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Alexis Rockman in The Washington Post

28 November 2020
post-apocalyptic painting of the Brooklyn waterfront submerged under water

Philip Kennicott discusses a recent installation at the Smithsonian American Art Museum that pairs Hudson River School painter Thomas Moran's Grand Canyon of the Yellowstone (1893-1901) with Alexis Rockman's Manifest Destiny (2004). 

He writes, "The Moran painting is an 8-by-14-foot vision of Yellowstone canyon and its beloved waterfall, blasted by sun through a roiling sea of clouds. The Rockman canvas, an 8-by 24-foot bleak, futuristic image of the Brooklyn waterfront, imagines the toll of global warming as ocean water submerges the city and makes a ruin of its infrastructure. These two works are now in dialogue, and the conversation — about our use and abuse of the natural world — is profoundly disquieting. Even more striking is the power of Rockman’s painting, which doesn’t feel like an ironic comment on the Moran, nor a pendant to it.

This is a dialogue among equal interlocutors, which suggests that large-scale landscape painting is still a vigorous form, especially in large public venues such as the Smithsonian, and it could play a vital role in how 21st-century Americans grapple with the destruction we are wreaking on the planet."

Bruce Nauman in The Brooklyn Rail

11 November 2020
gallery view showing a projection of an upside down man walking with his arms outstretched

Amanda Gluibizzi reviews Bruce Nauman's exhibition at Sperone Westwater.

She writes, "In the projections, the studio is placed on a black ground, floating in a non-space that a friend referred to as the 'Bruce Nauman studio event-horizon.' This quality is made clear by the inclusion of Nature Morte iPads in Sperone Westwater’s elevator, which spontaneously encloses viewers with images while silently ushering them up to the second floor in a seamless transition that does not involve pushing any buttons or feeling the elevator move. In this instant, the limits of the studio are truly the limits of our world, and the experience can—during a time in which our awareness of being trapped in hermetic spaces is heightened—seem every bit as creepy as the whispered voice of Get Out of My Mind, Get Out of This Room (1968)."

Bruce Nauman in The New York Times

22 October 2020
a woman stands at one of two pedestals in a gallery in front of two large-scale projections showing...

Jason Farago reviews Bruce Nauman's new show at Sperone Westwater.

He writes, "Mr. Nauman is now 78. He would have every right to take it easy at his home in New Mexico or just tend to his horses after a lifetime of innovation that was summed up in a mighty retrospective two years ago at the Museum of Modern Art and MoMA PS1. (Another major retrospective has just opened at Tate Modern in London.) But he is not done with trying new things indoors, and a profound new exhibition at Sperone Westwater Gallery confirms how sedulously he is still pushing the studio’s limits."

Bruce Nauman in The Guardian

5 October 2020
a figure in silhouette stands in front of a large-scale artwork comprised of short phrases in glowin...

Adrian Searle reviews Bruce Nauman's survey at Tate Modern, opening 7 October.

He writes, "However well I think I know Nauman’s art, and most of the works here, this pared-down survey of over 50 years of work continues to thrill and to disturb. I have no doubt at all of Nauman’s greatness, from his early, clunky black-and-white videos in which he is like a man trying to keep fit and to assert some agency in solitary, to a later sculptural installation, in which black marble cubes sit in the nasty pallor of yellow sodium lights, and in which minimalism is turned into a kind of authoritarian terminus. In the work Walks In Walks Out, a visibly aged Nauman walks in front of his own 2015 reworking of his 1968 video Walk with Contrapposto: here, Nauman reminds me of one of Alfred Hitchcock’s turns as a walk-on part in his own movies. Nauman the artist, like Hitchcock, is not above self-parody and humour, as well as being thoroughly uncompromising. Squeezing the most out of almost nothing at all he takes everything to the limit. And then some."

Bruce Nauman in Snapshot of the Art World

1 October 2020
a person wears 3D glasses while watching a video of Bruce Nauman walking in his studio

David Ebony selects Bruce Nauman's solo exhibiton at Sperone Westwater as one of his top 10 autumn shows.

Ebony writes, "Bruce Nauman reinforces his lofty reputation in this show of recent works that capture the disquieting disequilibrium of our present moment. On some level, the exhibition offers a continuation of Nauman’s long-term investigation of spatial relationships, and the body’s complex interaction with space and time. The fractured spaces and disjointed self-portraits that Nauman presents here also seem to metaphorically address the most acute forms of anxiety that, for many, mark the year 2020."

Bruce Nauman in The Guardian

29 September 2020
side by side photos of a portrait of Bruce Nauman and a large hanging sculpture composed of taxiderm...

Charlotte Higgins speaks with Bruce Nauman about his Tate survey exhibition opening 7 October and his current exhibition of new work at Sperone Westwater. 

She writes, "[...] seeing Nauman’s art is to encounter a curious, questing mind, one that has restlessly experimented, over a four-decade career, with performance, film, video, sound, music, drawing, text and sculpture. Much of this inventiveness has been based on very slender means, often the materials to hand in the studio. Describing how a work might begin to take shape, he says: 'Sometimes a new piece comes from work I’ve finished, maybe even quite old pieces. I begin to see a part that I hadn’t considered, that becomes more important, and that develops into an offshoot.'"

Bruce Nauman in Artnet News

23 September 2020
upside down image of a man in a tee shirt and jeans walking with his arms outstretched to the side

Katie White reviews Bruce Nauman's new show at Sperone Westwater.

"But in his most recent work, Nature Morte (2020), the artist has gone much further, giving the public free reign to navigate his studio without his presence. Through three iPads, each linked to a projection, visitors can explore the space of his studio and inspect individual objects that Nauman has scanned.

'Nauman disappears, his body is absent, and the spectator becomes the participant or performer… Nauman recorded hundreds of images documenting all parts of the studio—notes from previous artworks, books, coffee cups, vinyl records, tools, photographs of horses, the sculpture Two Leaping Foxes, and more, for over a year,' noted Westwater, who said the work 'questions the conventions of art and the contradictions and ambiguities which characterize our existence in the world.'"

