Wim Delvoye in The Art Newspaper
The Art Newspaper lists Wim Delvoy's exhibition at Museum Tinguely among the must-see shows in Basel this week. The show runs from 14 June - 1 January.
Read the write-up at the link below.
Mimi Wong reviews Ali Banisadr's show Trust in the Future -- on view at Sperone Westwater through June 24 -- for ArtAsia Pacific.
"Similarly, the figures in Trust in the Future (2017), the show’s namesake, appear partially human: up close, one can just make out a profile here, a hand there, before the kinetic scene swallows that body part again. Once we step back to take in the entire image, its monochromatic blue casts a fog over the setting, clouding our vision. A darker reading of the phrase “Trust in the Future” supposes the mantra may be nothing more than an empty promise about progress—yet another myth that is forced upon us."
Read the rest of the thoughtful review at the link below.
For the June/July issue of Blouin Modern Painters, Ali Banisadr discusses his recent work, currently on view at Sperone Westwater.
"I always wanted to create a scene like the one in my painting pictured here, Trust in the Future, but had never felt successful before. For me, it has the sound and feeling of snow: the quiet calm of being out in a vast landscape covered in white flakes and ice, and with wind that can feel like a sharp sword cutting into your body."
Read the rest of the insightful piece at the link below.
Osman Can Yerebakan interviews Ali Banisadr about Trust in the Future, his current exhibition at Sperone Westwater, on view through June 24.
“I always say my work falls into three categories: my personal history, art history, and history of our times. Within each painting, these things always exist, but sometimes one aspect weighs heavier than the others depending on concurrent personal or public events. Of course, as a citizen of this world, I feel the need to react to politics. I don’t always mean that to happen, but because these issues are on my mind, they influence me.”
Read the rest of the facsinating conversation at the link below.
Samuel Cochran includes Ali Banisadr's current show, Trust in the Future, in Architectural Digest's roundup of NYC's top 5 gallery shows of the season. Trust in the Future is on view at Sperone Westwater through 24 June, 2017.
'Though the paintings eschew any kind of linear narrative, a kind of mythology emerges. "Stories within stories, in and out of time, appear. Everything is emotion."'
Read the rest of the article at the link below.
Jonathan Bastable visits Houghton Hall and talks with Lord Cholmondeley about "Earth Sky," his recent exhibition of Richard Long's work.
'One of the priviledges of staging a Long exhibition is watching the artist at work. "He comes to each piece with a very definite idea," says Lord Cholmondeley.'
Read the rest of the illuminating piece below.
Emma Elwick-Bates reviews Richard Long's current exhibition at Houghton Hall for Vogue.
'The exhibit complements and completes the enchanting collision of worlds at Houghton, where the permanent Long sculpture, Full Moon Circle, joined its cultural landscape in 2003. “My hope is that in time Houghton will become a must-see destination for those interested in contemporary art and sculpture,” enthuses the Marquess of Cholmondeley.'
For the rest of the review, see the link below.
The Telegraph's Mark O'Flaherty reviews Richard Long's current show at Houghton Hall.
"The sturdy splendour of the Stone Hall currently has even more to draw the eye. Richard Long, the British land artist, has installed a work beneath the chandelier as part of his summer show at Houghton, Earth Sky. This particular piece stops you in your tracks more than the others – it’s a black, white and grey circle of rocks, formatted as compass coordinates. It brings the wild irregularity of nature inside, but ordered perfectly, as if by magic."
Read the rest of the article at the link below.
Studio la Città Gallery will present "The End of Utopia", a site specific show of work by Emil Lukas and Jacob Hashimoto in Palazzo Flangini in Venice. The show will run from 13 May - 30 July, 2017.
For more information on the fascinating collaboration, see the link below.
Katy Diamond Hamer reviews Andrew Sendor's current show "Saturday's Ascent" - on view at Sperone Westwater through 29 April - for Eyes Towards the Dove.
