This exhibition features new cedar sculptures, a material for which von Rydingsvard is known, as well as some of her first work in bronze, including a nine-and-a-half-foot tall sculpture based on a vinyl lace pattern. A selection of the artist's handmade paper works will also be on display.
Ursula von Rydingsvard Permeated Shield
As the artist’s first solo exhibition in New York since her retrospective at MoMA in 2010, “Generator” will turn the gallery into a sensory deprivation space by giving visitors noise-canceling headphones, blindfolds, and requiring that personal items, including cellphones, be left in a locker before entering the exhibition in order to impel visitors toward introspection. The show has a sixty-eight person maximum entrance limit.
Marina Abramović Generator
Monika Sosnowska has always made big work, and this gallery’s 25,000-square-foot space promises to give it the room it deserves. The artist will premier just one sculpture, Tower, which spans 110 feet and quotes Mies van der Rohe’s Lake Shore Drive Apartments in Chicago, which were at one time the most expensive towers built in the United States. If this is an exegesis on the way imagination powers “bigger is better,” it’s as timely as ever.
Monika Sosnowska Tower
The first museum survey of Charles Gaines brings together four decades of work. From his early experiments with systems and codes to his later examinations of subjectivity, the exhibition forms a pivotal link between 1960s and ’70s Conceptualists and artists that followed.
Charles Gaines Charles Gaines: Gridwork 1974–1989
Cory Arcangel’s first exhibition in New York since his 2011 solo show at the Whitney Museum of American Art features flat-screen televisions rippling with images of figures such as Diddy and Larry David, as well as sneakers and sunglasses. To each of these images, Arcangel applied Java applet “lake” effect, charging them with a dated but familiar aesthetic that gets the obsolescence of digital imagery as well our culture's frenetic obsession to archive and conserve.
Cory Arcangel tl;dr
This comprehensive survey of Sturtevant’s career is also the first institutional exhibition of her work mounted in the US since a solo show at the Everson Museum of Art in 1973. “Sturtevant: Double Trouble” brings together more than fifty major works in painting, drawing, photography, sculpture, film, and video, including her notorious 1964 versions of works by contemporaries like Jasper Johns and Andy Warhol, made to explore concepts of originality, authorship while probing at the limits of Pop art.
Sturtevant Sturtevant: Double Trouble
The first exhibition of Hannah Wilke's work at this gallery features rarely seen drawings and ceramics, including chewing gum sculptures from her famous “S.O.S.” series and photographs from her “So Help Me Hannah” project, all drawn from a single, private collection.
Hannah Wilke Selected Work 1963 - 1990
In this exhibition featuring his latest body of work, “Movie Scripts/ Art 2014” John Baldessari combines detail shots of art historical images with excerpts from movie scripts to create collages of “high” and “low” sources.
John Baldessari Movie Scripts / Art
Nam June Paik’s groundbreaking practice humanized the technologies of the mid-twentieth century. This retrospective looks specifically at the way his work addresses the relationship between the body and the machine, and is the first New York exhibition dedicated exclusively to the artistwho passed in 2006in more than a decade.
Nam June Paik Becoming Robot
In 1958, the postwar German artists Heinz Mack and Otto Piene founded ZERO at their studio in Düsseldorf. The group, which disbanded in 1966, sought to explore the future of art in a fusion of cutting-edge technology and utopian political ideals. This exhibition is a consideration of their collective work and lasting impact, and includes two hundred works by Mack, Piene, and Günther Uecker, the core members, in addition to works by a wide range of collaborators such as Lucio Fontana.
ZERO: Countdown to Tomorrow, 1950s–60s
This large retrospective begins with Gober’s work in the 1970s and includes around 140 works spanning sculpture and immersive installations as well as drawings, prints, and photographs. The exhibition traces the early emergence of the surreal, uncanny themes for which he is known, and includes his well-known 1992 installation from Dia.
Robert Gober Robert Gober: The Heart Is Not a Metaphor
Timed to coincide with the Museum Ludwig’s presentation of Pierre Huyghe’s touring retrospective (until July 13, 2014), the artist’s first exhibition with Hauser & Wirth features new site-specific sculptures, video works, and a series of aquariums that contain living organisms including water lilies from the pond in Monet’s Giverny garden. Huyghe’s retrospective will make its way to Los Angeles this fall for a final stop at LACMA (November 23, 2014–February 22, 2015).
