In a small, über-blue chip stretch of 21st Street in Chelsea, three adjacent galleries are concurrently running exhibitions that feature a series of monumental art pieces that move between refined, processed, man-made materiality to earthen structures, and plant life that grows from the soil.
And then there’s Richard Serra, whose double-gallery blowout at Gagosian is Exhibit A for material-intensity-meets-overwhelming-scale. There’s nothing else like it.
1pm: The press preview for Frieze New York 2016 on Randall’s Island begins! Or so they say. I am power walking out the door of my office in Williamsburg.
His work suggests that once Bradley conceives of his project, he is able to pass effortlessly through the style, like an adept actor able to play any role as long as it isn’t too serious and doesn’t require a lot of feeling.
There’s a certain pomp necessary to reinforce the power of politics.
A new lawsuit greets Richard Prince in the new year. Following the appropriation artist’s unauthorized use in 2014 of a picture of a Rastafarian smoking, its photographer, Donald Graham, is now suing Prince.
Over the past several years the Gagosian Gallery in New York City has mounted shows described as “museum quality.”
Gagosian has done it again: produced another museum-quality show, this one devoted to images of artists’ studios, as recorded in photographs (on view at its uptown gallery) and in paintings (installed at West 21st Street).
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.
At first blush, the Chamberlain/Prouvé show at Gagosian’s Chelsea gallery appears to hinge solely on obvious contrasts.
Walking through In the Studio: Photographs, a three-part show organized by Peter Galassi, former Chief Curator of Photography at New York’s Museum of Modern Art, and spread over several floors of the Gagosian empire on Madison Avenue, the underlying themes of accumulation, storage, labeling, and just plain looking remind us how artists often surround themselves with visual repertories.
LOS ANGELES — John Currin’s bizarre vignettes of feminine allure are bound to arouse some rather rich and complicated feelings in the viewer, and that is a good thing.