Bruce Nauman: Spatial Encounters – Author Book Signing

11 February 2019

Sperone Westwater invites you to join authors Constance M. Lewallen and Dore Bowen at the gallery for a book signing event to celebrate the publication of Bruce Nauman: Spatial Encounters (University of California Press) on Thursday, 14 February from 4:30 – 6:00pm.


The first book devoted solely to Bruce Nauman's corridors and other architectural installations, Bruce Nauman: Spatial Encounters deftly explores the significance of these works in the development of his singular art practice, examining them in the context of the period and in relation to other artists like Dan Graham, Robert Morris, Paul Kos and James Turrell.

Emil Lukas in the Brooklyn Rail

11 February 2019

The Rail's new editor-at-large Harry Philbrick talks with Emil Lukas about his new body of work, on view at Sperone Westwater from 9 January - 23 February 2019. 


"The thread and bubble paintings work with something all their own. Of course they must sister with Newton’s theories of light and color and Goethe’s evaluations of color’s emotional and psychological effects to color. I never see it as a law, instead these paintings continue to prove infinity in color and emotional relationships. A shift in any aspect of color (hue, tint, value) pales to the power of relationship. I think that’s why it’s important to work with the smallest measurable mark. A mark or single element that can be easily taken in as an individual. As thousands of these marks take location and the viewer takes distance, the painting accumulates into a complex system of shifting color and emotion. In this way color has physicality and any theory is unique to a specific practice. In short, nuance matters, with complexity of relationship it becomes highly personal."


Read the full interview below. 


Otto Piene on WBUR

11 February 2019

WBUR, Boston's NPR News Station, recently covered "Fire and Light: Otto Piene in Groton 1983-2014," on view at the Fitchburg Art Museum through 2 June 2019.


"For more than 30 years, the influential artist and educator lived and made experimental works on a quiet farm in Groton. Now the Fitchburg Art Museum is celebrating Piene's local roots — and his enduring relationship to light — close to home, in the largest U.S. solo exhibition dedicated to the breadth of his creations." 


Read or listen to the full segment below. 

The Florida Times-Union on Andrew Sendor and Ali Banisadr

9 February 2019

The Florida Times-Union's Charlie Patton reviews the new exhibition "Micro-Macro," which pairs paintings by Andrew Sendor and Ali Banisadr, on view at MOCA Jacksonville through 28 July 2019.


See the full piece below.

Jitish Kallat in Livemint

26 January 2019

Anindita Ghose interviews Jitish Kallat on the occasion of his new exhibition at Galerie Templon Paris. “Phase Transition” is on view through 9 March 2019.


Read the full interview below.

The Best Art Books of 2018

13 December 2018

Holland Cotter selects Bruce Nauman: Disappearing Acts as one of the best art books of 2018.

William Wegman Featured in The Sydney Morning Herald

7 December 2018

Rachel Olding talks to William Wegman on the occasion of his traveling exhibition "William Wegman: Being Human," on view at the National Gallery of Victoria in Melbourne until 17 March 2019.

William Wegman in Gothamist

30 November 2018

The 23rd Street F/M Station gets a makeover with help from William Wegman.

"I wanted to create portraits of individual characters, people who you might see next to you on the platform," said Wegman, who has lived in the neighborhood with his dogs Flo and Topper for decades. "For these I dressed the dogs in more or less ordinary clothes, nothing too fashionable. I was very interested in the way in which photographs, even the out of focus dogs in the background of some images, could be translated into mosaic by Mayer of Munich, who skillfully turned grey stones into grey dogs."

Read the full article below.

John Giorno Joins Sperone Westwater

29 November 2018

"John Giorno, the storied New York artist and poet who was the subject of a 13-venue retrospective in New York last year, is now represented by Sperone Westwater, which will show his work at its booth at Art Basel Miami Beach next week. The New York gallery also plans to present a solo show with Giorno next year."

See the full article below.

Liu Ye in Document Journal

15 November 2018

Ann Binlot reviews Liu Ye's Storytelling at Prada Rong Zhai in Shanghai.