Alexis Rockman in The New Yorker

16 July 2020
painting of a side-wheel steamboat on fire n the background with a gator and other wildlife in the f...

Andrea K. Scott reviews "Alexis Rockman: Lost at Sea," the artist's recent online viewing room.

Alexis Rockman in The Art Newspaper

3 July 2020
watercolor of a pangolin on driftwood in New York Harbor with the Statue of Liberty and construction...

Helen Stoilas looks at "The Things They Carried," Rockman's new series of watercolors.

"The artist Alexis Rockman has been thinking a lot about historical plagues since he moved from New York to Connecticut due to the coronavirus (Covid-19) pandemic. He sees connections not only between the current emergency and past health crises like the Bubonic Plague that swept across medieval Europe, but with ecological disasters caused by human exploitation, such as the introduction of invasive species. 'It's interesting to contextualise what's happening in our lives, within the historical lens of the many times this has happened before,' Rockman says, 'and there's such an interconnectedness to habitat, biodiversity crisis and habitat loss.'”

Read the full article below.

William Wegman in Artnet News

19 June 2020
a portrait of artist William Wegman holding a cardboard cutout of one of his weimaraners

In the latest edition of "The Art World Works from Home," Noor Brara interviews William Wegman to find out what he's been up to while working remotely from his upstate New York studio and home.

Read the full interview below.

MoMA's Tribute to Susan Rothenberg

16 June 2020
frenzied scene of three dogs attacking a rabbit amid two pairs of frontal horse legs with two outlin...

MoMA pays tribute to Susan Rothenberg with remembrances by artists Amy Sillman, Guillermo Kuitca, Joan Jonas and Michael Singer and curators Christophe Cherix, Kathy Halbreich and Michelle Kuo.

In his tribute, Guillermo Kuitca writes, "A while ago, the New York Times published a story about some of most surprising moments in music, and included one from a late Schubert sonata, in which the music fades, giving way to a long unnerving trill. I can’t help comparing Rothenberg’s late painting Pianist Playing Schubert with the composer’s late piano Sonata in B-flat major. For me, there is no doubt that this is the piece being played in her painting. In the painting, the piano that I admired has also vanished, leaving us face to face with the pianist holding an impossible pose. This is not just one of Susan’s many wonderful paintings—it’s also one of the most surprising moments in art."

Read the full tribute below.

Richard Long in ARTnews

28 May 2020
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Phyllis Tuchman looks at Richard Long's history of walking and speaks with the artist about his concurrent exhibitions at Sperone Westwater and Lisson Gallery.

The Met Museum's Tribute to Susan Rothenberg

22 May 2020
A vivid orange abstract painting, with gray representing the dry creek bed and black abstract crows...

In a tribute to Susan Rothenberg, curator Ian Alteveer shared a few words on her work and legacy. 


"I yearn to stand in front of Rothenberg's larger than life vista,  [Galisteo Creek, 1992], to revel in its flurry of unmistakable brushstrokes and vibrant color. Instead, I hold it close in my mind's eye—dreaming of that distant landscape and the remarkable painter who used to trek across it, viewing it perhaps with some trepidation, but certain in the knowledge that this strange terrain held in it the possibility to keep painting alive, sumptuous, and always present.”


Read the full tribute below.

Susan Rothenberg in The New York Times

21 May 2020
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Randy Kennedy penned Susan Rothenberg's obituary for The New York Times.


"Her first solo show in 1975, at the ragtag experimental SoHo art space 112 Greene Street, consisted of three large, scabrous canvases depicting the pared-down form of a horse cleaved by a vertical or horizontal line. The paintings arrived from so out of the blue that they shocked many who saw them... Though she had no special affection for horses or even horse paintings, she chose the form, she said, as something like a stand-in for the figure, in the way Andy Warhol’s soup cans served as symbols of pop culture, or Jasper Johns’s flags and targets represented what he called 'things the mind already knows.'”


Read the full article below.


Susan Rothenberg in The New Yorker

20 May 2020
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In the New Yorker’s tribute to Susan Rothenberg, Peter Schjeldahl wrote, “In an era preoccupied with what to do in art and how to do it, Rothenberg addressed and answered a rarer question: Why? She palpably made the pictures not only because she could but because she had to. The historic upshot was a rebirth of Expressionism, with kinetic force and unmistakable authenticity.”

Read the full article below.

Susan Rothenberg, 1945-2020

19 May 2020
portrait of Susan Rothenberg in her studio

It is with sadness that we announce the passing of artist Susan Rothenberg.


“Since 1987, I have been privileged to show Susan Rothenberg’s work and to experience close up her passion for and commitment to making art. As a pioneer, she extended the boundaries of painting—especially for other women artists,” says Angela Westwater, founding partner of Sperone Westwater.


Rothenberg rose to prominence in 1975 with her first solo exhibition at alternative art space 112 Greene Street. Consisting of three large-scale paintings of horses, it was heralded for introducing imagery into minimalist abstraction and bringing a new sensitivity to figuration. A group of her iconic horse paintings was included in “New Image Painting” at the Whitney in 1978, followed by “Zeitgeist” at the Martin-Gropius-Bau in Berlin in 1982, where she was the only woman included in a group of 45 artists.


Though often associated with this series of work, Rothenberg only painted horses for a short time in her career, and through the 1980s quickly moved on to explore other subjects, including heads, hands and other fragments of the human form, which morphed into a series of figures in motion–dancers, vaulters, spinners and jugglers. Rothenberg lived and worked in New York for nearly 20 years until 1990 when she moved to New Mexico with her husband Bruce Nauman. In this new setting, Rothenberg drew imagery from her daily life and physical surroundings in the New Mexico desert. Here she continued to draw upon her longtime ability to challenge and expand painterly conventions in her distinctive way of organizing pictorial space and her exploration of light, color, form and movement.


On the occasion of her exhibition at Sperone Westwater this past January, Alfred Mac Adam wrote in The Brooklyn Rail: “The only thing we can ask of this great artist is that she never stop working and never abandon the commitment to radical ambiguity that fuels our own creative and imaginative responses to her images.”


