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Kader Attia on 'Brilliant Ideas' | Episode 74

Kader Attia is an activist artist. His politically charged work addresses complex global issues in symbolic and thought provoking ways. Film, installation, sculpture, photography - Kader employs a diverse range of mediums to explore problems surrounding immigration and Western colonialism. 

Lehmann Maupin Brings OSGEMEOS to Hong Kong For the First Time!

Although the development of urban and street art throughout the world differed depending on the context, it was always affiliated with the groups of young people full of desire to express themselves creatively and to change their social setting. As time passed by and as the very movement grew, it spread to other media from sticker art, stencil graffiti, street installations and even sculpture.

OSGEMEOS Have Déjà Vu at Lehmann Maupin Hong Kong
Juxtapoz Magazine

There is a ton of great openings and showings in and around Art Basel week in Hong Kong right now, and one of the biggest highlights for us was the opening of OSGEMEOS's new solo show, Déjà Vu, which kicked off the week at Lehmann Maupin. The twin brothers Gustavo and Otavio Pandolfo's newest work featured a new series of paintings and a sound installation in their signature and unique style that has captured the attention of an international audience that exceeds their already legendary and famed graffiti career.

Do Ho Suh's Ethereal "Homes" Depict Isolation
Washington City Paper

Eerie, shimmering structures rendered in ghostly fabric are Do Ho Suh’s signature. Two versions are on view at the Smithsonian American Art Museum, the artist’s East Coast debut. His “Hubs” include hallways and corridors from homes in three places where he’s lived (in Seoul, Berlin, and New York), depicted at scale in walk-through installations built in translucent fabric. So fine are the details in Suh’s recreated living quarters that it’s almost possible to read the signature on the inspection notice hanging in the hallway of the artist’s New York home, even though it’s all just stitching. Suh’s “Specimens,” on the other hand, are features separated from the whole—all the valves, switches, locks, and sockets that make up the domestic infrastructure of our lives.


12th Gwangju Biennale Announces Participating Artists

On March 28, the Gwangju Biennale Foundation announced the full list of participating artists for their 12th edition, slated to open in September 2018. Under the title “Imagined Borders,” the biennale will showcase the works of 153 artists from 41 countries, spread across a series of seven independently curated thematic exhibitions. The 2018 edition will see the inclusion of the largest number of Asian artists to date, with more than half of the participants coming from the region.

21st Biennale of Sydney

Titled 'Superposition: Equilibrium & Engagement', the invitation is to consider accelerating global conflicts from opposing perspectives

Curator’s Picks: Venice Biennale Artistic Director Ralph Rugoff Selects 5 Standout Works at the Sydney Biennale
artnet News

Anya Gallaccio’s Beautiful Minds (2015–18)


“A wonderfully eccentric sculpture-making machine, a disconcertingly visceral cross between a soft ice cream dispenser and a turd factory.”

Sydney harbours a treasury of art
Financial Times

Among the industrial detritus of Cockatoo Island’s old Powerhouse, a big rusted object doesn’t look out of place. Then, slowly, the horror of what you’re looking at begins to dawn. Yukinori Yanagi, an artist who lives and works in Hiroshima, has created a full-size replica of the atomic bomb that obliterated the Japanese city on August 6, 1945, and suspended it from the rafters.

Robin Rhode
Film Screenings, March 3 & 10, 2018

On the occasion of his exhibition The Geometry of Colour, Lehmann Maupin will screen a selection of Robin Rhode's animations throughout the day on Saturday, March 3 and Saturday, March 10 at 536 West 22nd Street, New York. 


Each day will also feature a special screening of Rhode's Performa 15 commission, Arnold Schönberg's Erwartung - A Performance by Robin Rhode at 2 PM. Set in New York City’s Times Square, the intimate one-person opera is scaled to dramatic proportions within this most public of settings, giving a candid and global voice to the social and cultural trauma of South African racial politics and migrant labor; a woman’s anguish explodes on the streets of New York as an operatic monument to lamentation.


Tony Oursler and Pascal Rousseau in conversation
Centre Pompidou

Video et après
Monday, February 19, 2018
Cinema 1, Centre Pompidou
Paris, France


Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas

Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas brings together three generations of contemporary American artists, whose work challenges a Western painting tradition that underrepresents people of color. The vibrant and monumental paintings by these artists offer bold perspectives on Black culture and representation. Presented together for the first time, the figurative paintings of Colescott, Marshall, and Thomas are shaped by distinctive historic events, unique in style, and united in questioning the narratives of history through Black experience.

Cecilia Vicuña joins Lehmann Maupin

Lehmann Maupin is pleased to announce its representation of Cecilia Vicuña. The multidisciplinary Chilean artist’s work addresses critical issues of the modern era—ecological destruction, feminism, human rights, and cultural homogenization—through her genre-bending projects uniting poetry, performance, painting, and site-specific installations that span more than 40 years. Vicuña lives and works in New York and Chile. Vicuña’s inaugural exhibition with the gallery will open May 19 at 536 West 22nd Street. A joint project with the artist is planned for the Brooklyn Museum and the Museum of Fine Arts, Boston, in the spring and fall of 2018.

Alex Prager: The artist who straddles the real and the imagined
CNN Style

Alex Prager's work is meticulously staged. And yet, it captures the lucid moments of humanity found only in the most candid of photography.


THE BEARD PICTURES: Gilbert & George At Lehmann Maupin, New York

Mega! What an apt, often British exclamation to describe something that is really huge or really good. Gilbert & George’s THE BEARD PICTURES is both and more. In fact, “mega” is understatement for this 50th anniversary show of shows, which will be seen in six cities between now and March 2018.Mega! What an apt, often British exclamation to describe something that is really huge or really good. Gilbert & George’s THE BEARD PICTURES is both and more. In fact, “mega” is understatement for this 50th anniversary show of shows, which will be seen in six cities between now and March 2018.Mega! What an apt, often British exclamation to describe something that is really huge or really good. Gilbert & George’s THE BEARD PICTURES is both and more. In fact, “mega” is understatement for this 50th anniversary show of shows, which will be seen in six cities between now and March 2018.Mega! What an apt, often British exclamation to describe something that is really huge or really good. Gilbert & George’s THE BEARD PICTURES is both and more. In fact, “mega” is understatement for this 50th anniversary show of shows, which will be seen in six cities between now and March 2018.

Holiday Pop-Up Shop Supporting Puerto Rico

Lehmann Maupin, in partnership with Artspace, will host a pop-up holiday shop at its Chelsea gallery, featuring prints, unique works, artist books, posters, merchandise, and a selection of the gallery's anniversary editions. A portion of proceeds will benefit ConPRmetidos, an organization supporting those affected by Hurricane Maria in Puerto Rico. There will be an opening reception on December 14 from 6-8 PM, and the shop will be open from 10 AM-6 PM on December 15 and 16.


Lehmann Maupin announces new location in Seoul

Lehmann Maupin is pleased to announce the opening of a viewing office in Seoul, the gallery’s second space in Asia.


The viewing office will officially open on December 14, 2017, with an inaugural presentation of works by some of the gallery's artists.

Art in America

Calypso music, evoking carefree rum- and sun-soaked pleasures, and colorful hanging bottles of Tropical Fantasy soda lured passersby under the glowing yellow awning of the Happy Smilers bodega. This was the entryway to the first installation encountered by visitors to Nari Ward’s retrospective, “Sun Splashed,” at the Institute of Contemporary Art/Boston, the touring show’s last stop. 

Kader Attia Awarded Joan Miró Prize

Lehmann Maupin is pleased to share that Kader Attia has been awarded the sixth Joan Miró Prize. The prize, which is awarded by Fundació Joan Miró and Obra Social "la Caixa," is one of the most prestigious and generous contemporary art awards in the world.


Jessica Kreps Named Partner at Lehmann Maupin

Rachel Lehmann and David Maupin are pleased to announce that Jessica Kreps has been named Partner at Lehmann Maupin. Kreps joined the gallery in 2009 and became a Director in 2014. Prior to Lehmann Maupin, Kreps was a Sales Director at Two Palms gallery. Born in Montreal, and raised in New York, Kreps attended Nightingale-Bamford School, and graduated with a BA in Art History (Highest Honors) from Emory University in Atlanta. In addition to her work in sales, Kreps has also served as an artist liaison at Lehmann Maupin for Kader Attia and Shirazeh Houshiary. She speaks fluent French and is currently a member of the Artist’s Council at the Whitney Museum of American Art​ ​in​ ​New​ ​York.