"Liu’s work depicts a sort of quiet beauty and a sense of humor, infused with his experiences in Europe in the ‘90s and his subsequent return to China thereafter. Liu traveled to the Netherlands to become an artist in residence at the Rijksakademie in Amsterdam, and a few of his paintings depict the Dutch inspiration around him at the time, like the cover rendition of Rogier van der Weyden’s Waanders Uitgevers, a 2014 depiction of the famous Dutch children’s character Miffy getting married, and a 1995 still life that includes the Piet Mondrian book Rot Gelb Blau. Liu’s Chinese upbringing shows up in his portraits of Chinese women. In one work, the 1996 painting Qi Baishi Knows Mondrian, Liu combines his Chinese and Dutch influences. Set against the backdrop of the Prada Rong Zhai, Liu’s paintings bring the house to life, through snippets of his own personal narrative."


Read the full review below.

Peter Halley in Artnet News

6 November 2018

Artnet News lists “Peter Halley, Unseen Paintings: 1997–2002, From the Collection of Gian Enzo Sperone” among its editors' picks. The show is on view at Sperone Westwater through December 22.


See the full piece below.

Bruce Nauman in The New York Times

19 October 2018

Holland Cotter reviews "Bruce Nauman: Disappearing Acts"


"If art isn’t about life and death, and the emotions and ethics that surround them, what is it about? Style? Taste? Auction results? Some artists focus on those, but the most interesting head for the uncool existential bottom line, which is what Bruce Nauman does. He’s approached this line by many paths: history, humor, shock, politics and formal variety. And he’s merged those paths into a bumpy superhighway of a career, which we’re invited to travel in “Bruce Nauman: Disappearing Acts,” a half-century retrospective that fills the sixth floor of the Museum of Modern Art and nearly the entire premises of MoMA PS1 in Long Island City, Queens.


It’s a transfixing trip. Now 76, and still on the job (there’s work from this year in the survey), Mr. Nauman has done much to change the way we define what art is, and what is art. Without being overtly topical, he has consistently viewed the world through a critical eye, with the result that art he made decades ago is pertinent to our present morally wrenching American moment. And even his loudest, most outsized art feels personal, sourced from extreme emotions we all feel — panic, despair, disgust, hilarity — one by one."

Bruce Nauman in T Magazine

15 October 2018

Nikil Saval profiles Bruce Nauman in T Magazine.


"In the past half-century, he has created masterpieces in nearly every medium and, in the process, pushed the limits of what art can — and should — do."


Read the full piece below:

Ali Banisadr in the Brooklyn Rail

3 October 2018

Phong Bui interviews Ali Banisadr for the Brooklyn Rail.


"For me, looking at Old Master paintings have been an endless source of inspiration in that it allows me to see them in the lineage, be it from early Christian art, art of the Renaissance, Baroque, to Impressionism, Modern, and Contemporary art. I tend to not really be attracted to things that are only one or the other. So if it is an Old Master painting, it should address certain issues that are still relevant in our time. Say looking at Titian, [Francisco] Goya, [Édouard] Manet, and [Pablo] Picasso, just to name a few, you could activate the sentiment in each of their works, be it love, the destruction of war, or jealousy, etc., through the paint and see the similar relationship to contemporary life somehow. It still speaks to our time. Likewise, something that is made today evokes something ancient."


Read the rest of the interview below.

Malcolm Morley in Art in America

26 September 2018

David Ebony reviews Malcolm Morley: Tally-ho, on view at Sperone Westwater through October 27, for Art in America.


'In recent years, Morley was preoccupied with developing a new genre of painting that he dubbed “Super-Post-Pop.” The works from this group he showed me in his studio had unmodulated, bold colors, hard-edge forms, and crisp lines. Jarring juxtapositions of seemingly incongruous elements were designed to convey complex narratives of the artist’s imagination, and transcend the deadpan irony associated with Pop.'


Malcolm Morley in the New Yorker

18 September 2018

Peter Schjeldahl reviews Malcolm Morley's "Tally-ho", currently on view at Sperone Westwater, for the New Yorker.