"There is something quite final about the paintings themselves and they feel almost relic-like, but intended as snapshots. Documenting a moment that may or have may not occurred, Sendor’s characters whether alive or apparitions are eerie in their designated frames. Along with the voiceover, the work functions in an unexpected way, begging for and even extracting curiosity from those with a willingness to pay attention."
Read the rest of the review at the link below.
Lucia Love reviews Andrew Sendor's show "Saturday's Ascent" - on view at Sperone Westwater trough April 29 - for the Berlin Art Link.
"In the exhibition, the cinematic or literary tradition of constructing fictitious, yet plausible, history is combined with a practice of photo realism to a wistful, dreamlike effect."
Read the rest of the piece at the link below.
Daniel Maidman interviews Andrew Sendor for the Huffington Post.
"Writing has become an essential aspect of my creative process. At the outset of a body of work, I transcribe descriptions of the characters, the situations they find themselves in, and their interrelationships. As critical moments in the narrative begin to take form as painted images, additional details within the story emerge. I developed this particular body of work over the course of approximately 14 months, during which the narrative slowly evolved in tandem with the creation of the painted images."
Read the rest of the fascinating conversaition at the link below.
The Guardian's Patrick Barkham talks with Richard Long about his upcoming show "Earth Sky" at Houghton Hall, Norfolk, which will run from 30 April to 26 October, 2017.
'Long really comes alive when we step outside, walking briskly over to his new creations. “It’s a bit incredible really, isn’t it, to get away with it?” he laughs as we look upon his Cornish slate exploding out of Houghton Hall’s croquet lawn. He placed all the slates himself. “I don’t have a factory where people fabricate it for me. That’s not a value judgment, it’s just my preference. One reason to be an artist is the pleasure of making.”'
Read the rest of the conversation at the link below.
Helmut Lang's show of new work, on view at Sperone Westwater through April 29, is featured in purple DIARY.
View the slideshow at the link below.
Katy Diamond Hamer visited Helmut Lang in his studio to discuss his recent work, on view at Sperone Westwater through 29 April.
“There are two different factors: making the work and then getting it out of the studio and handing it over to the public. The feedback is often quite interesting to me because it relates to things I was unconsciously thinking. Other times, the response will be something I haven’t thought about at all but makes complete sense. I find a certain amount of interaction necessary. Art has many implications. One is that it makes you either love it or hate it while also allowing for fascination or emotional investment.”
Read the rest of the article at the link below.
Rory Satran interviews Helmut Lang for i-D.
"Sometimes you start with an idea and see where you get. Most of the time I do start with the material and see where that material leads me. If I do so, I feel that I don't limit myself in any capacity towards where I can arrive. That procedure for me keeps it completely open and has proved that something new can happen in between."
Read the full conversation at the link below.
Inspired by the recent Heinz Mack show at Sperone Westwater, Phong Bui of the Brooklyn Rail compsed "The Garden of Eden." The poem is featured in the April 2017 issue.
Read the lovely piece below.
Will Fenstermaker visited Andrew Sendor's studio as the artist prepared for his third show at Sperone Westwater, opening Thursday, 30 March.
"Listening to the artist talk about his work gives an immediate sense of just how complicated it all can be, weaving disparate elements with technical precision into narrative form. Sendor jumps between discussion of his paintings, their status as sculptural objects, their source photographs, his actors (this is the first time they’re not all artists), and his new experimentation with audio narration (oh, and his dreams, his interest in astrology, his fear of bears, his landlord’s instinctual eye, his long hours painting in Jeff Koons’s studio...) in such a way that there’s no doubt it’s all designed to work in synchronicity, but that also leaves little guidance on just how to put it all together. But really, this is part of the point."
For the rest of Fenstermaker's impressions and a look inside Sendor's studio, click the link below.
ArtNews' Andy Battaglia interviewed Heinz Mack at the opening of the artist's current show at Sperone Westwater, on view through 25 March.