Gilbert & George: East Enders
The Art Newspaper

In the 50 years since the British artists Gilbert & George met as students at St Martin’s School of Art and moved to Spitalfields, the East London neighbourhood has seen Jewish bagel shops giving way to Bangladeshi curry houses, which are now being replaced by trendy cafés. The changing face of Spitalfields has inspired the duo’s most recent series, the Beard Pictures, which refer to everything from Santa Claus to Shoreditch hipsters and will debut this autumn at White Cube in London, New York’s Lehmann Maupin and Galerie Thaddaeus Ropac in Paris. We took this opportunity to let Gilbert & George show us around their stomping ground.

Gilbert & George to Launch London Foundation in 2019

Anny Shaw of the Art Newspaper reports that British art duo Gilbert & George are preparing to launch a nonprofit foundation in London to exhibit their work and, if funding permits, the work of others. They are refurbishing an old brewery they purchased for about $6.6 million. The foundation is scheduled to open sometime in 2019.

The 15 New York Shows You Need to See This October

When is a beard more than just a beard? For the famed, inseparable British performance duo, facial hair gets conceptual in a series of large-scale works. Apparently, their interest was piqued by the hirsute young hipsters in their own London neighborhood. Here, Gilbert & George—clean-shaven in real life—reimagine themselves with psychedelic whiskers that turn into fences, monsters, and fall foliage.

‘The Painting’s Not Really on the Wall’: Mary Corse on 50 Years of Her Elusive, Seductive Art, and Shows in Los Angeles and New York

Mary Corse has never identified with Light and Space as a California movement. “I’m not a landscape painter,” she told me, as she has told interviewers before. “So if I were in New York I’d do the same thing.” Her work is not regional, in other words. She has also never liked being identified as a “woman artist,” she said. “So I didn’t do all-women shows. That didn’t help me either.” She’s not sure she likes being identified at all. “I don’t really identify even with my name,” she says. “I am not. People say, Are you Mary Corse? [And I say,] ‘Once in a while.’ ”


Three to See: New York

The Light and Space artist Mary Corse does not consider her work to be complete until it is experienced by a viewer—and a visit to her solo exhibition of recent work at Lehmann Maupin (until 7 October) shows why. The light that hits her large-scale, black-and-white striped canvases is a crucial part of the work. The white stripes have a silk sheen when viewed from a distance and the black ones, made of tiny acrylic squares that resemble sequins, twinkle as you move around. Textures only become clear up close and Corse uses the same reflective material that is used to make road markings. The exhibition also shows one historic work by Corse, Black Light Painting (1975), which uses the same materials as the new works to demonstrate the consistency of her style.

Book Signing: Gilbert & George, THE BEARD PICTURES
October 14, 2017 | 12-2 PM

On the occasion of Gilbert & George, THE BEARD PICTURES, opening at both of Lehmann Maupin's New York galleries on Thursday, October 12, the artists will be available to sign copies of the exhibition catalogue Saturday, October 14 from 12-2 PM at 536 West 22nd Street, New York.


THE BEARD PICTURES exemplifies Gilbert & George’s commitment to “Living Sculpture,” or an inseparable association between the world and their art practice. The pictures respond to the shifting demographics of our time, befitting the artists’ proclamation of “Art for All.”Three limited edition posters will also be available for sale. For more information and to purchase advanced copies, click here

Mural on 14th Street, New York

Brazilian artists OSGEMEOS have recently completed a large-scale mural spanning two walls in New York City, on 14th Street between 6th and 7th Avenues. Combining traditional, folkloric, and contemporary elements of Brazilian culture with graffiti, hip-hop, and international youth culture, the artists have created an expansive body of work that includes murals, paintings, sculpture, site-specific installations, and video. They use a symbolic visual language often inspired by their dreams that, as twins, they claim to share. For more information about OSGEMEOS, click here.


Photo: Martha Cooper

Gilbert & George take charge of their legacy
The Art Newspaper

"Art for all” is the motto behind Gilbert & George’s career, a belief that also defines how they approach their market. This autumn, to mark their 50th anniversary, the artists are unveiling 170 new Beard Pictures at their galleries in New York, Paris and London. Smaller satellite shows are planned for Brussels, Athens and Naples.


Performa 17 Spotlights New Experimental Cross-Boundary Works by African Artists and Writers

Johannesburg-based artist Nicholas Hlobo’s Performa 17 commission expands on an earlier performance installation, umBhovuzo: The Parable of the Sower (2016), an elegant and sensual work involving four men seated atop toweringly high chairs at equally high tables mounted with Singer sewing machines. Representing a cherished “altarpiece” of productivity and potential income in the makeshift squatter homes of apartheid-era townships, as well as the labor and repression symbolized by the American-manufactured sewing machine, the performers sew endless bolts of cotton and raw silk into long tails that pile up on the floor surrounding them. The meditative, durational piece is a striking exploration of domesticity and gender, and of the continuing effects of colonialism on the workforce of South African men and women.


Nari Ward and the Poetry of Meaning

Museum Magazine spoke to Ward the day after the opening celebrations for the Socrates Park project, and two days after the launch of his fourth solo exhibition at Lehmann Maupin—a double show titled TILL, LIT. A mid-career survey is also on show at the Institute of Contemporary Art in Boston until 4 September, and a recent commission of his shoelace rendering of the first three words of the United States Constitution (‘WE THE PEOPLE’) is on view at the New-York Historical Society on the Upper West Side.

Eleven Must-See Art Exhibitions in the US this September

Lehmann Maupin is presenting an exhibition of recent and significant historic work by Los Angeles-based artist Mary Corse who is best known for her minimalist, monochromatic black and white paintings. Returning to the materials used in the earlier series of Black Light Paintings, Corse is showing an epic 19-foot painting as well as an additional 10 new corresponding paintings.

Roberto Cuoghi “PERLA POLLINA, 1996–2016” at MADRE, Naples
Mousse Magazine

The accidental title of Roberto Cuoghi’s midcareer retrospective, which the press release attributes to “the erroneous effects of an auto-correct program,” invites various possible readings.

12 Habits of Highly Effective Artists, From Creative Exercise to Living in Airplane Mode

What makes some artists more successful than others? Talent, luck, and hard work certainly play a part, but there are other, subtler habits that many of the greats seem to have in common. We asked 11 artists about their work routines and the way they structure their lives to see how these everyday rituals, big and small, make them tick. Below, see the 12 habits that help these artists create their best work.


Creative Time Raises Flag by Nari Ward

The third flag in Creative Time’s “Pledge of Allegiance” series was raised today at the nonprofit’s headquarters on East 4th Street in Manhattan. Breathing Flag (2017), designed by artist Nari Ward, will remain up for the rest of the month, before being replaced by another artist’s flag.

Resistance Art to See in New York City
The New Yorker

Following are The New Yorker’s recent reviews from our Goings On About Town section of current shows in New York that find artists, fashion designers, activists, and documentarians working with the conviction that resistance is its own form of beauty.

Nari Ward’s Breathing Flag Raised at Creative Time

Nari Ward‘s Breathing Flag was raised at Creative Time‘s headquarters in New York.

Nari Ward Spotlights the Gap Between Poverty and Privilege

The title of Nari Ward’s exhibition, TILL, LIT, at Lehmann Maupin gallery is a pun that works in several valences, each devolving from how you read the two words. Reading “till” as a noun gets you the UK version of a cash register, but you can also read it as an abbreviation of “until.” “Lit” might mean illuminated, or, in the vernacular, popping — that is, fun and amazing, or intoxicated. Is the cash drawer having light thrown on it? Or will something (as yet unnamed) persist until it’s set on fire, or is primed with alcohol and drugs?


Shasha Tittmann Joins Lehmann Maupin as Director in Hong Kong

Lehmann Maupin is pleased to announce that Shasha Tittmann has joined the gallery as a director in Hong Kong. Tittmann, who brings years of experience and is fluent in Mandarin and English, will manage the Hong Kong gallery starting in September, and focus on working with collectors and institutions in Asia. She has held positions at Tang Contemporary Art, Hong Kong and Beijing; and Opera Gallery, Hong Kong. Tittmann earned a Bachelor of Arts in art history from McGill University in Montreal, Canada.


“I am thrilled to be joining Lehmann Maupin,” says Tittmann. “I am looking forward to working with a roster of talented artists I admire, and to further growing the gallery’s relations with artists, institutions, and collectors in Asia.”