"If ever an oeuvre cried out for a retrospective exhibition, it’s Morley’s. In 1984, the Brooklyn Museum imported a show from London’s Whitechapel Gallery that had won the artist the first annual Turner Prize. He has had only a single retrospective in this country since, in Miami. I fancy one that would focus on the onsets of Morley’s stylistic convulsions, including several that I haven’t mentioned here, to emphasize the demonic restlessness of his sensibility, which could hardly be farther from that of, say, [seventeenth-century Dutch master Pieter Jansz.] Saenredam. It would help to explain his personal appeal to other artists of many kinds. (Richard Serra wrote a gnomic catalogue preface for one of his shows.) He had a sense of vocation akin to falling off a cliff and hitting all manner of surprising things on the way down."


Read the rest of the review below:

Bruce Nauman: Disappearing Acts

22 August 2018

Since the mid-1960s Bruce Nauman has been in search of new ways to make sculpture, employing a tremendous range of materials and working methods. Spanning the artist's 50-year career, Bruce Nauman: Disappearing Acts provides a singular opportunity to experience his command of a wide range of mediums, from drawing, printmaking, photography, and sculpture to performance, film, neon, and large-scale installations.


This expansive presentation across both of MoMA's locations-the Museum's entire sixth floor and all of MoMA PS1-offers distinct but complementary perspectives. The exhibition marks the US premiere of two works: Leaping Foxes (2018), a large-scale hanging sculpture, and his state-of-the-art 3-D video projection Contrapposto Split (2017). The nearly 50-foot-long Kassel Corridor (Elliptical Space) (1972) will be on view in New York for the first time.


Probing structures of power and established norms, questioning such values as "good" and "bad," and leaving his work open to multiple, often conflicting, understandings, Nauman repeatedly tests the viewer's willingness to relinquish the safety of the familiar. We must be alert, ever vigilant, and wary of being seduced by the easy answers. This, his work teaches us, is where freedom begins. 

Alexis Rockman in the Chicago Tribune

25 July 2018

Lori Waxman reviews Alexis Rockman's "Great Lakes Cycle" in the Chicago Tribune. 


"This familiarity did little to prepare me for the wonder and devastation of Alexis Rockman’s 'The Great Lakes Cycle,' a masterly suite of monumental paintings and experimental drawings on view at the Cultural Center through early fall. Rockman, a talented figurative painter famed since the mid-’80s for his environmentally acute artwork, here offers a stunningly ambitious visual synthesis of the past, present and future of one of the world’s premier ecosystems."


Read the rest of the piece below.


9 July 2018

New York, NY, January 17, 2018 [Updated June 11, 2018]—The Museum of Modern Art and MoMA PS1 will collaborate on the first comprehensive retrospective in 25 years devoted to the work of American artist Bruce Nauman (b. 1941), on view at MoMA from October 21, 2018 through February 18, 2019, and at MoMA PS1 from October 21, 2018 through February 25, 2019. Co-organized by The Museum of Modern Art and Schaulager Basel, Bruce Nauman: Disappearing Acts will draw upon the rich holdings of both institutions and over 70 lenders. Encompassing Nauman’s career, the exhibition will occupy the entire Museum’s sixth floor and the whole of MoMA PS1. This joint presentation will provide an opportunity to experience Nauman’s command of a wide range of mediums, from drawing, printmaking, photography, and neon to performance, video, film, sculpture, and architecturally scaled environments. Bruce Nauman: Disappearing Acts is organized by Kathy Halbreich, Laurenz Foundation Curator and Advisor to the Director, The Museum of Modern Art; with Heidi Naef, Chief Curator, and Isabel Friedli, Curator, Schaulager Basel; and Magnus Schaefer, Assistant Curator, and Taylor Walsh, Curatorial Assistant, Department of Drawings and Prints, The Museum of Modern Art. Prior to its presentation in New York, the exhibition will be on view at Schaulager from March 17 to August 26, 2018.


Continue reading the complete press release in the downloadable PDF below.

Alexis Rockman on WDCB

25 June 2018

WDCB's Gary Zidek talks to artist Alexis Rockman about his exhibition, "The Great Lakes Cycle."