Photo: Susan Rothenberg, Photographed By Jason Schmidt.

Susan Rothenberg in ARTnews

19 May 2020
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ARTnews honors the life and work of Susan Rothenberg. 


Alex Greenberger wrote, "Rothenberg’s paintings are spare and stark—frequently understated in their color palette and simple in their form. But through even the vague suggestion of figures, Rothenberg was able to create memorable images that tease the brain and tickle the eye."


Guillermo Kuitca in the Brooklyn Rail

May 2020
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Raphael Rubinstein interviews Guillermo Kuitca about his recent "Family Idiot" paintings, the shifting reception of Latin American art in the US, and his curatorial collaborations with the Cartier Foundation. 

Read the full article below. 

Angela Westwater in Crain's New York Business

29 April 2020
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Angela Westwater is quoted in Crain's New York Business over Sperone Westwater's partnership with Sotheby's in their new digital market place, The Sotheby's Gallery Network.


Download the PDF below. 

Sperone Westwater in Artnet News

28 April 2020
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Sperone Westwater has proudly partnered with Sotheby's and seven other galleries in their brand new digital market place, The Sotheby's Gallery Network.


Read the full article below. 

Sperone Westwater in Design Milk

28 April 2020
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Richard Long's MUDDY HEAVEN was chosen by Design Milk as one of the top 3 shows in New York to view online. 


"You can jump between floors and move through each room. That massive “Muddy Heaven” – with its six parallel bands meant to reference the Chinese I Ching hexagram for heaven… looks particularly great from the 2nd floor balcony."


Read the full article below. 

Sperone Westwater in The Observer

28 April 2020
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The Observer covers Sperone Westwater's new partnership with Sotheby's on their new digital selling platform, the Sotheby's Digital Market Place. 


Read the full article below.

Sperone Westwater in ARTnews

28 April 2020
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ARTnews covers Sperone Westwater's role as a partner gallery in Sotheby's new digital market place, The Sotheby's Gallery Network.

Tom Sachs in The New Yorker

27 April 2020
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Tom Sachs impliments NASA's I.S.R.U technique not only to enage with his instagram followers but also to solve problems in his everyday life.


Read the full feature below. 

Wim Delvoye in The Guardian

21 April 2020
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The Guardian highlights one of Wim Delvoye's most creative works, a man named Tim who served as his human canvas. Three times a year, Tim goes to sit in galleries to display the work that was done in tattoo ink on his back. Even during this pandemic, even though the galleries are closed, Tim is still showing up to sit on display. 


Read the full story below. 

Alexis Rockman, Guillermo Kuitca & Emil Lukas in ARTnews

16 April 2020
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Alexis Rockman, Guillermo Kuitca and Emil Lukas were featured as two contemporary artists who have used this time in quaretine to be prolifically creative and produce new work. 


"Some poignantly expressed the existential fear and anxiety that have become a near-universal emotional state, while others found beauty in nature, joy in maintaining connection at a distance or humanity in the simple but profound act of creating."


See their full feature and new works below.

Tom Sachs in GQ

15 April 2020
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Tom Sachs shares his experience in quarantine and his 7 rules to live a creative lifestyle.


Read the full article below. 

Angela Westwater in Christie's Magazine

April 2020
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Co-founder Angela Westwater was profiled in the April issue of Christie's Magazine on the occasion of Sperone Westwater's 45th anniversary. 

Richard Long in The Brooklyn Rail

7 April 2020
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Robert C. Morgan of The Brooklyn Rail, reviews Richard Long's beautiful installations and highlights his unqiue practice that has delighted and inspired us for decades. 


"It is insightfully ironic that his two concurrent, large-scale, and extraordinary installations at Sperone Westwater and Lisson Gallery have been made inaccessible to the public at the time of this writing due to the unfortunate pandemic that has reshaped our living reality. As events have unfolded since I saw the installations, it has occurred to me that Richard Long is an artist whose relationship to nature is largely about healing, which involves opening the mind in relation to the body. "


Read the Full Article Below.

Susan Rothenberg in The Art Section

18 March 2020
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Nicolette Reim reviews Susan Rothenberg's recent exhibition for The Art Section.“Her most recent show at Sperone Westwater had, as usual, many surprises…. On a large, piano-shaped canvas, Pianist Playing Schubert seems constructed of parts trying to find their place. The musician’s face, in Goya darkness, is difficult to comprehend. Music has evaporated.”

Angela Westwater in Town & Country

16 March 2020
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Angela Westwater is featured among 8 creatives in her, "power salon", Sperone Westwater's library, that doubles for work and play as she describes.  


Read the full feature below. 

Susan Rothenberg in The Free Press

3 March 2020
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Alan Crichton reviews Susan's Rothenberg's twelfth solo show at the gallery, "At Sperone Westwater on Bowery, Susan Rothenberg’s powerful paintings hold court on two floors. Upstairs, a large grisaille tree gains its authority from the bold strokes of paint that allow the painting to be finished while remaining dynamically in process. This conflict, held in suspension, generates enormous energy." 


Read the full article below

Richard Long in Artnet News

3 March 2020
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Richard Long, MUDDY HEAVEN, has been chosen as one of the most important shows opening in New York this week. 


"Richard Long is getting the full New York gallery treatment with two concurrent shows opening this week. The Turner Prize-winning artist is best known for his performative Land art works, which he enacts long, solitary journeys around the world, immersing himself in the land and creating works with local materials."


Read the full feature below 

John Giorno in Artforum

18 February 2020
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Laura Hoptman reflects on the incredible and storied life of John Giorno. 


"John was a consummate and unforgettable performer, and a legendary reader of his own work who, with protean breath control and physical stamina, could recite his poems from memory no matter the length. (His mnemonic feats were, by his account, made possible thanks to meditation, which he practiced four hours daily for more than forty years.) John read not only with his voice and his distinct Noo Yawk inflection, but also with his entire body, having developed a repertoire of gestures that had a distinctly punk-rock energy. He electrified his audiences, bringing them to their feet even at the sleepiest of gatherings."