Nari Ward
The New Yorker

In his new show, titled “Till, Lit,” the Jamaican-born, Harlem-based artist presents formally striking and politically charged sculptures made from surprising materials. The “till” of the title evokes both field labor and the reserves of a cash register. Compartments from the latter figure in a number of works here, as do delicate paper rectangles that are made from the excised edges of dollar bills. These shapes overlap in abstract compositions, such as the austere “Royal Alpha” and the shimmering “Providence Spirits (Silver),” which also incorporates cowrie shells (once valued as money). The legacy of slavery and its barbaric transactions suffuses the works on view. The powerful installation “Lit” uses buzzing floodlights and a concrete-submerged ladder to conflate antebellum slave patrolling with present-day police surveillance. The mixed-media work “Hanging Study” proposes a form of redress—it spells out the word “reparations.”

Not to be Missed: Our Recommendations for the rest of 2017

‘Lehmann Maupin is dedicating its autumn kick-off show to the California-based artist Mary Corse, who has been producing works associated with the Light and Space movement since the mid-1960s. She innovated a technique of mixing paint with tiny microspheres to achieve an illuminating effect, which creates an ever-changing sense of movement. I think they are absolutely captivating.’ 7 September to 7 October 2017.

Artists Gilbert & George in Budapest for exhibition opening
Budapest Business Journal

Scapegoating Pictures for Budapest, a major exhibition by the contemporary London artists Gilbert & George, gets its press preview and official opening on Friday, July 7, at the Ludwig Museum of Contemporary Art in Budapest.

Alex Prager

Alex Prager’s willingness to provide something for everyone makes her one of the most generous contemporary artists. She combines technical skill and compositional precision with the beautiful thematics of film noir or melodrama. Perhaps above all Prager uses photography and film to excavate the inner lives of individuals – some of whom we recognize, but most are anonymous faces in the crowd. Nowhere is this more potent than in Prager’s commission for Times Square’s Midnight Moment, in which her short film Applause plays every night at 11:57 PM during the month of June. A sea of people clap across the enormous electronic billboards, and one is filled with exhilaration and fear. Every time we get up in the morning and step outside, after all, we are performing for somebody – why not get the recognition we deserve? Or is there freedom in anonymity?

95 Horatio Street by Do Ho Suh Opens

95 Horatio Street, the sixth in a series of installations by the Whitney, debuted yesterday across from the museum.

Teresita Fernandez

To see Teresita Fernández’s installation, Overlook, one must book a tour of Olana, the house built by the preeminent Hudson River School landscape painter Frederic Edwin Church (1826–1900) in the last half of the nineteenth century. Perched atop a rise in a 250-acre landscape with sweeping views of the Hudson River, the Arabesque confection is filled to the brim with Chinese tiles, Indian woodwork, Middle Eastern carpets, Persian ceramics, Mexican sombreros and folk art, pre-Columbian artifacts, and old master and nineteenth-century paintings, all picked up during the painter’s trips to Europe, Latin America, and the Middle East or at dealers in New York City. Only after wending your way through this decor—a sort of architectural self-portrait of Church as intrepid artist-explorer and inveterate shopper—is Fernández’s quiet, elegant, and devastatingly effective intervention visible.

Review: multimedia artist Kader Attia takes the temper of the times at MCA
Sydney Morning Herald

If ever an artist were attuned to the temper of our times it is Kader Attia (b.1970). Following a successful showing in Documenta 13 in 2012, this French-Algerian creator of multimedia installations and videos has since become one of the most sought-after artists in the world.


Three to See: New York
The Art Newspaper

The New York-based artist Nari Ward’s solo exhibition (G.O.A.T., again, until 4 September) is at the waterfront Socrates Sculpture Park in Long Island City, Queens, with beautiful views of the Manhattan skyline. The show, which includes six new works made for the site, takes its name from the acronym for Greatest of All Time and also uses imagery of goats throughout. It is a bizarre and playful assortment of sculptures, some inspired by lawn ornaments, that nevertheless alludes to issues such as race politics. Works include a giant copper bell that looks like a billy goat’s testicles, cast concrete goats piled with things like fire hoses and even a 40 ft. long hobbyhorse—or, rather, hobbygoat—lying on the lawn.

Summer Hours beginning July 5

Lehmann Maupin's New York galleries will be closed from Saturday, July 1–Tuesday, July 4. We will reopen on Wednesday, July 5 with summer hours, Monday–Friday, 10 AM–6 PM, through September 5. Our Hong Kong gallery will remain open with regular hours, Tuesday–Friday, 10 AM–7 PM; Saturday, 11 AM-7 PM. 


Shifts In Aspiration
Surface Magazine

The glass beads that American artist Liza Lou has worked with since the 1990s have been deployed in incredible feats of personal discipline and attention to de­tail. Works such as Kitchen (1991-1996) rendered the room to scale and took the artist five years-working alone-to create. But the past decade has seen Lou's priorities shift beyond the seemingly contradictory aspirations of scale and minutiae to use her practice to support social change.

At Venice Biennale, Erwin Wurm Makes Sculpture ‘a Form of Action’
The New York Times

For the next five months, an orange freight truck will be standing on its head outside the Austrian Pavilion at the Venice Biennale. Visitors are invited to go up the stairs to a small enclosure at the top, where labels on all sides read: “Stand quiet and look out over the Mediterranean Sea.”


"On the Horizon" at PAMM

As the full moonlight danced in the water at Perez Art Museum Miami (PAMM), I considered the incredible night of art talks, laughs, great Latin music, and people I was blessed to experience. It still all feels surreal to have been present at an event that honors art and artists among insightful minds, that actually get the importance art has for society overall. The celebration and opening of “On the Horizon: Contemporary Cuban Art from the Jorge M. Perez Collection”at PAMM was a one of kind experience.

Ashley Bickerton: Direct, enigmatic, and in constant pursuit of profitable alienation

Boom! That’s how Ornamental Hysteria, Ashley Bickerton’s current exhibition at Damien Hirst’s Newport Street Gallery, opens – with  a box sporting an ominous red LED number-counter bolted to the wall.

Algerian-French artist Kader Attia’s work on show at Sydney’s MCA
The Australian

Algeria occupies an important place in the French mind, but its history and culture, despite its famous sons Camus and Derrida, remain fairly obscure to most of the English-speaking world. It is not nearly as well known as its western neighbour Morocco, or even Tunisia to the east, because it never developed a comparable tourist business or indeed allure. Also, for the past few decades civil war (1991-2002) and problems with Islamic militants — which began before the world in general had any idea of the scale of the menace — have made it unsafe for travellers to visit.

9 Artists to Watch in June

Currently on view at ICA Boston is the largest survey of the work of Nari Ward, a Jamaican-born artist who came up in New York City in the 1990s. Ward’s experimental use of found objects like shopping carts, soda, shoelaces, and fire escapes point to social and political issues like poverty, race, and consumer culture. A mix of debris and treasure, his pieces ask us to question how we’ve come to value the objects that surround us. To call Ward a rising star wouldn't be accurate—he was included in the 2006 Whitney Biennial, Documenta XI, the New Museum, Walker Art Center, and the MCA Detroit—but this exhibition is the most comprehensive survey to date.

Why Erwin Wurm is the Most Stylish Artist of 2017
Mr. Porter

For the past 20 years, the Austrian artist Mr Erwin Wurm has been creating what he calls “One Minute Sculptures” – temporary artworks created by members of the public by following a series of instructions within a gallery setting, using everyday objects that they find to hand. (“Sit on the pedestal… and think of Manzoni”; “Put the pedestal on your toes and be submissive for one minute”). This practice grew out of economic necessity. In the late 1980s, Mr Wurm worked with whatever materials he could find and, seeing as his studio was next to a secondhand clothes shop, developed a fascination with clothing: how it could be worn, stretched, folded and deformed; how it could be manipulated, according to a set of instructions. Combining this interest in everyday materials with a questioning of boundaries of sculpture, influenced by the likes of Mr Marcel Duchamp, Mr Joseph Beuys and Ms Marina Abramović, Mr Wurm hit upon the idea of “One Minute Sculptures” in 1997, and has continually returned to the format in the ensuing years, despite his initial doubts. “At the time I really doubted it and thought it was all nothing,” he tells super-curator Mr Hans-Ulrich Obrist in new book Erwin Wurm: One Minute Sculptures 1997–2017. “No one would like it, and no one would find it interesting.”

Venice Biennale: Whose Reflection Do You See?