"Fleeting qualities of light figure into certain sculptures in the Sperone Westwater show, including spires made of aluminum, glass, and stainless steel. But as an element crucial to his conception of color, Mack said, light is present no matter the medium."
Read the rest of the discussion and review at the link below.
Ali Y. Khadra interviews Ali Banisadr in the March/April 2017 issue of Canvas magazine.
"My paintings are about everything I’m about. I’m Iranian, my DNA is Iranian, so that’s bound to come through. But at the same time, I’ve lived in the US almost 30 years. I like the term ‘global citizen’, so I think that I would like my work to be seen in a global way rather than just narrowed down to either American or Iranian. But there are of course certain things you can’t really control and people can tell – people see their own backgrounds in the work."
Read the rest of the illuminating interview below.
Lillian Kalish recently reviewed Wolfgang Laib's Myanmar debut, “Where the Land and Water End,” for ArtNews.
"Laib’s work was simultaneously spectacular in its location, its origin, its ever-present security guards, the crowds of artists and otherwise it drew, and the creatures that squawked above it—the theater of it all."
Read the rest of the fascinating examination of Laib's exhibition at the link below.
Jason Farago and Martha Schwendener feature Sperone Westwater's ADAA booth - showing works by Arman from the 1960s - in their roundup of “What to See at New York’s Art Fairs This Week" in the New York Times.
"A rip-roaring display of works by the French-American artist Arman, in the Sperone Westwater booth, unites a dozen of his 1960s assemblages, in which everyday junk — light bulbs, doll parts, rusty faucets — is shoved into glass boxes or immured in resin blocks. They are signal accomplishments of Nouveau Réalisme, a more downbeat cousin of American Pop, that is at last winning greater consideration on this side of the Atlantic."
Read the full feature at the link below.
In November of last year Martin Wilner gave a talk at the Freud Museum discussing his first solo museum exhibition, The Case Histories, which drew on his decades of artistic work pertinent to the practice and thinking around psychoanalysis.
See the video of Wilner's fascinating discussion at the link below.
Angela Westwater shows Natasha Wolff her collection of catalogues in her Alan Wanzenburg-designed office.
'“When the gallery opened, my desk consisted of two white, metal filing cabinets on either side, covered by a wooden door as my desktop. Then, in the mid 1980’s, after about a decade, I got to know architect Alan Wanzenberg and the now late designer Jed Johnson and enlisted their help designing my office,” says Westwater.'
Click the link below for the rest of the piece and a list of eight catalogues highlighted by Westwater.
In advance of the artist's Sperone Westwater show, opening February 17, Pac Pobric interviews Heinz Mac for The Art Newspaper.
“I would like it if people left the show [at Sperone Westwater] with a feeling of happiness and complete freedom,” he says. “It should be the feeling that life can be very rich in experience if the energy of colours meets you.”
Read the full piece at the link below.
Christopher Kompanek names Sperone Westwater among the best galleries on the Lower East Side.
"Known for exhibiting some of Bruce Nauman’s earliest shows, the gallery continues to host revered pioneers, like Katherine Bradford, whose recent exhibition of six-large scale paintings explore the vast expanse of space and the beauty to be found inside dark corners of the universe."
Read the full piece at the link below.
Surface Magazine tours Emil Lukas's current show at Sperone Westwater - on view through February 11 - and talks with the artist about his recent work.
"A new exhibition of work by Emil Lukas at Sperone Westwater gallery in New York shows the Pennsylvania artist using surprising materials to manipulate perception. “Liquid Lens,” a 2016 sculpture made from aluminum tubes, anchors the show. Despite its heft, the work, a curving cluster of metal pieces, seems to disappear from some angles."
Watch the video at the link below.
James D. Campbell reviews Wim Delvoye's exhibit at DHC/ART in Montreal - on view through March 19 - for Frieze magazine.