Pierre Huyghe In.Border.Deep
Mexican-Canadian artist Rafael Lozano-Hemmer’s current exhibition (his first with Carroll Fletcher) comprises several panoramic sound installations, which together require more than 3,000 audio speakers. The layered and immersive sonic environment references great twentieth-century composers including Karlheinz Stockhausen, Edgar Varèse, and Alvin Lucier.
Rafael Lozano-Hemmer Obra Sonora
Trisha Donnelly, who reorganized MoMA’s collection for the “Artist’s Choice” show in 2012–13, is now staging an exhibition of her work at the Serpentine. The American Conceptualist's current exhibition includes new films and photographs.
Philippe Parreno’s first UK solo show since his 2010 Serpentine Gallery exhibition introduces four new automatons. Transforming the gallery space both visually and sonically, Parreno has conceived of this show as one coherent artwork in and of itself.
PHILIPPE PARRENO WITH A RHYTHMIC INSTINCTION TO BE ABLE TO TRAVEL BEYOND EXISTING FORCES
Andrea Büttner’s current show at Hollybush Gardens regroups works the artist made for recent solo exhibitions at the National Museum of Wales, Cardiff, and the Museum Ludwig, Cologne. Moss, a natural material that has long fascinated the artist, Büttner appears across several works, evoked in photographs, text, and even a live garden installed on the gallery floor.
Kerry James Marshall’s fist show in London since his 2005 presentation at the Camden Arts Centre also marks his first exhibition with David Zwirner. Marshall’s new paintings examine the difference between “looking” and “seeing” by addressing ideas of exhibitionism, voyeurism, and narcissism.
Kerry James Marshall Look See
Gagosian presents recent work by Richard Serra across two galleries. Four recent monumental steel sculptures by American artist Richard Serra at the Britania Street gallery. Meanwhile, a single large-scale drawing Serra made in 2011 is on view at the Davies street location.
Richard Serra Drawing
Richard Tuttle’s retrospective, the largest survey dedicated to the American artist and poet ever staged in Britain, brings together five decades of work at the Whitechapel Gallery. On this occasion, Tuttle has also created a new work—a monumental textile piece—specially for the Turbine Hall at Tate Modern.
Richard Tuttle Richard Tuttle: I Dont Know Or The Weave of Textile Language
Anselm Kiefer’s large-scale paintings grace the grand Victorian-age galleries at the Royal Academy. In addition to their physical heft, the thickly encrusted paintings inlaid with items ranging from flowers to slabs of lead are emotionally and symbolically weighty.
Taking the contemporary art market as his latest subject, Eric Fischl presents a new series of paintings depicting people at art fairs and gallery openings. The cluttered compositions of layered figures and artworks convey an energetic—at times frenzied—atmosphere.
Eric Fischl Art Fair Paintings
Marian Goodman inaugurates her London gallery with an exhibition of recent work, including a new monumental glass sculpture, by Gerhard Richter. Among the over forty works on view are several “Strips,” all based on a single digital photograph of Richter’s own 1990 oil painting that has been meticulously divided into progressively smaller sections, which are then reprinted in various sizes. The largest of these works is over thirty-two feet long and stretches across the gallery’s first floor.
Glenn Ligon’s first exhibition at a nonprofit UK gallery presents a new series of paintings based on a composition made by Minimal music pioneer Steve Reich in the 1960s that used sound bites of the taped testimonies of the “Harlem six.” For this exhibition, Ligon has also created a neon work based on a statement by Daniel Hamm, one of the six Harlem teenagers who were accused of murder and brutally beaten by police.
Glenn Ligon Call and Response
Walead Beshty transforms the walls of the Barbican Art Gallery with a floor-to-ceiling installation consisting of more than 12,000 cyanotypes: blue-tinged photographic prints made by placing various objects on UV-sensitive material and exposing them to sunlight. Presented in chronological order, the cyanotypes date from fall 2013 to summer 2014; the most recent were made during the artist’s residency at the Barbican.
This comprehensive retrospective of the untiring, always unsatisfied, and influential German artist Sigmar Polke was organized by Kathy Halbreich of the Museum of Modern Art with Tate Modern curator Mark Godfrey and MoMA curatorial assistant Lanka Tattersall. The MoMA iteration refused wall labels, pointing audiences instead toward orienting pamphlets; Tate Modern has gone with a more conventional installation.
Alibis: Sigmar Polke 1963–2010
Gagosian presents recent work by Richard Serra across two galleries. Four monumental steel sculptures are displayed at the Britannia Street gallery, while a single large-scale drawing Serra made in 2011 is on view at the Davies street location.