"I wanted to do a sort of populist project about the Great Lakes and how precious they are. And how little we really consider them, in terms of what a valuable resource they have been and how incredibly valuable they will be in the future."


Listen to the interview below.

Malcolm Morley in the New York Times

12 June 2018

Neil Genzlinger writes Malcolm Morley's obituary in the New York Times. 

Malcolm Morley in ARTnews

2 June 2018

Alex Greenberger eulogizes Malcolm Morley in ARTnews.

Malcolm Morley in Artforum

2 June 2018

Artforum pays tribute to Malcolm Morley.

Malcolm Morley in the Telegraph

17 June 2018

The Telegraph eulogizes Malcolm Morley.

Bruce Nauman in the New York Times

12 June 2018

Farah Nayeri discusses “Bruce Nauman: Disappearing Acts” - currently on view at the Schaulager and coming to MoMA in October - in the New York Times. 


'What Ms. Halbreich found while putting together the new retrospective was the consistent quality of Mr. Nauman’s work.

“There are artists who make good work throughout their career, but good isn’t great,” she said. “Bruce makes great art from graduate school to yesterday.

“For a curator, the biggest trauma in making a Bruce Nauman exhibition is having to leave things out,” she added. “There are many more Bruce Nauman exhibitions to be made.”' 


Read the rest of the article below.

Jitish Kallat in the New York Times

6 June 2018

Holland Cotter lists Jitish Kallat's Decimal Point in the New York Times feature What to See in New York Art Galleries This Week.


"The history evoked is cosmic history, and the cosmic is personal. In “Sightings,” a vertical mural-size grid of lenticular photographs, close-ups of peaches and pears on a breakfast table become shape-shifting astronomical bodies. And in “Covariance (Sacred Geometry),” a lump of what looks like rough, unworked clay buzzes with life once you see the dozens of open eyes that dot its surface. They belong to different species of birds and animals, sculptural examples of which sleep calmly, side by side, nearby."


Read the rest of the piece below.

Malcolm Morley, 1931-2018

1 June 2018

It is with sadness that we announce the passing of Malcolm Morley.
British-born, American artist Malcolm Morley was one of the seminal figures of international contemporary art.


With a career spanning over six decades, Morley developed a highly individual and expressive style of painting. This placed him at the heart of the contemporary debates about painting, its authenticity and surface, and the validity of figuration versus abstraction. Morley defied stylistic characterization, moving through so-called abstract, hyperrealist, neo-romantic, and neo-expressionist painterly modes, while being attentive to his own biographical experiences.


Thank you Malcolm, for your captivating art that broke new ground, your unique character, your exceptional knowledge and your friendship.


I'm very involved with the idea of the vividness of childhood, of being in touch with an incredible vividness of experience as a young boy. To become an adult, culture teaches you to bury and repress all that. But if you can find access to it as a mature adult, it's a tremendous source of material. It entails having a story.
Malcolm Morley in conversation with Richard Francis, April 1996

Jitish Kallat in Whitewall

29 May 2018

Rylie Cooke interviews Jitish Kallat for Whitewall.

"WW: The cosmos seem to play a big role in your work. Why?

JK: As I was just saying the focal length at which one sees the world often defines the meaning we derive from it. To look at our worldly, earthly, human stories alongside a fleeting pointer to the unfathomable scale of our universe, expanding at an inexplicable pace, can bring a expanded dimension of insight into to the stories we tell ourselves."


Read the rest of the interview below.

Jitish Kallat in Blouin Artinfo

28 May 2018

Archana Khare-Ghose speaks with Jitish Kallat about his show at Sperone Westwater, on view through June 16.


'While philosophy is a means to arrive at a deeper understanding of the world through contemplative means, art provides a parallel means to arrive at an innate understanding of the world through observation. If philosophy and the various ancient wisdom traditions of the world converge with speculative image making in the arts or recent scientific observations, it is not so much an overlap of disciplines but the fact that these varying methods of probing the world lead to overlapping observations. To that extent, one could say that “Sightings” points our attention in a direction that would share affinities with philosophical probes in different parts of the world.'