Timing isn’t everything, but it’s a lot. If the bland, soft-power 2017 Venice Biennale, called “Viva Arte Viva,” had arrived two, or four, or six years ago, it might have passed muster, even made sense. But coming post-Brexit and post-Trump, it feels almost perversely out of sync with the political moment, and nowhere near strong enough to define a moment of its own.


Teresita Fernández: Fire (America)
The Brooklyn Rail

Fire portends calamity. It carries at its core the mission to obliterate all that is in its way. It is inherently destructive and regenerative, making it ultimately an oxymoron. Poets and novelists have sung the praises of fire as an annihilating force that fuels passionate, romantic love—one that symbolizes a rebirth of sorts. In Greek mythology, Hephaestus, the god of fire, married Aphrodite, the goddess of love. To a pyromaniac, watching a fire they have set is said to be akin to sexual release. For Native Americans, fire is quintessential for cleansing the earth in order to grow new crops; it is through the marriage of earth and fire that life is created.

Social Alchemist Nari Ward on Using Art to Rethink the Difference Between Money and Spirituality

Nari Ward has been having a hell of a year. The Jamaican-born artist just celebrated his first New York institutional solo show Nari Ward: G.O.A.T., again,a new series of outdoor sculptures at the Socrates Sculpture Park in Queens; installed a recent commission of his project We The People (2011) at the New York Historical Society on the Upper West Side; and sees his travelling survey, Nari Ward: Sun Splashed, move to the ICA in Boston, on view through September 4, 2017.


All that alone would be enough to keep the man busy, but lo and behold, the restless Ward has an upcoming solo exhibition at Lehmann Maupin opening next month, his fourth with the gallery. “TILL, LIT” will present new works by the artist, from sculpture to installation to mixed media on canvas.


Recently, artnet News went to visit Ward at his studio in Harlem to discuss this new body of work, his place in his community, and the material and spiritual transformations of his found objects.



Lehmann Maupin open Sunday, May 7th

On the occasion of Frieze New York 2017, Lehmann Maupin's Lower East Side location at 201 Chrystie Street will be open to the public this Sunday, May 7 from 11 AM-6 PM. Be sure to stop by the gallery to view Teresita Fernández's exhibition Fire (America), open through May 20, 2017.

Artist Walkthrough & Brunch: Teresita Fernández

Best known for her immersive installations and public projects that explore the various historical and psychological implications of the genre of landscape, Teresita Fernández’s most recent exhibition at Lehmann Maupin, Fire (America), debuts a 16-foot glazed ceramic wall panel depicting a nocturnal landscape engulfed in flames, as well as a new series of abstract landscapes made from burned paper. Fernández has also created an immersive, 100-foot panoramic drawing on site comprised of built-up, dimensional layers of solid charcoal applied directly to the gallery’s walls.


On the occasion of Frieze Week, the gallery will host a brunch as part of the Lower East Side Morning on Friday, May 5 from 10 AM to 12 PM. Fernández will give a walkthrough of her exhibition at 11AM.

Poetry Reading Hosted by Teresita Fernández

On Saturday, April 29th, 2 PM, Lehmann Maupin will host a reading featuring six poets whose work speaks to (or about) American identity and a sense of place: George Abraham, Safia Ehillo, Sonia Guinansaca, Jive Poetic, and Paul Tran. The poets will activate Teresita Fernandez's most recent glazed ceramic work from her Fire (America) series and an immersive, site-specific charcoal wall drawing, Charred Landscape (America). The series utilizes fire as a metaphor for violence in America and draws attention to the sophisticated technique of slash and burn used by indigenous people to shape and cultivate the land. This is contrary to the false colonial narrative that depicts the pre-colonized America as an untamed wilderness. Fernández's work offers a historical revision through the depiction of the landscape as a way to visualize erased, warped, and invisible narratives that are often omitted or obscured in our perception of what is America and who is American.

From a whisper to a scream
Lehmann Maupin, 201 Chrystie Street, New York

From May 25—August 25, 2017, Lehmann Maupin will present From a whisper to a scream, a group exhibition that examines the ways artists utilize the seemingly minimal application of form, color, and line to create work infused with social, political, and cultural meaning. The artists in this exhibition all draw from the visual vocabulary of Minimalism of the 1960s in their deliberate restriction of form and exploration of physical space, but do so as a method to expose historical inaccuracies and prejudice about religion, identity, and place. Through painting, sculpture, and video, these artists transform a typically self-referential genre into one that speaks as loudly as narrative imagery.

Fionna Flaherty appointed Director

Fionna Flaherty joined Lehmann Maupin in 2011. She previously worked as a Sales Associate and Associate Director at the gallery before being named Director in 2017. Flaherty works closely with photographers Catherine Opie and Alex Prager as their Artist Liaison. Prior to Lehmann Maupin, she spent two years at Spanierman Gallery. Flaherty received her BA from Bates College in Art And Visual Culture Criticism and History.

MMCA-TATE International Symposium
Lee Bul: Keynote Speaker

Lee Bul will participate as keynote speaker at Territories Disrupted: Asian Art after 1989, an international symposium co-organized by the National Museum of Modern and Contemporary Art, Korea (MMCA) and Tate Research Center: Asia. The symposium will consist of lectures and discussions placing the historical fall of the Berlin wall in a single line with the dynamic movements, exchange, and mutual organic influences that appeared in the contemporary art of the Northeast and Southeast Asia. The conference, moderated by Tate Senior Research Curator Sook-Kyung Lee, is open to the public, however advance registration is required. For more information and to register, click below.


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Billy Childish is far from stuck
The Telegraph

Tracey Emin once accused her former boyfriend, artist Billy Childish, of being "stuck, stuck, stuck" with figurative painting; hence the "stuckism" movement. But out in New York last week, Childish’s art was far from stuck, and sold, sold, sold at the Art Dealers Association of America fair through his dealer, Lehmann Maupin.


Fifteen paintings sold for prices between €25,000 to €45,000 to buyers from Turkey, China, Hong Kong, Korea, and the United States, where one was acquired by a trustee of the Cleveland Museum of Art.


Ashley Bickerton gets retrospective break from Damien Hirst
The Art Newspaper

Ashley Bickerton is to get his first major retrospective in the UK thanks to his friend and long-time collector Damien Hirst. The show of work by the Bali-based US artist, which is due to open in April at Hirst’s Newport Street Gallery in south London, follows numerous disappointments with other institutions. Bickerton tells us that five planned museum retrospectives have fallen through. “I am too eccentric; I didn’t pass muster with the boards,” he says. “The beautiful thing about Newport Street Gallery is that there’s only one person on the board.”


The New Yorker
Goings on About Town

The French-Algerian artist, who lives in Paris and Berlin, presents a labyrinth of office cubicles in the now terribly pertinent installation “Reason’s Oxymorons,” from 2015. Each compact unit is outfitted with a desk, a chair, and one of eighteen video works, for which the artist interviewed African and European researchers, theorists, and clinicians about mental health and healing in the context of neocolonialism, civil war, and mass displacement. (A floor plan identifies broad topics, such as “Exile,” “Genocide,” “Language,” and “The Magical Sciences.”) Attia’s cross-cultural experts are, by turns, enlightening and inscrutable, delivering both heartbreaking information and cold analysis about their refugee patients or ethnographic studies. Watching them while seated at a nondescript desk, you become a kind of case worker yourself, tasked with assimilating the acute emotional consequences of our cresting geopolitical crises.


Ten to see: New York

For those of us art workers who might wish to obscure our less-than-glamorous nine-to-fives, Kader Attia’s installation at Lehmann Maupin, Reason’s Oxymorons, creates a familiar dystopia. There’s a sea of cubicles, sure, but this corporate grey environment, with eighteen sets of desks, monitors, office chairs, and headphones cedes to deeper content, especially for those of us who yearn for sophisticated research-based practices. Attia offers us a video library of eighteen interviews conducted with psychiatrists, patients, and philosophers, who together make clear the trauma of colonialism and western hegemony on the personal and cultural psyche, as well as the ongoing path to wellbeing.

Catherine Opie, All-American Subversive
The New Yorker

Her photographs range from the marginal to the mainstream, capturing things that are invisible to the rest of us.

Kader Attia
The New York Times

The title piece of this tremendously absorbing show, “Reason’s Oxymorons,” is an installation of 18 video monitors in semiprivate cubicles. Furnished in black-and-gray corporate chic, the cubicles run the length of the gallery in three rows, and each monitor plays a separate group of thematically organized snippets from nearly 30 interviews Mr. Attia conducted with doctors, academics and healers, from Paris to Dakar.