Read the full article below. 

Richard Long in Artnet News

18 February 2020
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Javier Pes, discussed Richard Long's return to Mexico with his exhibtion "Orizaba to Urique River Deep Mountain High".  in Mexico City.


"The veteran British sculptor, whose extraordinary interventions into the natural and built environment take him to all points of the globe, has materialized in in the suburbs of Mexico City to create four massive works at Barragán’s oft-Instagrammed stable yard and home. Long has taken the commission in his rangy stride, unfazed by the pressure or baggage that intervening in such a famous spot might present. In fact, Long had never heard of the architect—a legendary figure in architectural circles—or seen images of the famous building before accepting the gig. "

Tom Sachs in ARTnews

11 February 2020
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Writer, Annie Armstrong, visits Tom Sachs' unqiue Rockaway Beach home as she delves into his inspiration for his upcoming film about surfing, Ritual. 


"The beach house that serves as its setting is a sort of Tom Sachs sculpture—an abode-as-artwork in the tradition of Kurt Schwitters’s Merzbau. The exterior is tiled with corrugated steel slats, fishing nets hang over the front from an observation deck, and the porch floorboards are made from old blue New York Department of Transportation barricades. Inside, storage places for nearly everything are labeled in Sachs’s signature scrawl: “spoons,” “paper towels,” “mugs,” “anal barbell” (the nature of that last one was unclear). A wall full of favored sustenance—cans of Heinz Baked Beans—bears teal labels that match the color of a Makita drill mounted over the kitchen sink." 


Read the full article below. 



Susan Rothenberg in the Brooklyn Rail

5 February 2020
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Contributor, Alfred MacAdam, reviews Susan Rothenberg's twelfth solo show in gallery, "Susan Rothenberg has been showing in New York since 1975, when she displayed three large paintings of horses—traditional images of unrestrained passion. She has worked with Sperone Westwater for many years, but despite her longevity she remains a parsimonious artist, and has produced relatively few works over her long career. The only thing we can ask of this great artist is that she never stop working and never abandon the commitment to radical ambiguity that fuels our own creative and imaginative responses to her images."


Read the full article below

David Lynch in Whitehot Magazine

19 December 2019
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Daniel Maidman of Whitehot Magazine reviews, David Lynch, "Squeaky Flies in the Mud".


"The giant, mixed-media paintings (oil paint + x, it looks like, x being all sorts of cloth and teeth and whatnot), are dynamite. Again, Lynch’s narratives take place in a zone of psychosexual drama bubbling with threats, perverse desires, and sudden revelations."


Read the full article below. 

David Lynch in The Brooklyn Rail

12 December 2019
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Artistic Director and Publisher of The Brooklyn Rail sits down in conversation with David Lynch. 


Read the full length interview below. 

David Lynch in Artnet News

5 December 2019
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David Lynch's work ,Tree at Night (2019), was chosen by Artnet News editor-in-chief, Andrew Goldstein, as one of the 6 Best Best Art Works at this year's edition of Art Basel Miami Beach. 

John Giorno in ArtForum

4 December 2019
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Miz Cracker visits John Giorno


"On September 17, Miz Cracker visited the celebrated poet and artist John Giorno (1936–2019) in his storied home on the Bowery to discuss Buddhism, inspiration, and his exhibition at Sperone Westwater Gallery."

David Lynch in HYPEBEAST

4 December 2019

Garbielle Leung reviews David Lynch, "Squeaky Flies in the Mud" and divulges into how his artworks along with his films create a unique universe that could only be engendered from the mind of Lynch himself. 


"Like his films, the co-creator of Twin Peaks portrays his scenes with surrealist undertones and an air of mystery, creating a divide between the body and the world it inhabits. “It’s gray and murky and it’s a cloudy kind of reality, but it’s one that, in many respects, I think also reflects humor,” explains Angela Westwater, co-founder of Sperone Westwater. “And I think there’s ultimately a kind of empathy in his work, particularly in the art from the studio.”


Read the full article below 


2 December 2019
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Roman Kalinovski celebrates the ambiguity in the mixed media works that can only be attributed to the ever mysterious mind of David Lynch. A creativity that has kept his fans engaged for decades. 


"Such ambiguity is more celebrated in the fine art world, where artists are encouraged to maintain uncertainty around their work or be accused of being too illustrative. Viewers are not given any obvious keys to unlock Lynch’s work, and if there is any greater meaning for him, it’s inaccessible to anyone else. This mystery is what keeps his work engaging, and why so many fans turned out to see the show and attempted to meet him."

David Lynch in Interview Magazine

20 November 2019
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Conor Williams describes his "Lynchian" visit to Sperone Westwater to view the characteristically dark and gruesome work that has defined the ouevre of David Lynch's work for decades. 


"...You can head to Sperone Westwater Gallery on the Bowery and take in Squeaky Flies in the Mud, an exhibition of recent and brand new works by the maestro himself. The show consists mainly of his paintings and drawings, murky, muddy visions realized from worlds both real and imagined, although alongside them lie several lamps and a prototype for a so-called “lollipop chair.” On my way to the gallery, as I reluctantly sipped an unfortunately foul cup of coffee, a cold, gentle rain pushed down onto the street. A gallery assistant stepped out to greet me through a hidden door in the face of the building, materializing in the mist. It was…well, Lynchian."


Read the full article below. 

David Lynch in Artnet News

20 November 2019
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Caroline Elbaor explores how David Lynch how David Lynch has been a painter since the inception of his artistic career. His most recent show, Sqeaky Flies in the Mud is a collection of multimedia works that explore the breadth of his inspiration and talent. 


"The show’s title, “Squeaky Flies in the Mud,” is taken from one of the mixed-media paintings on view, and reveals insight into Lynch’s famously mysterious psyche. According to Angela Westwater, the work references “the organic phenomenon dating back to his childhood in Montana and Idaho,” where Lynch’s father ran the Boise National Experiment Forest, and where the artist remembers planting 500 trees alongside his father as a young Boy Scout."


Read the full article below. 

