Wolfgang Tillmans’s oeuvre has the rare ability to move across genres, mediums, and styles while still remaining indisputably singular. His exhibition of 175 recent works at David Zwirner, entitled PCR, is no exception.
Like her paintings, Alice Neel’s watercolors and drawings, now showing at David Zwirner, wobble and tilt out of proportion, only more so.
On Friday Pace Gallery revealed plans to build an eight-story, 60,000-square-foot building where the largest of its spaces on West 25th Street in Chelsea currently sits.
The Art Newspaper published the results of research that found that artists from five of the world’s biggest galleries accounted for nearly a third of solo museum shows in the US between 2007 and 2013.
New York’s art world institutions still haven’t recognized how good an artist Al Taylor was. They overlooked his work while he was alive, and seem hellbent on continuing that willful blindness now that he is dead.
In a dispatch this weekend appearing in Artforum‘s usually stultifying Scene & Herd blog, it was reported that Oscar Murillo had carried out an intriguing intervention at a party hosted by the collector Frances Reynolds.
LONDON — Riley’s paintings establish a sort of bridge between old inquiries and more recent art: no matter how many years have passed since the inception of Modernism, she seems to suggest its bases are still the fundament of artistic endeavor, and always will be.
In one of those useful coincidences of the New York art scene, two current exhibitions discuss global commerce and history, labor and money through one peculiar entry point: sugar.
I know what you’re thinking. There can’t be a ‘how to talk about Oscar Murillo’ because we don’t have a decade or so of commentary, he’s too new to have talking points. He’s 28 for God’s sake, you protest.
On the penultimate day of the Armory Show, galleries were reporting sold out booths, sales pushed from in-house inventory, new connections and clients discovered, and not one bit of weariness.
Chaos has broken out in front of David Zwirner gallery on West 19th Street, where people have been lining up to see Yayoi Kusama’s “Infinity Mirrored Room — The Souls of Millions of Light Years Away,” part of her exhibition that closes tomorrow, since 7 o’clock this morning. A long line has turned into a mob scene, and police have showed up to impose order.
The New York art world was thrown a free joke when, over the summer, people waited in the rain to get into the Museum of Modern Art’s Rain Room, a project by the studio Random International. The line was a capstone to a year of big projects with big draws, one more peak in a now-familiar rhythm: every few months some arts institution offers the “must-see” project of the season.