hands take center stage in this exhibition. From handprints preserved in casts of tree trunks and branches in Germinazione (Germination), 2005, to the small terra-cotta shapes in Avvolgere la terra (To Unfold the Earth), 2014—made with a simple squeeze—the works on view here are part of a larger and ongoing dialogue between man and nature.
Giueppe Penone Ebbi, Avró, Non Ho (J'eus, J'aurai, Je n'ai)
Like humanized and seductively penetrable versions of Frank Stella’s object-paintings, Lisa Beck’s compositions of concentric, slightly imperfect rectangles stand at the center of the gallery like sentinels. Pairing her paintings with Mylar “mirrors”—which meet each canvas at a right angle—Beck gives geometric abstraction a trippy through-the-looking-glass treatment.
Lisa Beck The House of Eternity
Featuring more than forty new works installed across Perrotin’s three Paris galleries, this expansive show confirms the artist’s talent for seamlessly weaving artistic styles, ranging from traditional Japanese painting and contemporary manga to Abstract Expressionism and Pop art. Grandiose and fun, the monumental panel painting A Picture of Lives
Wriggling in the Forest at the Deep End of the Universe, 2015, acts as a useful anthology of the recurrent themes and characters populating Murakami’s hypercharged “superflat” universe.
Confirming Rosenquist's longtime fascination with technology and popular culture, this impressive collection of paintings (many of which are loans from the artist himself) includes the explosive “Meteor” series, where space rocks crash into pillars of Modern Art from Picasso to Brancusi. Examples of the artist’s less well-known collages are concurrently on view at Ropac's flagship gallery in the Marais (through October 15).
James Rosenquist Four Decades, 1970–2010