Rauschenberg gave artists an enormous sense of freedom and permission to create anything they could dream of, so long as they were earnest in their ideas and execution.
Bayrle creates an art gallery version of computer reproductions of unreality. His art inhabits a world composed of repeated ready-made images.
Lockhart’s latest exhibition offers a near-spiritual glimpse at the enormity of our planet, encompassing life, death, and the cosmos.
A former staffer claims she was “yelled at, disparaged,” and once physically assaulted by dealer Barbara Gladstone.
Messy and tender, like a summer fling, Sillman’s drawings embody both the sense of decay and unyielding hunger for life that marks our current times.
Cameron Jamie’s three short films currently on view at Gladstone Gallery blur the boundary between documentation of ritualized performances and something more sinister.
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.
The odd one out in Carroll Dunham’s current exhibition of paintings at Barbara Gladstone is “Culture as a Verb” (2013-2015). It’s the closest thing Dunham, or anyone in my recent memory, has come to painting the feeling of terrified, paranoid sorrow.
‘Tis the season of reduced hours and low-stakes group shows at most Manhattan galleries, but two spaces in Chelsea are bucking the trend with summer exhibitions of large-scale murals.
Peter Buggenhout’s massive stacks of debris hang off the wall or sprawl across the floor in a state of dereliction and collapse, monumental castoffs from a world spinning out of control.
For Chelsea’s season opener, several exhibitions mimic post-disaster accretions including Thomas Hirschhorn’s Concordia, Concordia at Gladstone Gallery, Mr.’s Metamorphosis: Give Me Your Wings at Lehmann Maupin, and Matthew Lusk’s More Broken Glass Than There Was Window at ZieherSmith. In each case, water and human hubris play some role in creating the chaos; our dangerous love affair with stuff — and lots of it — enhances the devastation. While they all required considerable effort, each show offers different levels of insight into the events purportedly explored.
Matthew Barney, “Djed” (2009-2011) (photos by the author) Matthew Barney’s most recent exhibition Djed opened at Gladstone Gallery on September 17. Like everything the artist tends to do, the sculptures on view are of epic proportion. The objects themselves are extremely minimal steel and graphite molded constructions that are half early Richard Serra and half […]