Richard Serra Backdoor Pipeline, Ramble, Dead Load, London Cross
This exhibition marks the first time that “Window Shopping,” 1996, a series of paintings by Martin Kippenberger, has been shown in its entirety. The paintings—some of the artist's final works before his death—are based on color fashion photographs taken by his wife, Elfie Semotan. Semotan’s original photographs are also on view.
Martin Kippenberger Window Shopping
Michael Raedecker’s latest paintings show the artist continuing to embroider onto large canvases, giving their minimal compositions a sense of three dimensionality and linearity. Several works from 2014 show Raedecker using ready-made printed fabrics—florals and plaids—for the first time.
Michael Raedecker record
Continuing his exploration of the history of science and the Amazon region, Christoph Keller’s latest works are large-scale images based on scans of examples of indigenous Brazilian foliage. The leaves appear in various states of desiccation, emphasizing the impermanence of the natural world.
Christoph Keller ANARCHEOLOGY
Japanese-born, Berlin-based artist Shimabuku’s first solo show at Wien Lukatsch features recent films and installations related to the artist’s diverse experiences of nature and culture while traveling and discovering new places. The carefully observed works showcase the artist’s fascination with, and sensitivity toward, unfamiliar landscapes and situations.
Shimabuku Sea and Flowers
Katharina Grosse’s latest work, now on view in n.b.k.’s showroom, makes reference to the artist’s first-ever sprayed wall painting—a seminal work made in 1998 for Kunsthalle Bern. Reprising the same green paint, Grosse here presents a piece of sprayed white silk, which evokes a flowing three-dimensional Color Field painting.
The late artist Ilse D’Hollander’s first solo show in Berlin comprises a selection of small oil paintings and gouaches made during the final years of the artist’s life. Complicating their predominately abstract compositions, the Flemish artist’s paintings also feature figurative elements representing nature and the artist’s studio.
Ilse D'Hollander Halts in an Open Landscape
Featuring 200 original prints made between 1928 and 1974, this exhibition dedicated to American photographer Walker Evans culls mainly from the private collection of Clark and Joan Worswick. The comprehensive selection of work spans from Evans’s impressions of Depression-era New York City and the rural south to his late series of semiabstract color Polaroids.
Walker Evans Walker Evans. A Life's Work
The forty silver gelatin prints exhibited at Thomas Schulte were made during Robert Mapplethorpe’s most productive period, the decade between 1978 and 1988. On view are Mapplethorpe’s erotic nudes and equally sensual flowers photographs, examples of which famously raised more than a few eyebrows when they were initially exhibited.
Robert Mapplethorpe Sell the Public Flowers
This exhibition features never before shown early collages by Czech-born, UK-based artist Pavel Büchler. Made during the 1970s and ’80s these works provide subtly critical and humorous commentaries on their appropriated imagery.
Pavel Büchler Back to Work
KW presents Ryan Trecartin’s first institutional solo show in Germany. The American artist presents a new multichannel movie in the context of a site-specific installation specially designed for KW's exhibition hall. The new production is a collaboration with Trecartin’s longtime creative partner, Lizzie Fitch.
Ryan Trecartin Site Visit
Curated by Elena Re, this group show brings together artists associated with Arte Povera and the Turin gallery Multipli. The works on view demonstrate how artists including Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio transformed “the multiple” into a historically important genre.
ARTE POVERA AND ‘MULTIPLI’, TORINO 1970 – 1975
Mexican artist Mariana Castillo Deball’s large-scale installation for the historic Hamburger Banhof hall focuses on what the artist calls “biographies of things.” Borrowing objects from various Berlin museum collections, Deball draws the viewer’s attention to the itinerant nature of these art objects, which, over time, have alternately been installed on pedestals and in vitrines, inside galleries and in outdoor courtyards, and in the context of private collections and public exhibitions.
Mariana Castillo Deball
For Rashid Johnson, the time has come to look clearly at the antiheroic portrayal of African American men canonized in books like Richard Wright's Native Son. Inaugurating this gallery’s new space, Johnson presents burly wood shelf-works that he has scarred, branded, and tagged with graffiti, eschewing the formal, black-and-white elegance on which he built his career while tackling the legacy of artists who looked to Baldwin and Ellison to make art about race.