Jitish Kallat in Times Now News

19 November 2019
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Akrita Reyar interviews artist, Jitish Kallat, about his cotribution to India's pavillion at the Venice Biennale through his installation, Covering Letter


"Covering Letter links up to a part of my thinking where the past becomes like a resource for us to think about the present. There is a body of work preceding Covering Letter called Public Notice, which is a trilogy of works realised over a decade. In each of these works, a historical utterance from the past becomes a sort of insight to rethink where we are today. So, Covering Letter really came out of this desire to revisit this rather small, brief and yet momentous letter written just five weeks before the onset of the Second World War. It was dispatched by one of the greatest proponents of peace to one of the most brutal perpetrators of violence, the two cohabiting the planet at the same moment in time."


Read the full interview below. 

David Lynch in Town & Country

13 November 2019
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Adam Rathe interviews, David Lynch, on his return to painting after a successful career in cinema, and dives deep into his first exhibition in New York in several years. 


"What’s your practice like? Are you someone who paints every day?"


"When I'm into painting, I'm into that pretty much exclusively, but sometimes I don't have the opportunity to paint. So, when I get the opportunity it always takes me some time to get back into it—and that's a very frustrating time. I want to sink back into it, and it takes time. Then the ideas start flowing and I want to stay in there, but then it comes to an end for one reason or another."


Read the full interview below.

David Lynch in Artsy

8 November 2019
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Alina Cohen interviews David Lynch on the narratives that have defined his multimedia art practice for decades. 


"When I spoke to Lynch in the upstairs library at Sperone Westwater, I hoped for more clarity on his Billy character in the recent paintings. He sat across the table from me, sipping a fresh cup of coffee, with cigarette butts stubbed out in a small ramekin in front of him. A pleasant, smoky haze filled the room. “Billy can be different things,” Lynch told me, his sky blue eyes aiming at the wood paneling behind me. “In one thing, he can be one way, and you’d feel that. In another, Billy can be quite a bit different, and you’d feel that in the painting.” He met my request for further explanation with even more mystery. “Well, there’s a lot of people named Billy,” he said, “but they’re not all the same person. You know what I mean?”


Read the full interview below


8 November 2019
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In an interview with Nathan Taylor Pemberton, Tom Sachs reflects on his show Timeline at the Schauwerk Sindelfingen and the creative process that can only take place in his Soho Studio. 


"The studio itself is a permanent collection of Sachs’ life – a vast inventory of art supplies, shop tools for every industrial need, handwritten labels (on every surface), and a spectrum of works-in-progress. It is a shrine to functionality, the most inviting mechanics shop you’ll ever visit. Every room is stocked with a telephone-book-sized McMaster-Carr parts catalogue, even the bathroom. When I first arrive, though, the artist is busy adding the final touches to a painting of Krusty the Clown while Future’s Purple Reign plays on the stereo."


Read the full interview below. 

David Lynch in Vogue

8 November 2019
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Grace Edquist interviews, David Lynch, on not only his return to paiting, but the expansion of his practice into several different mediums that are on display in his exhibtion, Squeaky Flies in t\he Mud. 


"The show at Sperone Westwater highlights this texture, pairing his large-scale mixed media with smaller watercolors and anthropomorphic lamp sculptures (which do indeed work). These are not pieces one can give a passing glance before moving on. Just as his films feel like their own universe, so too does his art work. There’s a whole story going on in each piece—“I call them small stories,” Lynch says back at the gallery. “To me, it’s a whole kind of world going on in the things.”


Read the full interview below. 

David Lynch in WIDEWALLS

28 October 2019

Balasz Takac dives into the the surreal and experimental works of David Lynch as he prepares for his first exhibtion with the gallery, Squeaky Flies in the Mud. 


"By combing the avant-garde legacy of Surrealism and the experimental patterns of the post-war generation of the mentioned experimental filmmakers, with his own eerie Imaginarium Lynch constructed a distinct aesthetic full of suspense, freight, passion, and gore. Alongside the successful career of a filmmaker, he also acts as a visual artist known for equally strange and in some cases obscene works.


The upcoming exhibition at Sperone Westwater will present Lynch’s recent works (paintings, works on paper, watercolors, lamp sculptures, and furniture), the first at this gallery, and will once again underline his domains within the visual arts."


Read the full article below. 

David Lynch in the Wall Street Journal

24 October 2019
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Laura Nielson interviews artist, David Lynch on his upcoming exhibition Squeaky Flies in the Mud, and his foray into a multiverse of mediums. 


"His exhibition of paintings, Squeaky Flies in the Mud, opens at the Sperone Westwater gallery in New York on November 1. Featuring an eclectic collection of 30 mostly new works, the show offers paintings rich with dimension and texture, watercolors, sculptural lamps and more. From his home in L.A., Lynch spoke to WSJ. about his theories of painting and what he hopes to try his hand at next." 


Read the full interview below.

John Giorno in the Brooklyn Rail

24 October 2019
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Robert C. Morgan reflects on his visit to John Giorno's last show, DO THE UNDONE, before his passing. 


"Giorno’s taste was ecumenical. Whether dealing with the playwright Beckett, the performance artist Laurie Anderson, the “stargazing” filmmaker Andy Warhol, or the beat poet Allen Ginsberg, nothing could impede his interest and appreciation for their work. Giorno’s own practice was equally diverse. He worked assiduously in many domains—poetry, music, theater, printmaking, painting, film, sound installation, and sculpture—and collaborated with artists working in just as many disciplines. His work was contingent on both his passion and his precision, both qualities that are made immensely clear by the works on view in this current exhibition."


Read the full article below. 

John Giorno in the Guardian

15 October 2019
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Guardian Writer, Oliver Basciano, eulogizes John Giorno. 

John Giorno in ARTnews

14 October 2019
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ARTnews honors the life and work of John Giorno. 

John Giorno in the New York Times

13 October 2019
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The New York Times pays tribute to artist, poet and New York legend, John Giorno. 