"...this exhibition is a virtuosic display of artistic audacity and legerdemain. The laser-cut, stainless-steel Gothic trucks dazzle; the embossing of the aluminium carapace of the car in Untitled (Maserati) (2012) is mesmerizing in its intricacy, almost Islamic in its mien; the fully torqued yet inordinately precise figures in Twisted Jesus Clockwise and Twisted Jesus Counterclockwise (both 2012) are little short of astounding."
Read the rest of the glowing review at the link below.
Angela Westwater shares her thoughts on the topic of commitment in a column for the "Soapbox" feature of WSJ Magazine.
“For a lot of people, the word commitment has a financial or legal connotation; for me, it’s about emotional or intellectual allegiances."
Read the rest of the thought-provoking column at the link below.
This week's New Yorker features Katherine Bradford's current show at Sperone Westwater in the "Goings On About Town" section.
"At odds with her aquatic subject matter, Bradford works with dry paint, in thin or rubbed-out layers, to achieve the murky and luminous depths of her otherworldly vistas."
Read the full piece at the link below.
John Yau offers an in-depth analysis of Katherine Bradford's recent works in Hyperallergic.
"By inviting viewers to complete a story that cannot be completed, [Bradford] suspends us in a pictorial never-never land, between arrival and falling."
Read the rest of the rest of the article at the link below.
For the January 2017 issue of Wallpaper, Nick Compton interviews Helmut Lang and several friends and colaborators from his creative circle, including Angela Westwater. The issue also features a special edition cover by Lang.
Read the illuminating piece at the link below.
Juliet Helmke talks with Katherine Bradford about her recent paintings, on view at Sperone Westwater through February 11.
"In her conversation with Artinfo, Bradford speaks about the figures that occupy these deep, yawning blue and purple astral landscapes, and her journey out of abstraction."
See the full article at the link below.
The New Criterion's James Panero offers a brief but glowing write-up of Katherine Bradford's current show in "The Critic's Notebook."
"...in Bradford’s subtle hand, water has a reactive, mystical, ultimately ominous quality, refracting shapes, oxidizing colors, and overwhelming her subject matter."
Read the rest of the piece at the link below.
Julie Baumgardner of T Magazine recently visited artist Emil Lukas in his Stockerton, Pennsylvania studio.
“A painting needs to reveal itself," Emil oberserved in conversation with Baumgardner. "I think it’s generous to leave a work at a point where someone can look at it and figure out what it is, no explanations. Let it be the way it is. Anyone curious enough can find the truth of the whole thing.”
As Baumgardner notes, "For Lukas, who has spent much of his career attempting to understand, interpret and play with the mechanics of the human eye, that truth often lies in the space between perception and optical illusion. 'You really just have a few ideas, it’s all you’ve got,' he says. 'The reason why they’re the few ideas you have is because they don’t let go of you.'"
Emil Lukas opens Saturday, 7 January, and is on view through 11 February at Sperone Westwater.
Read the rest of Baumgardner's feature at the link below.
Jeffrey Weiss selects Bruce Nauman's Contrapposto Studies i through vii as the "Best of 2016" in the December issue of Artforum.
"There are works of art, though rare, that stop us cold. Bruce Nauman's instalation Contrapposto Studies i through vii, 2015-16, is one of them."
"... what makes the installation a masterpiece is its remarkable distillation of deep content from early formal devices and motifs. Personal disclosure plays only a supporting role: The self as other inhabits the work's mortal core."
Read the rest of Weiss's fascinating analysis at the link below.
Joshua Mack reviews Bruce Nauman's Contrapposto Studies i through vii in the December issue of ArtReview.
"Nauman has redefined what art can say and how it says it. The seven looped videos that comprise Contrapposto Studies i through vii (2015/16) reinforce, both individually and in toto, the breadth and depth of his work."
The full article is attached below.
Sanford Schwartz reviews Charles LeDray's recent show at Craig F. Starr Gallery in the New York Review of Books.
"Now fifty-six, LeDray is a kind of realist sculptor whose pieces—in part because his subjects are familiar but not what we would expect in a gallery setting, and in equal measure because he works with such small, essentially miniaturist sizes—have the power of making almost every object he handles seem new to our eyes."