Dallas Art Fair’s 2017 Lineup Signals Fair’s Art Scene Creds

Dallas in Texas is better known as a key location for collectible car auctions than it is for anything related to arts and culture. But that might be about to change as the city’s burgeoning art scene continues to grow and develop, further cementing and establishing Dallas as one of the most vibrant and potentially influential centres for art in the entire United States.

Why Artist Kader Attia Is Having an Art World Moment

According to the dictionary an oxymoron is a figure of speech in which seemingly contradictory terms are syntactically conjoined, like the words “alternative” and “facts,” often to ridiculous effect. The French-Algerian artist Kader Attia, has explored similarly strange juxtapositions in his latest multimedia exhibition at Lehmann Maupin, a gallery on the Lower East Side. In a video installation titled Reason’s Oxymorons, Attia presents eighteen interviews with a number of remarkably erudite men and women. Their insights, incongruously, are found inside a maze of soul-sucking cubicles.

​Beading Off: Artist Liza Lou Talks New Show at Lehmann Maupin

American artist Liza Lou, born in 1969, divides her time between Los Angeles and KwaZulu-Natal in South Africa. She is currently in Hong Kong promoting her first solo exhibition, ingxube, a series of six new works at Lehmann Maupin (until March 17). Lou’s relationship with South Africa - she established a studio of Zulu artisans in 2005 - has enabled her to develop her signature medium of glass beads by collectively producing intricate beaded canvases, sculptures and large-scale installations. Her work has shown in the world’s most prestigious galleries. The works at Lehmann are entirely comprised of wooden beads, which from distance, look more like paintings. #legend met Lou and shared a lively, informative chat.


Do Ho Suh: 500 Words

Do Ho Suh is an artist based between London, New York, and Seoul who is known for his intensive work with architecture’s experiential, mnemonic, and psychological dimensions, engagements that often take the form of full-scale fabric re-creations of the spaces in which he has lived. Here, he discusses rubbing/loving, 2016, a large-scale piece that began with a painstaking process of wrapping all of the surfaces of his former apartment with white paper—including walls and cabinets, light switches and door handles, as well as his house key in its lock. Suh then used colored pencils and pastels to create rubbings on the sheets, in a process that discloses and memorializes all of the home’s details. After documenting the entire process, Suh vacated the apartment and has placed all the paper fragments in storage while he explores the possibility of exhibiting the reassembled work.

Exclusive: Art Basel in Hong Kong’s First Kabinett Sector

Art Basel has announced the projects for the first Hong Kong edition of its popular Kabinett sector which offers galleries the opportunity to present carefully curated exhibitions within the booths. The Hong Kong debut of the Kabinett sector at Art Basel in Hong Kong 2017 will feature 19 projects from Asia, Europe, and the United States.


Here’s Who’s Showing at Art Basel Hong Kong’s Debut Kabinett Sector
New York Observer

The Kabinett sector, which brings mini curated shows to Art Basel Miami Beach each December, expands to the Hong Kong fair this year, representatives for Art Basel said today.


Do Ho Suh at Madison Museum of Contemporary Art

Madison Museum of Contemporary Art presents an exhibition of works by South Korean artist Do Ho Suh (born. 1962) that will run from February 11 through May 14, 2017.


The selection of works on display is a multi-part installation that comprises large-scale architectural structures, documentary films, illuminated sculptures, and works on paper. The highlight of the show is a full-scale replica of Suh’s New York City apartment and studio created from translucent colored fabric. The artist is renowned for his meticulous, mesmerizing sculptures and installations that relate to his personal experiences living in both Eastern and Western cultures. Suh re-imagines and reconstructs his various homes and creates works of art that highlight the permeable boundary between public and private space.

Backstory: Strange Bedfellows
Art in America

Eleven years ago, I extended my Los Angeles art practice to Durban, South Africa where I established a studio and began commissioning beadwork from Zulu women in KwaZulu-Natal. This photo was taken around 2007. I’m in Nyuswa, a rural area, visiting Cebisile Mbhele, who is seated on the bed beside me. We were working on a sculpture called Book of Days, which was comprised of 365 woven sheets of silver-lined glass beads, which were to be each stacked one on top of another like pages in a manuscript.

Lee Bul at Lehmann Maupin, New York

Lehmann Maupin, New York, is hosting an exhibition, by Lee Bul, on view till February 11, 2017.


Lee Bul is considered to be one of the leading Korean artists of her generation. For her fifth exhibition with the gallery, Lee Bul is showcasing a series of recent mixed media works and immersive installations. Though varied in media and content, these works are united in their exploration of structural systems—from the individual body to larger architectural frameworks that encompass cities and utopian societies—which have become a hallmark of Lee Bul’s oeuvre.


Lee Bul was born in 1964, lives and works in Seoul. She received a BFA in sculpture from Hongik University, Seoul, in 1987.


The exhibition is on view at 536 West 22nd Street, New York, NY 10011.

Must See: Kader Attia, Reason's Oxymorons

Kader Attia is a poet, critic, anthropologist, and unrepentant fabulist. For the artist’s second solo exhibition at Lehmann Maupin, he brings us Reason’s Oxymorons, 2015, a multichannel video installation—which made its debut at the Thirteenth Biennale de Lyon—that features “European and African ethnographers, psychiatric and philosophical practitioners, and theorists discussing topics grouped under titles including ‘Genocide,’ ‘Totem and Fetish,’ ‘Reason and Politics,’ and ‘Trance.’”

Contradictory Truths: Kader Attia's Video Dialogues at Lehmann Maupin

French-Algerian artist Kader Attia appears to be everywhere at once in 2017. Lehmann Maupin recently unveiled his second solo exhibition with the gallery, featuring the large-scale video installation Reason’s Oxymorons, which is set up like some kind of cross between a soulless cubicle office and a human-sized maze where one can encounter Attia’s collection of interviews with philosophers, ethnologists, historians, psychiatrists, musicologists, and healers on topics as wide ranging as exile and magical science. The winner of last year’s Prix Marcel Duchamp, his work is on view in the finalist's exhibition at the Centre Pompidou through January 30. He also curated the first of the Sharjah Biennial’s four offsite projects, which took place on January 8 and 9 in Dakar, Senegal in advance of the Biennial’s opening on March 10. On January 21 the Block Museum of Art at Northwestern University will open an exhibition of newly commissioned work based in part on his research in the school’s Herskovits Library of African Studies; and a major survey of his work will open at the Musuem of Contemporary Art Australia in April. He spoke with Artinfo about the perennial point of investigation in his work — the notion of how repair can take place after a large-scale societal injury — and how this drives the projects on view throughout this year in these various far-flung corners of the globe.

Great Lengths: A Glass Artist’s Formidable Process

More than a thousand pounds of glass beads arrived recently to Liza Lou’s doorstep in Durban, South Africa. The New York-born artist, who has one of the most painstaking practices on the planet, was thrilled when she opened the package: “The colors were amazing!” she says of the tiny, .4 inch beads, which were crafted in Hiroshima, Japan. “Each bag was filled with saturated color: silvers and reds, coppers, pinks.” She laid the bags out across the floor and spent the next several days arranging them into various color combinations before pouring her final selections into a vat, the bands of colors blending like pigments in paint.


Cutting-edge Korean art in New York
Financial Times

Korean art has made a global mark in recent years, appearing at galleries, art fairs and auction houses across the world. Now New York’s Lehmann Maupin gallery – which has been on the scene from the get-go – presents a must-see show of new work by notable artist Lee Bul from January 12 to February 11.

Kader Attia’s Water-Themed Sharjah Biennial Project in Dakar

Paris-born French-Algerian artist Kader Attia is presenting the first of the four Sharjah Biennial 13 (SB13) off-site projects at the Université Cheikh Anta Diop in Dakar, Senegal on January 8 and 9. Titled “Vive l’Indépendance de l’Eau” [Long Live the Independence of Water], the project consists of a program of workshops, symposiums, and performances based around the keyword “water.”

Sharjah Biennial 13 Reveals Artist Lineup for Act 1 in 2017

The Sharjah Art Foundation (SAF) has announced a lineup of more than 60 artists for Act I of the upcoming Sharjah Biennial 13 (SB13), titled “Tamawuj,” which will take place from March 10 to June 12, 2017.

Here’s What Sold at Art Basel in Miami Beach 2016

The first thing we heard from nearly every dealer, collector, art advisor, or other expert we spoke to in the opening hours of Art Basel in Miami Beach VIP preview was that traffic was down and the mood was more mellow.