Read the rest of the piece below.


Jitish Kallat in T Magazine

1 May 2018

M.H. Miller reviews Jitish Kallat's show "Decimal Point" - on view at Sperone Westwater through June 16 - for T Magazine. 


"Most intriguing of all are Kallat’s so-called “Wind Studies,” which begin as line drawings based on a pattern by the German mathematician David Hilbert. Kallat then places them outside and intermittently lights parts of the drawing on fire. What results is a burned section of the line and a dramatic shadow from where the wind directed the flame."


Read the rest of the review below.

Richard Long in the Neue Zürcher Zeitung

17 March 2018

Gabriele Detterer discusses Richard Long in the Neue Zürcher Zeitung.


Read the article below.

Bruce Nauman in ARTnews

16 March 2018

On the eve of the opening of Bruce Nauman: Disappearing Acts, a five-decade survey now on view at the Schaulager, ARTnews has published an interview from 1967, in which Joe Raffaele speak with the artist.


"Raffaele: How did you start doing films?

Nauman: Films are about seeing. I wanted to find out what I would look at in a strange situation, and I decided that with a film and camera I could do that. In one film I did, the title was straight and everything else tipped on its side, partly because you could get more in the picture and partly as a concession to art—so it looked as if I did something to it, changed it."


Read the rest of the conversation below.


Alexis Rockman in Hyperallergic

14 March 2018

Claire Voon reviews Alexis Rockman's "The Great Lakes Cycle" for Hyperallergic. The show is on view at the Grand Rapids Art Museum through April 29.

"Rockman, digging deep, reveals complicated networks that are not always seen, and translates statistics into compositions that all at once carry the democratic perspective of a documentary, the drama of a sci-fi thriller, and the grandeur of history painting."

Read the rest of the article below.

Bruce Nauman in The Art Newspaper

14 March 2018

Kenneth Baker reviews Bruce Nauman: Disappearing Acts, a five-decade survey on view at the Schaulager through 26 August.


“Bruce Nauman keeps his edge, 50 years on.”


Read the full piece below.

Kim Dingle in artcritical

2 March 2018

Lucia Love Mooney-Martin interviews Kim Dingle about her blindfolded paintings for artcritical.


'As a joke about feeling the pressure to maintain continuous mechanized production to feed this media leviathan, Dingle tells me, she would exclaim to friends, “I’ve done these Priss works so many times already, I could do them with my eyes closed. I could do them blindfolded… oh. Wait. Is that true? That’s an idea! I will do them blindfolded!”'


Read the rest of the conversation below.

Kim Dingle in Whitehot Magazine

1 March 2018

Noah Becker reviews Kim Dingle's show "Painting Blindfolded", on view at Sperone Westwater through March 3.

Kim Dingle in Hyperallergic

30 January 2018

John Yau reviewed Kim Dingle's show "Painting Blindfolded" - on view at Sperone Westwater through March 3 - for Hyperallergic.


'Expressing her resistance to doing any more paintings of Priss and her friends, she declared: “I could do these blindfolded.” Around the tenth time Dingle said this, she knew what she had to do:

"It was a technique and a challenge. You are using your senses and every fiber of what you know. You use your hands. You use your touch. It could have been such an utter failure."'


Read the rest of the review at the link below.

William Wegman in Wallpaper

25 January 2018

Patricia Zohn reviews ‘Before/On/After: William Wegman and California Conceptualism’, on view at the Metropolitan Museum of art through July 15.

"In his three years in California – 1970-1973 – Wegman became part of a group that also included Ed Ruscha, John Baldessari, Vija Celmins and Allen Ruppersberg, all of whom were poking holes in the stuffier, more academic, East Coast version of conceptualism by using paint, video and photography in ironic ways that turned didactic formalism on its head."

Read the rest of the piece at the link below.

Alexis Rockman opening at the Grand Rapids Art Museum

5 January 2017

"Alexis Rockman: The Great Lakes Cycle" will open at the Grand Rapids Art Museum on January 27, 2018. The show explores the past, present, and future of North America’s Great Lakes–one of the world’s most emblematic and ecologically significant ecosystems.