See the full article at the link below.
Sperone Westwater congratulates Martin Wilner on The Case Histories, opening 23 November 2016, at the Freud Musem Martin Wilner is an artist, psychiatrist and scholar in psychoanalysis based in New York. The Freud Museum presents Wilner’s first solo museum exhibition, drawing on his decades of artistic work pertinent to the practice and thinking around psychoanalysis.
The Case Histories are the latest iteration of Wilner’s ongoing Making History project begun in 2002. Wilner, in the first decade of this process, rendered daily drawings based upon events in the world of interest to him. Over the course of each month elements of representation, portraiture, caricature, cartography, typography, micrography, and musical composition coalesce into the resulting work.
Andrew Russeth of Artnews talks with Susan Rothenberg about her recent paintings, on view at Sperone Westwater from November 4 - December 20, 2016.
"The Sperone Westwater exhibition is Rothenberg’s first solo gallery outing in five years, and the 11 paintings she has made for it are focused and tough—stunning, in a word. One shows a ferocious-looking raven with pale pink feathers against what one might call a classic Rothenberg background—patchy white undergirded by dark blues and blacks. In another, three monkey heads float above a slightly brighter white. These new paintings are a bit smaller than her largest works, and they seem to be even more enigmatic than usual, evincing feelings that range from uneasy love to controlled fury."
Click the link below to read the rest of the convcersation.
Holland Cotter of the New York Times reviews "Charles LeDray: Works" at Craig F. Starr Gallery.
"Charles LeDray’s sculptures are unusually small-scaled, but they are also weighty with hard-to-pin-down emotions and meanings," notes Cotter. "Mr. LeDray’s sculptures, executed with fetishistic formal perfection, make the idea of control through art feel as desperate as it does heroic."
Read the remainder of Cotter's review at the link below.
Charles LeDray: Works is on view at Craig F. Starr Gallery through 29 October 2016.
"How is it that Bruce Nauman, sequestered as he is most of the time in his New Mexico studio, manages to emerge now and again like a grand wizard to address the art world of the moment with a meaningful gesture that points the way to the future?" David Ebony wonders, in this month's 'Top 10 New York Gallery Shows for October.' "There is a hopeful emphasis here on the concepts of balance, stability, and perseverance. Eventually, one becomes aware of the tremendous historical depth and conceptual breadth of Nauman’s endeavor."
Read the rest of Ebony's insightful review at the link below.
Julie Belcove features Susan Rothenberg in this weekend's Financial Times.
"She is a painter and doesn’t dabble in multimedia like so many younger artists today," Belcove writes. "She works deliberately, building images slowly. Whatever her ostensible subject, he notes, the magic is in her surfaces, which 'keep your eye moving all over the picture, keep you looking'."
"Rothenberg’s intuition has always held sway over any theory-based agenda. For her, the work is intensely personal. 'I certainly don’t expect to get a lot of applause for this,' she says. 'They getcha or they don’t.'
Read the remainder of Belcove's captivating article at the link below.
Susan Rothenberg opens at Sperone Westwater on 4 November.
Charles Desmarais of the SF Chronicle reviews Tom Sachs at Yerba Buena Center for the Arts.
"There are visual artists who see their role as akin to that of poets, looking for that heady distillate of experience," writes Desmarais. "Tom Sachs is more of a complicator. His elaborate blowout of an exhibition at Yerba Buena Center for the Arts, Space Program: Europa, is a loose narrative, woven of tight ruminations on aspects of the American space exploration program. It’s a social-historical deconstruction by virtue of painstakingly detailed construction. It is a triumph — and one that is all the more satisfying for proudly revealing all the stumbles along the way, all the seams in the final product."
Read the remainder of Desmarais' captivating review at the link below.