John Giorno, 1936-2019

12 October 2019
John Giorno at his studio in 2018

It is with sadness that we announce the passing of John Giorno whose legendary influence as a poet stems from the expansive and multidisciplinary nature of his work. On 5 September, Sperone Westwater opened its first show of work by Giorno, including new text paintings, watercolors, and for the first time in the United States, bluestone sculptures carved with poetic phrases.

With a career spanning over fifty years, Giorno’s practice has grown beyond poetry to encompass film, painting, sound installation and sculpture. An early pioneer of the recorded word, Giorno is best known for his interactive telephone work Dial-A-Poem, first presented in 1968, and included prominently in Kynaston McShine’s watershed exhibition “Information” at The Museum of Modern Art in 1970. Giorno elaborated: “Using the telephone as a new media, I wanted to expand our conception of art and expose poetry to a public who would not otherwise be responsive to it. Also, much poetry is meant to be heard, not merely read.”

Speaking about Giorno and his legacy, Angela Westwater, Founding Partner of Sperone Westwater in 1975, reflected, “It has been a privilege and a pleasure to work with John. I first experienced Dial-A-Poem in the ‘Information’ show at MoMA, so working closely with him for our exhibition has been rewarding beyond expectation. When installing his last sculpture, NOW AT THE DAWN OF MY LIFE, John explained to me that he wanted the space to be meditative and ruminative, but not somber. I think of this sculpture as an ode to his boundless creativity and zest for life.”

Thank you, John, for sharing your groundbreaking art, your captivating character and your dreams for the future.

Photo: John Giorno in his studio, 2018. Photo by Marco Anelli.

John Giorno in ARTnews

12 October 2019
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Andrew Russeth eulogizes John Giorno. 

Alexis Rockman in Minnesota Daily

11 October 2019
Minnesota Daily

Norah Kleven writes on "Alexis Rockman: The Great Lakes Cycle" that has made its debut at the Weisman Art Museum in Minnesota. 

"New-York based artist Alexis Rockman’s murals offer a historically accurate view of the past of the Great Lakes as well as a cautionary, apocalyptic view of the future of the lakes — if humans don’t take action now. The detailed and crisp paintings are the result of more than four years of meticulous research."


Read the full article below. 

David Lynch in Observer

9 October 2019
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Helen Holmes highlights, David Lynch, filmmaker and mulitmedia artist who will be exhibiting new works at Sperone Westwater this November. 


"David Lynch didn’t become one of the most influential and beloved film directors alive by creating restrictions for himself, so it stands to reason that Lynch has cultivated a wide-ranging and consistent artistic practice outside of the movies. In fact, diehard fans probably already know that Lynch actually first trained as a painter at the Boston Museum School and the Pennsylvania Academy of the Fine Arts, and that he has participated in a number of ambient music projects over the years. Earlier in 2019, Bonnefanten Museum in the Netherlands hosted a retrospective of Lynch’s visual art entitled “Someone Is in My House,” and later this fall in New York City, Sperone Westwater gallery will unveil a show devoted to new work by Lynch that will run from November 1 to December 21."


Read the full article below. 

William Wegman in the Guardian

5 October 2019
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Aaron Hicklin gets the opportunity to visit William Wegman at his Maine retreat, and dives deep into the special relationship between William and his Weimaraner muses. 


"We are in a large sunlit room in Maine, so far north that we are practically in Canada. Wegman has been giving me a grand tour of his lakeside retreat, a converted hotel from 1889 and an Aladdin’s cave of props and costumes that collectively make for an illustrated timeline of his long career. Below us, a lake sparkles silver through the trees. Two dogs – Flo and Topper – occupy a sofa, settling into poses that demonstrate the elegant form and posture that makes them such camera-loving subjects. Aged eight and seven, they are the latest in a line of Weimaraners that have fixed Wegman in the public imagination as dog whisperer supreme. As he points out, “They like to be tall, which is why it’s easy to work with them.” There’s often something a little discombobulating about them, especially when draped in full-length gowns or suits. They have canine features, but human affectations, like mythological creatures that exist in dreams."


Read the full article below. 

John Giorno in Artylst

28 September 2019
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Ilka Scobie highlights John Giorno's iconic presence on the Bowery for over the past 50 years, while also analyzing the poet's transition from the spoken word into the diverse body of work that he has created for his fist show in the gallery, "Do the Undone."


"'Do the Undone'  his first show with  Sperone Westwater, expands his trajectory of using words from his poems in silkscreen and watercolors. The latest text silkscreens feature his epigrams on large scale varied rainbow backgrounds. A practicing Tibetan Buddhist, Giorno merges compassionate philosophy with a post-punk sensibility. Thus, phrases like “Life Is a Killer’ resounds from the poetic to the profane. The large striated rainbow pieces, acrylic on canvas, are sharp, concise and always transgressive."


Read the full article below. 

John Giorno in Office Magazine

26 September 2019
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Savannah Whitmer features poet turned artist John Giorno while raving about his interesection of poetry and visual art. 


"Like his poetry, these pop paintings blast curt phrases and fragments like NOW AT THE DAWN OF MY LIFE and DO THE UNDONE. Primary statements cut to the heart of everyday imperatives and romantic sensibilities, and texts like LEAVE AS IT IS and GOD IS MAN MADE play with hazy spiritual contours brought to life against the artist’s largest rainbow canvases and stone sculptures."


Read the full feature below. 

Tom Sachs in HYPEBEAST

24 September 2019
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"The SCHAUWERK Sindelfingen art museum in Germany recently launched a major retrospective on acclaimed American artist, Tom Sachs. Entitled “Timeline,” the sprawling presentation signals Sachs’ first monumental presentation in the country for over 15 years. A number of large-scale sculptures and bricolage objects are displayed throughout the exhibition rooms of the German institute that chronicle the artist’s decades-long career as a contemporary artist."


Read the full article below. 

Helmut Lang in ARTnews

19 September 2019
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Helmut Lang is interviwed by Annie Armstong as they discuss his ehxibtion of scupltures titled, "63", that recently opened at galley Von Ammon Co. in Washington D.C. The pair discuss his transition from fashion to fine art, sources of inspiration, and his relationship with other leading contemporary artists. 


