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Rochelle Feinstein Joins Sperone Westwater

7 June 2019
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"New York’s Sperone Westwater now represents artist Rochelle Feinstein, whose work will be shown at the gallery’s Art Basel booth in Switzerland next week. The gallery is currently organizing a solo show of the artist’s work for 2020."

 

See 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
The New York Times logo

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
T Magazine logo

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.