Gertrude
Month
Inside Parreno’s immersive installation (Artnews)
Philippe Parreno creates works of art that redefine an exhibition space, rather than merely filling it. The expansive, operatic venue of the Park Avenue Armory offers Parreno a grand stage to reinvent for Hypnosis, his largest ever US exhibition. The show melds light, sound and film installations to affect a fully immersive sensual experience, including both past works from Parreno’s oeuvre and new installations. More than an exhibition, Hypnosis is a truly unique art event.
On view at 643 Park Ave, New York, NY.
Some of Valentine’s larger polyester resin sculptures (David Zwirner)
David Zwirner’s latest solo exhibition showcases the artistic growth of minimalist sculptor De Wain Valentine through the 1960s and 70s. As a leading member of the Light and Space movement, Valentine is renown for his transformation of industrial, artificial materials into stunning sculptures that investigate the natural effects of light, surface and reflection. The exhibition includes several of Valentin’s large, polyester resin sculptures that present this investigation on a massive scale, complicating it by introducing questions of the structural stability below their placid surfaces.
On view at 525 & 533 West 19th Street, New York, NY.
A collaboration between Douglas Gaskell and Anna Gordon (Ortega Y Gasset Projects)
Everyone knows that relationships — whether they be between two spouses, two artists or an artist and his or her work — are complicated. But it is this complication that makes Ortega Y Gasset Projects’ “Love Child,” examining the “intimate collaborations between artists couples,” so fascinating. The exhibition blends the artistic and the highly personal to not only glimpse into the artistic practices of such couples as Anna Gaskell and Douglas Gordon, Nyeema Gordon and Mike Cloud, and Rachel Dubuque andJustin Plakas, but also to discover what these collaborations can reveal about the intersection of love and artistic practice.
On view at 363 Third Avenue, Brooklyn, NY.
This post was written with the help of Alice Mahoney, from www.artlist.co
On July 30, the Seattle Art Fair will make its debut but the fair promises to be one of the biggest in the country with Gagosian, Pace and David Zwirner Galleries already joining the list of exhibitors. Such big name galleries do not frequently join smaller, more regional events (none of the three has shown at Art Los Angeles Contemporary nor Dallas Art Fair).
Paul Allen, the fair’s co-producer sites in front of a Rothko painting from his personal collection. Allen represents the wealthy, tech attendees that the fair hopes to draw (Time).
Robert Goff, a director at David Zwirner, explained that Seattle’s summer weather signals the height of its tourist season, a draw for the galleries. However, with companies such as Amazon, Microsoft and Starbucks also based in Seattle, the city’s new tech money may be a bigger draw than sunny weather. Microsoft co-founder Paul Allen is even a co-producer of the event.
Damien Hirst has seemed rather reflective lately. The artist revealed to The Guardian that when he would go to work, he would feel a sense of guilt at the size of his own studio (which employs hundreds of people) churning out his art : “That’s why I used to lay on these huge parties. I remember feeling guilty for those people. What have I done? I’ve created a monster. Back to the pub.”
But Hirst even repents in typically grand, Hirst fashion. In an attempt to give back something to the art community, he is opening a free-admission museum that will house pieces from his personal collection (which numbers at over 3,000 works). The museum will open in October 2015 at theNewport Street Gallery in Lambeth, south London.
Dutch collector Bert Kreuk has triumphed in his lawsuit against Danish-Vietnamese artist Danh Vō. Kreuk filed his suit last September, seeking $1.2 million from Vō, who Kreuk alleged had promised a large installation piece for an exhibition of Kreuk’s collection.
Artist Danh Vo (Artnet News)
While Vō’s legal representation denies that such a promise was ever made, Vō ultimately submitted a smaller artwork. While Kreuk based the amount of money sought off of the damages that Vō’s broken promise did to his reputation as a collector, he also state that he would be satisfied if Vō simply created the piece he originally promised. A Rotterdam judge has ordered that Vō create the piece as it was allegedly agreed upon wihtin the next year, with steep financial penalties for late delivery.
The profession of art authentication has gotten increasingly risky over the past years. Authenticators have faced an increasing amount of backlash from collectors, lawsuits from artwork owners and even, in the case of oneModigliani expert, death threats.
One of the paintings appraised by a threatened Modigliani expert: Jeuen Fille Aux Cheveux Noirs, Modigliani 1919 (Creative Commons)
With such extreme consequences for a faulty authentication (or even a correct one that a collector disagrees with), it is harder than ever to find an authenticator willing to evaluate artwork. To re-incentivize authentication, the New York State Senate has passed a new bill that prevents plantiffs from forcing authenticators to pay their legal fees in the case of a plantiff victory in court. Critics say that the bill does not go far enough, but only time will tell if it can make authentication sexy again.
Frieze Projects, which is a program that commissions artists to create installations for the annual Freize art fairs has announced the artists that will be featured at its London fair in October.
A still from a current work in progress by Rachel Rose (Whitney Museum)
The artists are: artist collective ÅYRBRB (Fabrizio Ballabio, Alessandro Bava, Luis Ortega Govela and Octave Perrault), Lutz Bacher,Castillo/Corrales, Thea Djordjadze, Jeremy Herbert, Asad Raza, andRachel Rose, who was awarded the 2015 Frieze Artist Award, which allows an emerging artist to be included in the commission program. According to a Frieze press release, the group of selected artists “includes practitioners and collectives from disciplines including architecture, publishing and theatre,” and will “transform, subvert, and interact with the social, structural and cultural dynamics of the fair.”
Highligh: Albert Oehlen at New Museum
(New Museum)
In the first New York museum exhibition of Oehlen’s work, New Museum offers an expansive view of the painter’s multitudinous oeuvre. The survey presents Ohlens works by subject matter — rather than chronologically — so that viewers can fully grasp his ongoing engagement with the contrasts between interior and exterior, nature and fabrication. From his early self-portraits to his later computer paintings and switch paintings, the exhibition showcases the versatility and growth that have characterized Oehlen’s rise to become one of the major names in contemporary art.
On veiw at: 235 Bowery, New York, NY
Claudia Wieser, Untitled, 2015 (Hauser & Wirth)
Hauser & Wirth take the name for their latest exhibition from a trapeze trick in which the aerialist flips her body through the air. The maneuver seems to suspend both time and gravity while flipping the acrobat’s personal perspective. The artists featured in this group exhibition seek a similar overturning of perspective through their work, specifically the perspective through which we view artworks and their environments. The works from artists such as Sebastian Black, Dave McDermott, Sara VanDerBeek and Claudia Wieser, prompt the viewer to question the certainty of their own spatial, cultural and worldly perspectives.
On view at 32 East 69th Street, New York, NY
(Nathalie Karg)
As a tribute to curator Bob Nickas and his 1986 RED exhibitions, Nathalie Karg’s newest show examines the role that similarity plays between pieces and as inspiration for curation. With artwork from artists such as Richard Pettibone, Ray Johnson and Kay Rosen, the exhibition presents a show that makes the viewer keenly aware of both the relationships between similar works and how those works differ to create their own, distinguished identities. The show imparts awareness not only of the artworks but also of the process of curation that forms how we interact with art.
On view at: 291 Grand Street, New York, NY