Read the full interview below. 

John Giorno in New York Magazine

16 September 2019
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John Giorno's solo exhibition DO THE UNDONE is featured in this week's Approval Matrix. 


See the full matrix below. 


John Giorno in Architectural Digest

11 September 2019
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Katherine McGrath takes us inside John Giorno's incredible loft on the Bowery that he has called home for over 50 years. 


"'Everything in my life happens by accident,' says Giorno one morning this summer, folded into an armchair in his third-floor loft. 'It was 1962 and I had just come back from seven months in Morocco, and a friend living upstairs [artist, filmmaker, and author Wynn Chamberlain] was using this as a storage place, and then he didn’t need it anymore. So I said, ‘Well, can I rent it for a month?’ Giorno recalls with a laugh. 'And that month became my life.'"


Read the full article below.

Malcolm Morley in the Brooklyn Rail

10 September 2019
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Phong Bui analyzes the parallels between the work of Malcolm Morely and Richard Artschwager in their current exhibtions at the Hall Art Foundation. 


"Despite the differences in Morley’s and Artschwager’s stylistic and material approaches, their treatment of plastic representation, case by case explores issues of the phenomenology of perception, memory and displacement, birth and death, manmade and natural environments, the news, consumptive culture, and above all anxiety, destruction and violence. Each carved out a unique synthesis of image and object: both relentlessly and restlessly interrupted the conventions of art—be it subject matter or how an artwork should look according to its surrounding space and the times."


Read the full article below. 

John Giorno in the New York Times Style Magazine

4 September 2019
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T Magazine Editor, Kate Guadagnino, features John Giorno, as "what to see" in New York this week. 


"The 82-year-old is still making new work and has a solo show opening tomorrow at Sperone Westwater, which is just a block or so from his Bowery studio. I was most excited to learn that it will include an updated version of Giorno’s 1968 work “Dial-a-Poem,” which incorporates recordings of spoken-word recitations; a push-button phone has replaced the rotary one, and bonus poems read by John Ashbery, Helen Adam, Eileen Myles and more have been added. There are also large-scale silk-screened paintings, delicate watercolors and several 2,000-pound bluestone boulders etched with pithy lines from Giorno’s own poems " 


See the full feature below. 

Helmut Lang in the Purist

20 August 2019
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Ray Rogers interviews Helmut Lang about his sculpture, "twenty-two," at the LongHouse Reserve in East Hampton. 


"'twenty-two' was inspired by a grouping of fykes [long bag nets kept open by hoops], which appear all over the East End. They bring to mind a tribe or some kind of gathering or pagan ritual. They do also evoke the spinal column, and reference the scale of the human body, as I do in many of my works. It invites the viewer to consider the body less as a hierarchy of limbs and organs, but as a meshwork of equivalent and interchangeable elements. Examined closely, the kinetic work becomes distinctly biomorphic, changing infinitely depending on the variables of the surroundings."


Read the full interview below.

John Giorno in the New York Times

9 August 2019
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John Giorno, along with a host of other artists are included in Apple and the New Museum's new augmented reality collaboration.


"It was an ephemeral poem, with lines like “Catch the falling knife” visible for a few seconds through the portal of an iPhone pointed at the skyline above Central Park. This is a piece by the poet and performance artist John Giorno, called “Now at the Dawn of My Life,” that’s part of a new initiative by Apple called [AR]T — a curation of augmented reality art, featured in a series of guided walks."


Read the full article below.

John Giorno Joins Apple and the New Museum in New Augmented Reality Project

30 July 2019
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"New York’s New Museum has teamed up with the tech giant to create experiential augmented reality artworks by an all-star cast of talent including Nick Cave, Nathalie Djurberg and Hans Berg, Cao Fei, John Giorno, Carsten Höller, and Pipilotti Rist. Any customer can walk into an Apple store, take out their phone, and use an app to explore one of the works, or sign up for a tour to get the full experience with a loaner iPhone." 


Read the full article below.

Wim Delvoye in Sculpture

12 July 2019
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Paul Laster interviews Wim Delvoye about his recent exhibition at the Royal Musuems of Fine Arts of Belgium in Brussels. 


Read the full interview below.

William Wegman in the Rutland Herald

12 July 2019
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“William Wegman: Outside In,” an exhibition exploring over four decades of the artist’s fascination with the natural world, opened June 22 at Shelburne Museum’s Murphy Gallery in the Pizzagalli Center for Arts and Education. The exhibition includes drawings, paintings, portfolio pages from his handmade book “Field Guide to North America and to Other Regions,” and photographs of the Weimaraners, over 60 artworks in all."


Read the full article below. 

William Wegman in Seven Days

3 July 2019
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"Pamela Polston reviews "William Wegman: Outside In" at the Shelburne Museum."


"The show's title, 'Outside In,' refers not to bringing Weimaraners into the studio — though perhaps it could — but to Wegman's long-standing relationship with the natural world."


Read the full article below. 

Jitish Kallat in Artsy

10 May 2019
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Jitish Kallat's installation Covering Letter (2012) was included in Artsy's roundup of "The Venice Biennale’s 10 Best Pavilions in the Arsenale and Giardini." 


"The crown jewel of the pavilion is an installation, Covering Letter (2012), by the Mumbai-based artist Jitish Kallat. Walk into the pitch-black theater, and you’ll find a glowing stream of mist and a projection of words flowing through it. Look carefully, and you’ll see that it’s a letter, written five weeks before the start of World War II, from Gandhi to Adolf Hitler."

Andy Warhol in Office Magazine

9 May 2019
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John Martin Tilley interviewed Vincent Fremont, curator of Andy Warhol By Hand: Part II, Drawings 1950s – 1960s, for Office Magazine. 


"The historical drawing exhibitions have attempted to accomplish what this small, sincere show does effortlessly: to reveal an unseen side of an already beloved artist... Andy Warhol managed to keep it a secret that he drew at all, and his elegant, goofy caricatures feel like something Holly Golightly might have commissioned from a New Yorker cartoonist on a whim in the park, so crisply do these dulcet scribbles capture the fraught energy of the 60s. They reveal a delicate sense of line, an intuitive curiosity, and, most importantly, an impish sense of humor."