For more information, visit the museum's website at the link below.

Michael Landy in the New York Times

21 December 2017

Roberta Smith lists Michael Landy's "Breaking News - New York" among the must-see shows in New York.


Read the insightful review at the link below.



Michael Landy in New York Magazine

8 December 2017

Carl Swanson reviews Micheal Landy's "Breaking News - New York" for New York Magazine.


'He’d done earlier versions of the project in London and Athens, but for the New York show he was, he says, “inspired by Donald Trump when he talked about building a wall, so I thought I’d build wall of protest.”' 


View the rest of the piece at the link below.

Michael Landy in Garage

8 November 2017

Paul Laster interviews Michael Landy for Garage.


"When I first started the series I used fragments of paper, which I covered with two layers of color before scratching out the drawing. But for this show I used larger sheets of paper and sometimes worked wet-on-wet, so that it would be more expressive, more anxious."


Read the illuminating interview at the link below.

Alexis Rockman in the New York Times

21 October 2017

Alina Tugend reviews Alexis Rockman's "Great Lakes Cycle" for the New York Times.


'As is typical of Mr. Rockman, he started the Great Lakes project with research. “His process is to ask a lot of questions, read a lot of books,” Mr. Friis-Hansen said. “He synthesizes experiences and conversations with experts to tell a compelling story in paintings. He is a thoroughly contemporary artist. His tools are Photoshop and the internet, and then he leaves it all behind and goes back to oil painting.'


Read the rest of the fascinating review below.


Tom Sachs in Interior Design

11 October 2017

Peter Webster of Interior Design Magazine talks with Tom Sachs about his recent work.


"ID: The knockers are self-referential in another sense, too.

TS: Each is inscribed with the name of a person or institution that, directly or indirectly, has had a profound effect on my life—Frank Gehry, the Ivy League, Jimi Hendrix, my mother. In a way, the work is a self-portrait. They form a community around me, and each tells the story of who I am, who I want to be, who I’m afraid to be or might become."


Read the rest of the fascinating piece below.

William Wegman in Artsy

9 October 2017

Jeff Goldberg interviews William Wegman for Artsy.


"Dressed in wigs and elaborate costumes, or absurdly anthropomorphized with human hands and feet, William Wegman’s Weimaraners—some 30 in all across several generations—have been fascinating, delighting, and perplexing us for more than four decades."


Read the rest of the piece below.

Tom Sachs in Wallpaper

5 October 2017

Charlotte Jansen reviews Tom Sachs' "Objects of Devotion" for Wallpaper


"Objects that arouse, titillate and terrify are all locked up in Tom Sachs’ Wunderkammern – cabinets of curiosity the artist has constructed for an exhibition at Sperone Westwater, ‘Objects of Devotion’."


Read the rest of the piece below.

William Wegman in The Brooklyn Rail

5 October, 2017

Pac Pobric reviews William Wegman's current exhibition "Dressed and Undressed" for the Brooklyn Rail.


"It is easy to be complicated. Simplicity, directness, clarity of purpose—these are the rare qualities in an artist, and Wegman has them in deep measure. Dressed and Undressed, his recent exhibition at Sperone Westwater, proves this point."

William Wegman in the Villager

4 October 2017

Norman Borden reviews William Wegman's "Dressed and Undressed" for The Villager


"More smiles are in store in “William Wegman Dressed and Undressed,” a thoroughly engaging show at Sperone Westwater of 20 x 24 inch Polaroids never exhibited before. It spans over 30 years of Wegman’s Polaroid work and, amongst its many charms, it challenges the viewer with visual sleight of hand."


Read the rest of the piece at the link below:

William Wegman in Wallpaper

20 September 2017

Charlotte Jansen declares Wegman's unseen polaroids - on view at Sperone Westwater trough October 28 - "instant classics" in Wallpaper.


"Although they’re as relatable, stylish and empathetic as the biped subject, it isn’t, Wegman has explained, a case of anthropomorphising the animals, but rather, our own way of looking, that makes these pictures so compelling to us."


