In 2012, R.H. Quaytman was invited to create a permanent installation for Inhotim, the sprawling contemporary art space in southeast Brazil. To do so, she immersed herself in researching artists like Lygia Clark and Mira Schendel as well as Elizabeth Bishop and then Claude Levi-Strauss, who both spent time in the country. The resulting installation, which includes painting and sculptures that mark radical departure in her practice as well as a few of the photographically-based silkscreen images she is best known for, is the only work on view in this show.
R.H. Quaytman O Tópico, Chapter 27
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 2013 Hans Haacke’s Gift Horse, a bronze sculpture figuring the skeleton of a horse with a electronic ticker tape tracking the London Stock exchange tied around its leg, was selected for the Fourth Plinth on London’s Trafalgar Square. This work, which invokes Adam Smith’s The Wealth of Nations, is on view in his latest exhibition, along with similarly motivated installation, sculpture, and photography from the artist’s five-decade practice.
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
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 and blindfolds, and by requiring that personal items, including cell phones, be left in a locker before entering in order to impel visitors toward introspection. The show has a sixty-eight person maximum entrance limit.
Marina Abramović Generator
This exhibition features new cedar sculptures, a material that von Rydingsvard is known for using, as well as some of her first works 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
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
Every sculpture in this exhibition hangs from the ceiling and every drawing depicts forms that seem to float. Suspension, which Bourgeois believed to be a state of ambivalence, is the theme of this solo presentation that brings together works from 1945 onward. Robert Pincus-Witten has a penned a new text about the subject, which is included in a catalogue made especially for this show.
Louise Bourgeois Suspension
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
Steve McQueen, whose Hollywood feature 12 Years a Slave won last year's Academy Award for Best Picture, presents a new film that features Super 8 footage shot by Dutch cinematographer Robbie Muller in 2002 in Grenada. Two granite columns, one large and one small, marks a new, sculptural direction for McQueen.
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.
Andrea Büttner Andrea Büttner
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 by Gerhard Richter, including a new monumental glass sculpture. Among the more than forty works on view are several “Strips,” all based on a single digital photograph of Richter’s 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 more than 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
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 gelatin silver 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
Professionally trained in both science and fine arts, Paris-based artist Hircham Berrada uses chemical reactions to create striking visual experiences. His latest work, a collaboration with musician Houwaida Goulli, creates an operatic soundscape.
Hicham Berrada / Felix Kiessling “Equilibres / Ausgleich”
Amy Yao’s latest photographic series documents various sites of production. These images of empty, raw spaces are accompanied by melancholic sculptural works, including a worn marble staircase and aluminum casts of sundry items that the artist has found washed up on beaches from LA to China.
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
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
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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Katinka Bock’s current exhibition, “Populonia,” is titled after a town in Tuscany known for its Eutruscan artifacts, particularly metal objects including helmets, armor, coins, and containers. In her latest sculpture series, Bock imbues her vessels—which reference metal jugs
and pots from this archeological site—with symbolic significance, presenting them as repositories of memory and time.
To create the eight-panel painting that rounds one corner of the Campoli Presti gallery, Sillman photographed her own drawings, printed the digital images onto canvas, and then painted on top of the images with gouache and ink. A charcoal wall drawing across the room acts as the image key.
Amy Sillman A Moveable Feast - Part XIV
Titled “Autoritratto nello studio” (Self-portrait in the Studio), Francesco Gennari’s first solo exhibition with Antoine Levi consists of three sculptures made from three materials: white ceramic, Murano glass, and polished pink marble. Typical of Gennari’s practice, he has partnered with master craftsmen in his native Italy to realize each work.
Rebecca Horn’s second show with Galerie Lelong features the German artist’s recent mobiles and works on paper. The kinetic sculptures blend various literary and sexual references with an absurd Dadaist quality.
Rebecca Horn Between the Knives the Emptiness
This exhibition, curated by Mexico City–based gallery Kurimanzutto, takes over Seguin’s twentieth-century furniture and architecture showroom. Timed with 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
For her first large-scale solo exhibition in Paris, French-born, New York–based artist Camille Henrot has created an immersive installation that builds upon the film that won Henrot the Golden Lion at the 2013 Venice Biennale. The installation at Bétonsalon features hundreds of photographs, sculptures, books, and drawings that Henrot purchased on eBay, borrowed from museums, or made herself.
Camille Henrot The Pale Fox