Read the full interview below.

Andy Warhol in Town & Country Magazine

25 April 2019
Andy Warhol in Town & Country Magazine

Andy Warhol By Hand: Part II, Drawings 1950s – 1960s was featured in Town & Country Magazine. 


"Done in materials from graphite to ballpoint pen to blotted-line, the subject matter is equally diverse: selections of nudes, portraits of showgirls, still lifes of food, flower studies, sketches of handbags and shoes. Indeed, Warhol also seems to have been particularly keen on feet."


Read the full article below.

Andy Warhol in Architectural Digest

24 April 2019
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Liddy Berman features Andy Warhol By Hand: Part Two , Drawings 1950s-1960s in Architectural Digest. 


"Vincent Fremont, who worked closely with Warhol for nearly two decades, draws out a lesser-known side of the artist. 'People don’t see these drawings very often. And he did drawings his entire life.' These early works reflect the diversity of Warhol’s interests: Shoes and handbags commingle with showgirls, religious icons, and an elegantly drawn array of feet."


Read the full article below. 

Andy Warhol in ARTnews

22 April 2019
Andy Warhol in ARTnews

Andy Warhol By Hand: Part II, Drawings 1950s – 1960s was featured in ARTnews' roundup of "9 Art Events in New York This Week." 


View the full feature below. 

Andy Warhol in Hypebeast

22 April 2019
Andy Warhol in Hypebeast

Keith Estiler features Andy Warhol By Hand: Part II, Drawings 1950s – 1960s in Hypebeast.


"The exhibition is curated by Warhol’s close friend Vincent Fremont who also co-founded the Andy Warhol Foundation. Fremont’s curation focuses on 121 drawings made between the 1950s and 1960s, including portraiture, still lifes, religious iconography, and sketches made by Warhol during his travels." 


Read the full article below. 

Tom Sachs in The Japan Times

16 April 2019
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The Japan Times featured Tom Sachs: Tea Ceremony, on view at Tokyo Opera City Art Gallery through 23 June 2019. 


"For this exhibition, Sachs uses his unique style in a different approach to the Japanese tea ceremony. In a show of respect for the tradition’s precise rituals, he explores the significance and potential of Japanese traditional culture in a globalized world. Sachs’ installations use everyday and contemporary materials and branding in a reconstruction of the ceremony, keeping only the matcha tea intact."


View the article below.

Katy Moran in The Brooklyn Rail

2 April 2019
Katy Moran in The Brooklyn Rail

The Brookyln Rail's Tom McGlynn reviews "Katy Moran: I want to live in the afternoon of that day," on view through 20 April 2019. 


"If one were tasked with coming up with a phrase that would roughly characterize Katy Moran's way of painting, then 'aggressive diffidence' might suit. In her case, however, it's a stance that projects a deeply powerful, perhaps even anarchic, energy. Another term that might be used to describe her approach to palette, gesture, surfaces, and supports might be 'subversive effacement.' Although Moran would appropriately be labeled an abstractionist, her imagery sometimes does allude to the pictorial, to landscape or still-life space specifically..."


Read the full review below. 

Kim Dingle in the Los Angeles Times

18 March 2019
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David Pagel reviews "Kim Dingle: I Will Be Your Server (The Lost Supper Paintings)" for the Los Angeles Times. The exhibition is on view at Susanne Vielmetter Los Angeles Projects through 13 April.


"The paint handling in Dingle’s oils on canvas is less reckless, slower and steadier. It makes for paintings that feel fleshier and less frenetic, as if they took place the morning after the party. Time doesn’t stand still in Dingle’s sensuous paintings so much as it whirlpools into an ever-tightening — and ever-expanding — vortex. Simultaneously inescapable and irresistible, her exhibition makes room for ambivalence."

Otto Piene in the Boston Globe

1 March 2019
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Cate McQuaid reviews "Fire and Light: Otto Piene in Groton 1983-2014" for the Boston Globe. The exhibition is on view at the Fitchburg Art Museum through 2 June 2019. 

Read the full piece below. 


Emil Lukas in Design Milk

19 February 2019
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Design Milk's David Behringer reviews Emil Lukas's solo exhibition, on view at Sperone Westwater through 23 February. 


"The joy of viewing the art of Emil Lukas is not just the electric visual buzz of color and pattern, it’s also imagining the unseen process and performance of the thousands of decisions that are held in each work. If you’re in New York, it’s well worth a visit to all 3 floors before the show closes this week." 


Read the full review below. 

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
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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
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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
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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
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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
The Best Art Books of 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
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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
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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
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"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.

Peter Halley in Artnet News

6 November 2018
Peter Halley in Artnet News

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
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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
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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
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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
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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
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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
page from the Museum of Modern Art members guide

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
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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.

Alexis Rockman on WDCB

25 June 2018
Alexis Rockman on WDCB

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

Malcolm Morley in ARTnews

2 June 2018
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Alex Greenberger eulogizes Malcolm Morley in ARTnews.

Malcolm Morley in Artforum

2 June 2018
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Artforum pays tribute to Malcolm Morley.

Malcolm Morley in the Telegraph

17 June 2018
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The Telegraph eulogizes Malcolm Morley.

Bruce Nauman in the New York Times

12 June 2018
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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
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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
painter Malcolm Morley standing in front of his painting entitled Thor

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
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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
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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
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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.

Bruce Nauman in ARTnews

16 March 2018
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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
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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
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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
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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
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Noah Becker reviews Kim Dingle's show "Painting Blindfolded", on view at Sperone Westwater through March 3.

Kim Dingle in Hyperallergic

30 January 2018
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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
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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.

Michael Landy in the New York Times

21 December 2017
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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
Michael Landy in New York Magazine

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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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 in T Magazine

25 August 2017
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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
Ali Banisadr in the Brooklyn Rail

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. 

Ali Banisadr in Art Asia Pacific

7 June 2017
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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.