Despite the palpable calm in the convention center, sales were in full swing during opening hours, and the trend persisted on Thursday, with many dealers openly expressing surprise about the strength of demand and pace of sales.




Lehmann Maupin Gallery said their fair kicked off with the sale of two editions of Austrian artist Erwin Wurm’s large-scale sculpture, Big Disobedience (2016), which is on view as part of the fair’s Public Sector. One edition sold to Turnberry for the Arts—Aventura Mall, a luxury shopping mall in the Miami area, and another sold to Koo House in Korea, which opened earlier this year in July. Wurm will represent Austria in next year’s Venice Biennale.


A large new Interior painting by Brooklyn-based artist Mickalene Thomas was bought in the range of $200,000–$250,000 USD.

Rauschenberg’s legacy lives on at Art Basel in Miami Beach
The Art Newspaper

Works at the fair that owe a debt to the US artist include the towering assemblage Savior (1996) by Nari Ward, who participated in the Robert Rauschenberg Foundation’s residency programme at his former compound in Captiva, Florida. The work, on Lehmann Maupin’s stand (priced at $150,000-$175,000), incorporates a shopping trolley and bin bags topped by a wooden chair. It was seen in the artist’s solo show at the Pérez Art Museum Miami last year. Next stop will be the ICA Boston in April. “It is a throne for homeless African-Americans,” says the gallery’s co-founder David Maupin.

Art Basel price points: works for every budget
The Art Newspaper

Liza Lou
Untitled #9 (2011-12), $120,000, Lehmann Maupin
The South African artist, known for her use of craft materials, wove together glass beads to create this 50-inch wall piece. Her first exhibition with Lehmann Maupin Hong Kong is due to open in January 2017.

'The VIPs are just not as crazy': Art Basel Miami Beach Opens with Less Mania than in Recent Years but Steady Sales

Art Basel Miami Beach opened its doors to VIP First Choice cardholders this morning, and while many dealers and collectors commented that the aisles seemed slightly less teeming than usual, a few big sales in the opening hours indicated that the market is stable, if a bit muted.


Attendees were united in observing that the fair’s first few hours lacked the sense of a feeding frenzy that prevailed as the market’s bubble was inflating, but some said that a quieter fair is not necessarily bad for dealers.


Sales highlights: Art Basel Miami Beach
Financial Times

Appearing at the Venice Biennale also boosts an artist’s standing. A mixed-media piece by Mark Bradford (“Slapping the Daily Prophet”, 2016) priced at $2m was sold by Hauser & Wirth gallery; the Los Angeles artist will represent the US at the world’s most prestigious exhibition next year. Erwin Wurm, represented by Lehmann Maupin, is Austria’s biennale choice, alongside Brigitte Kowanz; an edition of Wurm’s large-scale sculpture “Big Disobedience” (2016) sold to Aventura Mall, a luxury shopping complex near Miami.


Editors’ Picks: 6 Art Events to See in New York This Week

Both of Lehmann Maupin’s New York venues have been given over to Chinese artist Liu Wei, who is presenting two very different bodies of work at the two locations. In Chelsea, Liu has responded to the Jorge Luis Borges poem “Mirrors,” creating a monumental mirrored sculptural installation, “intended to provoke a phenomenological experience of space that can be only activated by the viewer.”


Down at Chrystie Street, the artist has paired colorful, irregularly-shaped paintings on steel with sculptures made from military canvas, metal, and wood.

Korean artist Do Ho Suh brings his “Between Spaces” to Bogotá
The City Paper

Between Spaces (Entre Espacios) is the title for the most recent exhibition at NC-arte Gallery and the first solo exhibition in Colombia by the Korean artist Do Ho Suh. Born 1962 in Seoul, Suh’s work is grounded in an appreciation of space and the invisible frontiers that exist within structures.


US artist Mickalene Thomas shines light on black women’s plight in first Hong Kong show
South China Morning Post

Mickalene Thomas is angry. The American artist, in Hong Kong for her first solo exhibition in the city at Lehmann Maupin, has just heard that the mayor of a predominantly white town in West Virginia publicly applauded someone’s particularly loathsome description of Michelle Obama. A county official from the town of Clay had called the first lady an “ape in heels” on Facebook and Beverly Whaling, the white mayor, responded with a gleeful, “Just made my day”.


“It ignited a fire in me and churned something in my soul,” Thomas says.

Time Out Hong Kong
American artist Mickalene Thomas on painting women of colour

Dressed from head to toe in black and donning a pair of tinted glasses, African American artist Mickalene Thomas’ appearance is in stark contrast to her works presented at Central’s Lehmann Maupin gallery – colourful, complex, collaged and filled with patches of glimmering rhinestones. The Desire of the Other is Thomas’ first solo exhibition in Hong Kong. As a queer woman of colour, she finds a lack of representation in Western art history as her inspiration for creative expression. Drawing from French impressionism, the American’s impressive body of work examines concepts such as beauty, sexuality, gender and race.


Liu Wei
Art in America

Liu Wei’s architectural installations at Lehmann Maupin’s two Manhattan locations offer warped experiences of physical presence. In Chelsea, he has hung a series of oil paintings in various shades of gray, from matte silver to the color of dark, wet concrete. The paint looks as thick and gritty as construction materials, and the broad curves of the brushwork evoke at once a drying sidewalk and a detail of a city map. Mirrors line all the walls of the gallery that don’t sport paintings. Narrow frames of metal rods stand before some, and as their reflections shift in the viewer’s perspective they appear to cut through the paintings and the space.


Downtown, a dense conglomeration of sculptures augments that parallax movement. Instead of lining the walls, the works cluster in the gallery’s center, pushing the viewer to circumnavigate the margins. Mirrors appear again, often angled toward the ceiling, but they have a lesser effect than the objects that look like versions or inversions of each other. A metal cut-out’s exterior matches the inside of an arch affixed to the wall; a roughly welded sphere parodies a smooth concrete one. Shapes move through doubles and profiles in Liu Wei’s fluid architecture.


The 50 Most Exciting Artists in Europe Right Now, Part I

Kader Attia (born 1970 in France. Lives and works in Berlin and Algiers)

Attia’s explorations of the impact of Western culture and colonialism this year nabbed him the Marcel Duchamp Award and a show (alongside the final four nominees) at the Centre Pompidou in Paris. Next year sees solo outings at MCA Sydney, and The Block Museum in Illinois, and gallery shows in NY and San Gimignano. It was his “bar and agora” La Colonie: a space dedicated to ideas, discussion and the breaking of bread that Attia opened with his partner Zico Selloum during FIAC, that secured him a place in our hearts in 2016.

Liu Wei

Liu Wei’s architectural installations at Lehmann Maupin’s two Manhattan locations offer warped experiences of physical presence. In Chelsea, he has hung a series of oil paintings in various shades of gray, from matte silver to the color of dark, wet concrete. The paint looks as thick and gritty as construction materials, and the broad curves of the brushwork evoke at once a drying sidewalk and a detail of a city map. Mirrors line all the walls of the gallery that don’t sport paintings. Narrow frames of metal rods stand before some, and as their reflections shift in the viewer’s perspective they appear to cut through the paintings and the space.


Downtown, a dense conglomeration of sculptures augments that parallax movement. Instead of lining the walls, the works cluster in the gallery’s center, pushing the viewer to circumnavigate the margins. Mirrors appear again, often angled toward the ceiling, but they have a lesser effect than the objects that look like versions or inversions of each other. A metal cut-out’s exterior matches the inside of an arch affixed to the wall; a roughly welded sphere parodies a smooth concrete one. Shapes move through doubles and profiles in Liu Wei’s fluid architecture.

Mickalene Thomas

“Do I look like a fucking lady or what?” So begins one of Adele Givens’s many appearances on Russell Simmons’s Def Comedy Jam. She continues, “I like being a fucking lady, especially in the ’90s. We get to say what the fuck we want to, don’t we, girls?” Almost two decades later, Mickalene Thomas, whose solo exhibition is titled after the performer’s brilliant greeting (minus the F-bomb), responds in the affirmative.

Exhibition of the Year: Kader Attia

On the one side of the hall a film is showing, in which victims of the First World War rise out of their trenches to protect posterity from further doom. On the other side there are monumental wooden busts, made by woodcarvers from Senegal. They present people with ghastly injuries to their faces such as were suffered during the First World War. This installation, as fascinating as it is shocking, formed part of the Kader Attia exhibition on “Sacrifice and Harmony” that went on show at Frankfurt’s Museum für Moderne Kunst in the early summer. The International Association of Art Critics (AICA) has now voted it Exhibition of the Year.