Read the full review at the link below. 

Tom Sachs in the New Yorker

20 September 2017

Tom Sachs's "Objects of Devotion" - on view art Sperone Westwater through October 28 - is featured in the New Yorker's Goings On About Town.


"Underneath the undeniable fun is a wholesale exposure of the artist’s interests and obsessions which is as fascinating as a Freudian case study."


Read the full piece at the link below.

Tom Sachs in artnet

8 September 2017

Sarah Cascone lists Tom Sachs's "Objects of Devotion" among the must-see New York gallery shows this September. The show is on view at Sperone Westwater through October 28. 


"Tom Sachs brings together several recent bodies of work—his DIY takes on the boombox, the space program, and Japanese tea ceremonies (appearing later this month at a survey show at the Nasher Sculpture Center, Dallas)—in a cabinet of curiosities-style show inspired by the European tradition of the wunderkammern."


See the full piece at th elink below:

William Wegman's "Being Human" in PDN

6 September 2017

Rebecca Robertson of Photo District News reviews "Being Human," a new publication from Chronicle Books featuring over 300 of Wegman's images, many of them previously unpublished.


"In it, William A. Ewing argues, half seriously, that Wegman's true subject is human nature, a charge that Wegman doesn't deny."


Read the rest of the review below.


William Wegman in T Magazine

25 August 2017

Alainna Lexie Beddie profiles William Wegman in T Magazine.


'“I went through boxes and boxes of pictures that I never bothered to look at after taking them and found kind of a treasure, and some really interesting situations,” says Wegman. “Some things that I thought I never did before, I found out I had done before. And other directions that I sort of abandoned were interesting. My poor memory — I forgot what I had been doing!”


A majority of those gems make up a new book, “William Wegman: Being Human,” out in October. In the meantime, beginning September 5th, many never-before-seen Polaroids from the collection will be on view at Sperone Westwater in New York.'


Read the rest of the wonderful article below.

Ali Banisadr in the Brooklyn Rail

19 July 2017

Jessica Holmes reviews Ali Banisadr's recent show Trust in the Future - on view at Sperone Westwater from 4 May - 24 June -  for the Brooklyn Rail.

"That there is action afoot is evident; what that action amounts to is less clear. This is deliberate—Banisadr’s technique is deft and formidable. He has a knack for integrating exceptionally wide, washy brushstrokes with delicate and precise marks, which creates the unsettling effect of watching a film through smeared glass."


Read the rest of the insightful review at the link below. 

Helmut Lang in Interview

16 July 2017

Katja Horvat talks with Helmut Lang about his latest body of work and his show "Various Conditions," on view at the Sammlung Friedrichshof in Burgenlang, Austria from 6 May - 19 November, and the Stadtraum in Vienna, Austria from 9 May - 14 November.   


"I don’t have a defined idea of beauty, but I always found a slight ‘off-beauty’ much more interesting. There is definitely no leitmotif, and I always like to be open to various possibilities. I think it is also important to not underestimate the value of inner beauty. Sensuality, passion, loyalty, honesty, etc. – seem to be the virtues that are completing the definition of beauty."


Read the rest of the illuminating interview at the link below:

Helmut Lang in Wallpaper

28 June 2017

Charlotte Jansen reviews Helmut Lang's ‘Various Conditions’ at Sammlung Friedrichshof.


"Plucked from abandonment, Lang’s materials rise, phoenix-like, into this series of semi-forms in black and white, their intriguing surfaces made up of layers of intricate, anthropomorphic texture. With their corresponding relief panels hanging on the wall, it’s as if the sculptures have emerged from the canvases."


Read the intriguing review at the link below:


Wim Delvoye in The Art Newspaper

13 June 2017

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.

Ali Banisadr in Art Asia Pacific

7 June 2017

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. 

Ali Banisadr in Modern Painters

6 June 2017

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.

Ali Banisadr in Artspeak

30 May 2017

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.



Ali Banisadr in Architectural Digest

23 May 2017

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.



Richard Long in Christie's Magazine

6 May 2017

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.

