Pace Gallery

Post image for Pace Gallery Plugs Into Silicon Valley

MENLO PARK, California — I’m going to be honest: I haven’t been much of a fan of Pace Gallery in the past, or many of the blue-chip/dynastic galleries, for that matter; I find the programming too centered on celebrities in an attempt to garner press and sales.

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Reactor

Franco’s Playhouse

by Alicia Eler on April 15, 2014

Post image for Franco’s Playhouse

LOS ANGELES — For all of James Franco’s talk about being James Franco, it’s pretty lame that he’s now trying to glean a bit of Cindy Sherman’s fame by recreating her photographs in drag.

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Post image for Keith Sonnier’s Tactile Formulations in Neon and Glass

Relatively speaking, Keith Sonnier’s interest in the connections between nature and technology has a long history. His early minimal-style, classical neons from 1968–1970 have a highly reductive, classical, nearly stoic appearance. The more recent formulations, though extravagantly tactile, were less evident in the beginning.

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Post image for Zhang Huan’s Painterly Buddhism

Zhang Huan’s new exhibition at Pace Gallery, his first since 2010, revels in the artist’s newfound love of lush dollops of creamy oil paint.

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Post image for Political Art, Galloping Out of the Past

“The Ozymandias Parade” by Edward and Nancy Reddin Kienholz has landed in the Pace Gallery like a DIY UFO — a frenzied agitprop vessel clattering into the 21st century from the Reagan era’s heart of darkness.

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Post image for The Subtle Disappointment of Robert Irwin

Robert Irwin has been a favorite of mine for some time now. His work helped to pioneer the 1960s California Light and Space movement, and it is often beautiful to experience in person. Having never seen his well-known window installation “1° 2° 3° 4°,” which was originally installed at the Museum of Contemporary Art San Diego, I was wanted to stop by his show at Pace Gallery in midtown Manhattan to see the piece revisited.

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Post image for When New York Was Really Happening

Pace Gallery has mounted a world class mini-museum show on the art of the Happening using its vast holdings as well as supplemental gleanings loaned from the Whitney, MOMA and Getty museums.

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Post image for Instead Of Burning Down The House, David Byrne Turns to Cliche

Without knowing it, I stumbled onto David Byrne’s installation Tight Spot at the Pace Gallery two weeks ago while wandering through the many Chelsea gallery openings at the start of the September gallery shows.

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Post image for WTF is… the Secondary Market?

Throughout the course of NYC’s art fair week, I overheard questions over what art work was being sold, and who it was being sold to. Of course, art fairs exist to sell work, and the work on display is there to be sold. But where do these works come from? This is where the secondary market comes in. Though most galleries simply sell work from the studios of the artists they represent, the secondary market deals in works that have already been sold, at least once. Fairs like the Armory’s Modern section focus heavily on secondary market works, as do auction houses like Christie’s and Sotheby’s.

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Post image for Jennifer Bartlett’s Building Blocks of Art

Jennifer Bartlett’s latest exhibition Recitative at Pace Gallery shows the artist continually breaking down and rebuilding the base particles of art. In the enormous, open gallery installation, enamel-coated steel tiles spaced in rising and falling grids line the exterior walls. Each square holds its own combination of disparate elements of art, remixing line, shape, color and texture into an infinity of combinations. This central installation, “Recitative” (2009-10), is Bartlett’s longest painting composition ever at 158 feet. What at first appears to be a gallery-size abstraction coalesces into a didactic walk-through of art at the atomic level and a joyful celebration of what it means to make a purposeful artistic mark.

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