Art Sonje Center’s first exhibition after a nine-month renovation, “Connect 1: Still Acts,” looks back at three female artists crucial to the institution’s history since its opening in 1995: Lee Bul, Chung Seoyoung and Sora Kim. Each has a floor of their own, where they are re-presenting past works, or variations on them, that had been shown at Art Sonje during the period 1998 to 2004. An opportunity to revisit—or to see for the first time—artworks from a period that is not quite “historical” yet, nor even fully in the past, “Still Acts” utilizes a variety of tactics of re-presentation and display to put the past back in play.

David Salle on Old Guys Painting
Elephant Magazine

Painting is one of the few things in life for which youth holds no advantage. The diminutions wrought by aging—of muscle mass, stamina, hearing, mental agility (the list goes on)—are offset among painters by fearlessness, finely honed technique, and heightened resolve. A ticking clock focuses the mind. There’s a recurring narrative about late style in painting: from Rembrandt to de Kooning to, in our own era, Agnes Martin and Cy Twombly, the trajectory of the long-lived painter in the final decade or two reaches toward a greater openness and a simplifying of form, along with efficiency of execution. Muscle memory is the last thing to go. In this reading, a painter’s late work is characterized by letting go—the older painter needs to do less. This effortlessness is also embraced by young painters, but for a different reason: they’re placing a bet on one idea and hoping it’s enough. Anyway, young people are in a hurry—there’s no time for psychological complexity. Conflict is left for the middle years.

Paper Magazine

The AB/MB PUBLIC sector, produced in collaboration with The Bass Museum, will feature 20 site-specific installations in Collins Park (Collins Avenue between 21st and 22nd Streets, South Beach) beginning Wednesday, November 30, 8 p.m. Using the theme "Ground Control" ( and inspired by David Bowie) works by artists from 10 countries will be on view all week. Some highlights: Erwin Wurm's larger-than-life sculpture of two figures called "Big Disobedience"; Tony Tasset's monumental sculpture of arrows; David Adamo's small bronze sculptures of everyday objects (flip flops, styrofoam cups etc.); and a street light by Wagner Malta Tavares that will glow in the dark. Performers at Wednesday's opening include Lady Bunny (who will transform the park's rotunda into a spaceship-disco tribute to Bowie), Rob Pruitt, Naama Tsabar and Davide Balula.

New York Curator Names Artists for Italian Pavilion at Venice Biennale
The New York Times

Giorgio Andreotta Calò, Roberto Cuoghi, and Adelita Husni-Bey will represent Italy at the 2017 Venice Biennale, the Italian Ministry of Cultural Heritage and Activities and Tourism announced on Tuesday.

Giorgio Andreotta Calò, Roberto Cuoghi, and Adelita Husni-Bey to Represent Italy at 2017 Venice Biennale

Cecilia Alemani, director of High Line Art and the curator of Frieze Projects at Frieze, both in New York, as well as the curator for the Italian pavilion at the 2017 Venice Biennale, has selected Giorgio Andreotta Calò, Roberto Cuoghi, and Adelita Husni-Bey to represent Italy at the fifty-seventh edition of the biennale.

W Magazine

On  a sunny morning in mid-April, a small team from Max Mara is seated around a low table piled with fabric swatches in the library of the PuLi Hotel, in Shanghai. Most of the group is already on a second or third strong coffee, having arrived from Milan the day before, but Ian Griffiths, the creative director of the Italian brand since 2013, is on point. He is about to present his preliminary ideas for the Max Mara pre-fall 2017 collection to the artist Liu Wei. “It’s a complete step in the dark,” Griffiths says. “Like coming to a college tutorial to see what the master thinks.”

The best outdoor art in NYC this fall
Time Out New York

Nari Ward, Smart Tree


A childhood memory of seeing an abandoned car with a tree growing out of it in his father’s yard provides the inspiration to this comical meditation on recycling and the power of nature to reclaim the environment. A supposedly eco-friendly Smart Car is raised here on concrete blocks and clad in treads from old tires, as a sapling grows through its sun roof—a clever play on park in both the automotive and green sense of the word. High Line, West 23rd and Tenth Avenue. Through March 2017.


Photograph: Courtesy Timothy Schenk/Friends of the High Line

Lehmann Maupin Celebrates its Anniversary

October marks the start of Lehmann Maupin's 21st year. Since its establishment in 1996 Lehmann Maupin has identified and cultivated the careers of an international roster of visionary and historically significant artists. The gallery has garnered a reputation for supporting artists working across multiple disciplines with new and challenging forms of creative expression and artists whose work has had a significant impact on contemporary art and culture. Working closely with curators and leading intellectuals in the field, Lehmann Maupin is committed to presenting its artists’ work internationally and to firmly establish their contributions to art making, art history, and critical thinking in the 21st century and beyond. To celebrate the occasion, Lehmann Maupin will produce a unique series of limited-edition artworks, released intermittently throughout the coming year. The series will be available for purchase on the gallery webstore.

The Art Market: Antiquity trade under pressure
Financial Times

The antiquities trade is under pressure again. As Cyprus prepares for its presidency of the Council of Europe, which promotes human rights, high on the agenda is combating illicit trafficking in cultural property. Ioannis Kasoulides, Cyprus’s foreign minister, has called for a “robust” UN Security Council resolution to “apply universal limitations on the trade and transfer of artefacts originating from all conflict zones, with the obligation of proof of legitimate trade resting on the traders, auction houses and buyers and not on the originating state”.

8 New Nonfiction Books We Recommend This Week
New York Times

HOW TO SEE: Looking, Talking, and Thinking About Art, by David Salle.
(Norton, $29.95.)
Our critic Dwight Garner hails the painter David Salle’s new book, a collection of essays that wrest art away from critics and go in search of aesthetic bliss. Salle is interested in the nuts and bolts of why paintings work. His book works because he has good feelers and a sensitive, sunny style.

Seeing a Horror Movie Through the Reactions of Its Spectators

The best horror movie in New York City right now is Alex Prager’s La Grande Sortie, a 10-minute film playing on continuous loop at the Chrystie Street branch of Lehmann Maupin Gallery. The film is the latest entry in Prager’s oeuvre of cinematic and photographic investigations into subjects that tantalize and challenge the viewer. For those unfamiliar with Prager’s work in both mediums, it’s worth taking a brief journey into her previous work, which will bring the current exhibition into sharper focus.

David Ebony’s Top 10 New York Gallery Shows for October

OSGEMEOS at Lehmann Maupin, through October 22.

The Brazilian twins Gustavo and Otavio Pandolfo, better known as the artist team OSGEMEOS, are well-known São Paulo street artists inspired by US hip-hop culture. In recent years, they have established an international reputation for their paintings, sculptures, drawings, and multi-media installations featuring an array of distinctive cartoonish characters, and an evocative form of narrative and whimsical allegory.


Created especially for lucky New Yorkers, “Silence of the Music” is an unabashed, site-specific gallery show. Even if you are vehemently opposed to the notion of art-as-spectacle, the exhibition succeeds on a number of serious levels. OSGEMEOS are not out simply to entertain, although with its colorful pageantry, and live music interludes during its run, the show certainly does that.


Several rooms in the exhibition offer immersive installations, including one featuring The Illuminated (2015) a life-size male figure in the center of the room, nonchalantly rotating on a revolving platform. Surrounding the sculpture, a site-specific mural covering all walls shows an evocative scene conjuring enchanted oceans and exotic beaches. Even more striking is the room centered by a sculpture titled The Kiss (2015-2016). Here, against surrounding murals of undulating horizontal bands of warm orange, red and yellow tones, the main component, with a sunburst “face,” rests on the floor and doubles as a strange musical instrument. Attached to the ceiling just overhead, a glowing lunar “face” with puckered red lips offers a celestial kiss. The hallucinatory dream sequences represented by these two rooms complement the fanciful, street-savvy urban imagery of many of the large panel paintings on view elsewhere in the show.

La Grande Sortie of Alex Prager at Lehmann Maupin
Musee Magazine

Alex Prager, perhaps one of the most influential photographers and filmmakers right now, is currently exhibiting at Lehmann Maupin. Born and raised in Los Angeles, Prager is known for her cinematic style, an aesthetic which she uses to expose the failure of perfection that hollywood promises.

On view is her film, La Grande Sortie, which was first screened at the Opera National de Paris. The film is a conceptual piece that explores the idea of stagefright through a ballet performance. Nigel Godrich, the producer for Radiohead, scored the film using a sample of Stravinsky’s “Rite of Spring”. Photos from the production of the film are also on display.