Richard Long in The Times

6 May 2017

Rachel Campbell-Johnston of The Times reviews Richard Long's exhibition "Earth Sky," currently on view at Houghton Hall in Norfolk.


Read the glowing review at the link below.




Richard Long in Vogue

6 May 2017

 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.

Richard Long in The Telegraph

6 May 2017

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.

Emil Lukas in Venice

5 May 2017

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.   

Bruce Nauman in The Philadelphia Museum of Art

5 May 2017

The New York Times reports on the Philadelphia Museum of Art's acquisition of Bruce Nauman's "Contrapposto Studies" and "Walks In Walks Out."


Read the exciting news at the link below. 

Andrew Sendor in Eyes Towards the Dove

28 April 2017

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.



Andrew Sendor in Berlin Art Link

26 April 2017

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. 

Andrew Sendor in the Huffington Post

19 April 2017

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.

Richard Long in the Guardian

18 April 2017

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 in purple DIARY

15 April 2017

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.

Helmut Lang in Cultured

12 April 2017

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.

Bruce Nauman in The Art Newspaper

11 April 2017

Gareth Harris and Helen Stoilas report on Bruce Nauman's upcoming exhibition at the Tate Modern Turbine Hall and Artist Rooms show in the Tate’s Switch House extension.   


Read the article at the link below.

Helmut Lang in i-D

7 April 2017

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.

Phong Bui's Mack-inspired poem in the Brooklyn Rail

28 March 2017

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. 

Andrew Sendor in Artspace

28 March 2017

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.

Heinz Mack in ArtNews

21 March 2017

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 Banisadr on the cover of Canvas

16 March 2017

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.

Wolfgang Laib in ArtNews

When Pollen Becomes Political: Wolfgang Laib in Myanmar
16 March 2017

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.

The New York Times features Sperone Westwater at the ADAA Art Show

3 March 2017

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.



Martin Wilner at the Freud Museum

25 February 2017

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 in domino

15 February 2017

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.  

Heinz Mack in The Art Newspaper

9 February 2017

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.

Sperone Westwater featured in TravelMag

8 February 2017

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. 

Emil Lukas in Surface

8 February 2017

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. 

Wim Delvoye in Frieze

1 February 2017

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 in the Wall Street Journal Magazine

31 January 2017

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. 

Katherine Bradford in The New Yorker

25 January 2017

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. 

Hyperallergic reviews Katherine Bradford

25 January 2017

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.

Helmut Lang featured in Wallpaper

17 January 2017

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.  

Katherine Bradford interviewed in Blouin Artinfo

13 January 2017

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 recommends Katherine Bradford

11 January 2017

The New Criterion's James Panero offers a brief but glowing write-up of Katherine Bradford's current show in "The Critic's Notebook."  


" 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. 

Emil Lukas Featured in T Magazine

4 January 2017

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.

Artforum features Bruce Nauman's "Contrapposto Studies" among the Best of 2016

2 December 2016

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. 

Bruce Nauman's "Contrapposto Studies" featured in ArtReview

2 December 2016

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. 


Charles LeDray in The New York Review of Books

2 December 2016

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.

Martin Wilner at The Freud Museum, London

23 November 2016

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.

Artnews Interviews Susan Rothenberg

3 November 2016

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.

Charles LeDray in the New York Times

14 October 2016

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.

Bruce Nauman: One of the Top 10 New York Gallery Shows for October

5 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.

Susan Rothenberg in the Financial Times

1 October 2016

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.

SF Chronicle Reviews Tom Sachs at Yerba Buena

22 September 2016

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.

The New Yorker reviews Bruce Nauman

26 September 2016

"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.

Tom Sachs at Yerba Buena

16 September 2016

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 

Bruce Nauman on Artsy

14 September 2016

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.

ArtNews Reviews Bruce Nauman

14 September 2016

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.

Bruce Nauman, Art Provocateur, Returns. Are You Ready?

8 September 2016

"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."

Sperone Westwater in T Magazine

28 July 2016

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.


Bruce Nauman re-installation at Dia Beacon

Long-term View

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.