"In this magnificent show of projected videos, collectively titled Contrapposto Studies, Nauman returns to a trope that he introduced nearly fifty years ago: ritualized walking. Seen from the front, the back, or the side, in friezes of vertical takes, he steps ten times, either toe-to-heel backward or heel-to-toe forward, then turns and repeats the actions."
Read the rest of the listing at the link below.
The newest chapter of exploration in Tom Sachs' Space Program, Europa, opens on 16 September at the Yerba Buena Center for the Arts in San Francisco.
Targeting Jupiter’s icy moon, Europa, this expansive sculpture exhibition offers an unprecedented view into Sachs’ extraordinary artistic output and advances his quest to find extraterrestrial life with bricolaged sculptures. The exhibition will fill YBCA with everything his astronauts need to successfully complete their voyage—including the Mobile Quarantine Facility, Mission Control, the Apollo-era Landing Exploration Module (LEM), and special equipment for conducting scientific experiments—immersing the audience in a universe of sculpture occupying the entire downstairs galleries in addition to YBCA’s public spaces.
Space Program: Europa will feature live activations of the Europa flight plan by Sachs’ astronauts during the opening and closing weekends. In these demonstrations, the astronauts will showcase the rituals and procedures of their mission, including the cultural export of chanoyu, the ancient art of the tea ceremony.
Tom Sachs Space Progam: Europa is on view at the Yerba Buena Center for the Arts from 16 September – 15 January 2016.
Yerba Buena Center for the Arts
701 Mission Street
San Francisco, California
Daniel Kunitz reviews Contrapposto Studies for Artsy.
"If the 1968 piece focused on controlling the energy of a particular movement, the new “Contrapposto Studies” rely on an exceptionally deliberate approach to depiction," Kunitz writes. "Each work employs an identical device—a walk with contrapposto—but in the recent pieces we learn far more, for they offer multiple perspectives and accrue details that add up to a story. In fact, Nauman’s suite of video works mimics a principle of physics: that the more information there is in any system, the greater the level of entropy (dispersion of energy). The information we gain as we move through the show builds into a story, while the artist in it becomes less and less intact."
Read the remainder of Kunitz's captivating review at the link below.
Alfred Mac Adam of ARTNews reviews Contrapposto Studies at Sperone Westwater.
"Contrapposto Studies, i through vii is establishing an artistic rhythm, which inevitably brings us back to relationship between the parts and the totality of any work of art," Mac Adam writes. "This exciting new video is a visual exploration of continuity, discontinuity, rhythm, and discord."
Read the rest of Mac Adam's insightful review at the link below.
"The new work — which at its heart simply shows a man in jeans and a loose white T-shirt walking to and fro — is unusual in two respects: one, because he films his own body, which he hasn’t done in many years (he uses actors and acquaintances in most of his videos); two, because he is revisiting an older work, something Mr. Nauman, restive by nature, almost never does."
Daring, fun, quirky, and creative are just a few words that Alina Cohen of T Magazine uses to describe Splotch, at Sperone Westwater.
Read the rest of Cohen's insightful article on the phenomenon of the gallery summer show, including commentary from Assistant Director Andrew Lee, at the link below.
Splotch is currently on view at Sperone Westwater through 9 August 2016.
In the mid-1960s after graduating from art school, Bruce Nauman began to explore issues related to the practice of art making and the studio. His concerns centered around the very notion of the professional artist. As he explained, “there was nothing in the studio because I didn’t have much money for materials. So I was forced to examine myself.” In a series of exacting performances that began in the mid-1960s and were often orchestrated for the camera, Nauman put his own body under duress to engage the prevailing conceptual concerns of the moment, such as duration, process, and repetition.
For the multiscreen projection Mapping the Studio I (Fat Chance John Cage) (2001), Nauman returned to the themes that defined his early career. During the summer of 2000, he set up infrared cameras in multiple areas within his studio to track the nocturnal activities of mice, moths, and other creatures. Edited down to approximately six hours per projector, the installation’s footage offers a wryly elliptical take on the mundane qualities of daily studio activity, replete with languor and moments of visionary insight.