Rashid Johnson Islands
Stan VanDerBeek’s vision for a more utopian society is resurrected with this exhibition of his Poemfield films, where words emerge out of multivalent fields of graphics, moving through the image before returning to their respective spaces. Produced in conjunction with the artist’s estate, this showing brings together Poemfield No.1–No.3, No.5, and No.7., the first of which has been restored in high definition for the exhibition.
Stan VanDerBeek Poemfield
This survey of Korean monochromatic painting from the 1960s to the 1980s brings together thirty-five paintings and is the first major overview of Tansaekhwa in North America. Six of the movement’s most significant artists are represented: Chung Sang-hwa, Ha Chonghyun, Kwon Young-woo, Lee Ufan, Park Seobo, and Yun Hyongkeun. Joan Kee, associate professor of art history at the University of Michigan and an authority on contemporary Asian art, has produced an expansive catalogue including twelve newly translated artists texts among one hundred images and other essays.
From All Sides: Tansaekhwa on Abstraction
Cory Arcangel inaugurates this gallery’s Los Angeles space with a retrospective in a box. The inside of a freshly painted mobile home-like structuretucked into the gallery's backyardhas been designed to look like a cell phone store, complete with ultra-violent lighting and lime green walls. Gadgets playing Arcangel's iconic video games sit on grooved racks and merchandise from his retail line, Arcangel Surfware, is on sale along with his 'zines. If a penchant to downsize art to the level of commerce or to elevate commerce to the level of art drives Arcangel, this exhibition shows that as an equalizing agent, technology is as effective as ever. This is the artist's solo debut in LA.
Cory Arcangel tl;dr
Among new sculptures in Mark Handforth’s latest exhibition are a giant telephone twisted around a cadmium yellow pipe, a stout sea-foam aluminum star, hangers that twist and twirl in the air, and a constellation of twinkling neon bulbs affixed to the wall. These works interfere with space both physically and conceptually, prompting all manner of critical readings about domesticity and utility. But more important, Handforth’s vision of the object is as playful and vital as ever.
Mark Handforth Rough Dark Diamond
The forty-first edition of Paris’s preeminent international contemporary art fair welcomes 191 exhibitors under the soaring arched glass roof of the Grand Palais. This year, in addition to FIAC’s celebrated “Hors les Murs” program, which sees contemporary artworks temporarily installed in public parks and plazas across Paris, the fair is further expanding with the launch of an official satellite fair. (OFF)ICIELLE will host sixty international galleries at the Seine-side Cité de la Mode et du Design.
This exhibition curated by Mexico City–based gallery Kurimanzutto takes over Seguin’s twentieth-century furniture and architecture showroom. Timed to the opening of FIAC, the group show includes work by Damián Ortega, Gabriel Kuri, Jonathan Hernández, Gabriel Orozco, Jimmie Durham, Gabriel Sierra, and Rirkrit Tiravanija.
Carte Blanche, Kurimanzutto, Mexico
Paul McCarthy’s reinstalled, fully operational Chocolate Factory inaugurates the newly renovated and expanded exhibition space at La Monnaie (Paris’s Mint.) In addition to producing consumable chocolate Santa Claus figurines, the exhibition also features McCarthy’s signature inflatable “Christmas tree” sculptures.
Paul McCarthy Chocolate Factory
Honoring the renowned British sculptor Anthony Caro, who passed away last year, this exhibition features a selection of sculptures realized during the final two years of the artist’s life. The large-scale works are made from a variety of “nonart” materials including steel pipes and farming tools.
Anthony Caro Last works
The third edition of the Belleville biennial comprises multiple artistic projects and interventions hosted in commercial galleries, nonprofit spaces, and non-art venues such as bars and parks. This year’s program explores the implications of a neighborhood “threatened by rampant gentrification,” thus directly addressing Belleville’s own quickly changing demographics.
In his debut solo show since joining Galerie Perrotin, Laurent Grasso presents forty new works, including oil paintings, neon sculptures, and installations containing artifacts such as asteroid bits and ancient astronomy texts. Continuing the artist’s philosophical exploration of reality, which is heavily influenced by Michel Foucault, Grasso’s latest creations are rooted in the real world and are simultaneously full of anachronisms and fantasy.
Laurent Grasso Soleil Double
Laure Prouvost presents a new body of work related to the project for which she was awarded the Turner Prize in 2013. Adding to a fictional narrative she previously established about her grandparents, the new installation features animated collage-tapestries and is meant to evoke a kind of visitor’s center.
Laure Prouvost This is the Visit
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