5 Photography Exhibitions to See This Fall
Aperture Foundation

Through a synthesis of photography, film, and performance, Alex Prager’s third major solo show at Lehmann Maupin considers the fraught relationship between artist and audience. At the center is Prager’s eponymous film La Grande Sortie (2015), commissioned by the Paris Opera Ballet, which dramatizes the famed prima ballerina Émilie Cozette’s anxious return to the stage after an “unexplained hiatus.” The audience—populated by veteran performers of the company—is the subject of multiple still images reproduced as archival pigment prints. Like much of the Los Angeles–based artist and filmmaker’s most recognizable work, this exhibition reflects on aspects of staging, crowd dynamics, and the assumption of roles. Focusing on sections of the audience who are indicated by their location, the film portrays what appears to be a cross-section of “types” in the crowd: the young, the elderly, the single, the enthralled, the bored. The cinematic artifice in Prager’s photographs borrows heavily from Cindy Sherman’s Untitled Film Stills but is equally informed by William Eggleston’s striking use of color and sense of portent in the ordinary. Known for her lush, almost cartoonish images of Hollywood screen types and richly stylized mise-en-scènes, here Prager casts her subjects in a more tenebrous light, and inhabits a kind of twilight zone between life and affect.

New partnership enables museums to buy art at Frieze
Financial Times

A new and unexpected lifeline comes courtesy of Frieze London and the Contemporary Art Society (CAS), which have teamed up on a new acquisition fund to support museums across Britain. This year’s inaugural £50,000 fund has been awarded to the Middlesbrough Institute of Modern Art (Mima). The museum, located in the north-eastern industrial heartland of Teesside, has purchased two works at Frieze London: the video installation “Dispossession” (2013) by Paris-born Kader Attia (from Lehmann Maupin gallery) and the film “Peripeteia” (2012) by the British artist John Akomfrah (Lisson Gallery).

Juergen Teller studio review – the art of concrete thinking

Anaked middle-aged man is sitting on a donkey, captured in the cool light of northern European art, unsparing of its description of flesh. The image is a self-portrait by the German-born art and fashion photographer Juergen Teller, shot in the London workplace that the British architects 6a have designed for him. He tells how, as a young man travelling in Turkey, he was nearly raped while riding such a beast, by the man sitting behind him. This photograph, he says, is “my way of making my peace with donkeys”.

Street Smarts
Art in America

I’m on the left, my brother Gustavo is on the right, and our friend Rooney is in the middle. It was 1987, and Gustavo and I were fourteen; Rooney was a few years older. We grew up in Cambric, a very creative neighborhood in São Paolo. In the ‘80s we played in the street all day, everyday. There was this bench in front of my parents’ house where the B-boys would hang out. We grew up seeing these guys break-dancing and making graffiti, and we wanted to be like them.


Kader Attia's work acquired by the Contemporary Art Society at Frieze London

The Contemporary Art Society has announced their acquisition of Dispossession (2013) by Kader Attia for the Middlesbrough Institute of Modern Art at Frieze London. Addressing themes of colonization and immigration, the museum seeks to play a civic role through a focus on education, activism, and community building, and these themes resonate with the diverse audience it serves. The work was acquired through the Contemporary Art Society’s Collections Fund, which was set up in 2012 to support the acquisition of significant contemporary works for Contemporary Art Society museum members across the United Kingdom. It aims to draw together the knowledge and experience of private collectors with that of museum curators.


Dispossession (2013) is a video installation examining the role of Christian missionaries in the colonization of African cultures. The Vatican has a collection of over 80,000 African artifacts brought back to Europe by missionaries during the colonial era. These objects are presented as slides alongside a video series of four interviews conducted between Attia, an anthropologist, an art historian, a priest, and a lawyer. The subject of repatriation is central to the installation as it considers the political and psychoanalytical questions that arise from the collecting of these objects.


The work will be on display at Middlesbrough Institute of Modern Art from spring 2017.

Sharjah Biennial looks beyond UAE with a year-long programme across five cities
The Art Newspaper

The organisers of the Sharjah Biennial have unveiled plans for their most ambitious event yet, encompassing off-site projects in four other cities— Beirut, Dakar, Istanbul and Ramallah—as well as a year-long education programme.


The biennial programme begins next month on 15 October with the launch of SB13 School, an intensive education project. A digital research platform is due to launch at the same time called chip-ship involving the Paris-born artist Kader Attia, the independent curators Lara Khaldi and Zeynep Öz, and a representative from Ashkal Alwan.

The future of the arts is Latinx: Q&A with artist Teresita Fernandez

Latinxs make up 17 percent of the US population and are the country’s fastest growing ethnic group—yet they hold only 3 percent of museum leadership positions, lower than all other groups. This has real consequences when it comes to the representation of artists in those museums, as well as the diversity of their audiences.


Working in and with many leading arts institutions over the past two decades, the acclaimed artist Teresita Fernandez is keenly aware of how a lack of access, dearth of exposure, and limited opportunities inhibit Latinx artists, arts leaders, and other cultural practitioners. To address this issue, earlier this month Ford partnered with Fernandez to host the US Latinx Arts Futures Symposium. The symposium brought together leading visual artists, museum directors, curators, educators, academics, and funders to discuss how they can work together to make arts institutions more vibrant, relevant, and inclusive.


Fernandez’s own work has been widely exhibited around the world, including in the Museum of Modern Art in New York City and the Smithsonian Museum of American Art in Washington, DC. Shortly after the dynamic symposium, we caught up with her to ask how Hispanic artists can navigate an uneven playing field, and what she’s doing to advance representation of Latinxs in the arts.


Catherine Opie: A World Beyond Selfies

“I was never an optimist in thinking that my images would change laws. But I certainly thought that I would be able to create a history.” Catherine Opie, photographer of minority groups and subcultures, can be both political and very internal.

Mercedes-Benz Stadium and SCAD Invite Shoelace Donations for Community-driven Work by Artist Nari Ward

Mercedes-Benz Stadium and Savannah College and Art and Design (SCAD) invite fans and community members to contribute shoelaces to an epic work by artist Nari Ward that will be permanently installed at the new Mercedes-Benz Stadium, the home of the Atlanta Falcons and Atlanta United.


Utilizing an estimated 10,000 pairs of donated shoelaces, Ward’s artwork will spell out “ONE VOICE,” a motto of unity for the city the new stadium will serve. “ONE VOICE” is part of one of the largest and most dynamic collections of site-specific art ever housed in a major sporting complex, as curated by SCAD.

Nicholas Hlobo wins first VILLA Extraordinary Award for Sculpture

The Claire & Edoardo Villa Will Trust has honored Nicholas Hlobo as the inaugural recipient of the VILLA Extraordinary Award for Sculpture. This generous award acknowledges exceptional achievement in the field of sculpture by a South African artist and empowers the continuing practice of the recipient through an agreed program. The Claire and Edoardo Villa Will Trust fulfills the artist’s legacy to perpetuate and enhance his name and reputation and to support deserving South African artists.

Gallery Hopping: OSGEMEOS Brings Street Culture Into Chelsea

Brazilian brothers Otavio and Gustavo Pandolfo, better known as OSGEMEOS, were given a little under a month to execute their takeover of Lehmann Maupin‘s space in New York’s Chelsea neighborhood. In that time, the duo transformed the spaces into a pastel-hued wonderland, covering virtually every inch with radiant illustrations, vivid multimedia sculptures, and fully-functioning boomboxes. “Silence of the Music,” which runs through October 22, marks their debut show with the gallery—and they went big.

Now Showing: Alex Prager ‘La Grande Sortie’
Elephant Magazine

Alex Prager is known for blurring the boundaries between viewer and performer. The LA-based artist’s latest film La Grande Sortie is currently showing at New York’s Lehmann Maupin.

Unearthing Place: An Interview with Teresita Fernández

Through her sculptures, drawings, and installations, artist Teresita Fernández consistently expands the definition of landscape, moving notions of place into a conceptual realm that both seduces and challenges the viewer. The question Where am I? swells into What happened here?, Who has been here before me?, alongside the more metaphysical How does my presence define this place and my experience of it?

In Portland, well met by moonlight
The Boston Globe

“Just for the sheer joy of it. With no agenda.”


Those are the words artist Tim Rollins used to describe the doings of Puck, the mischievous jester of Shakespeare’s “A Midsummer Night’s Dream.” He was talking, as he remembered, to his collaborators, the self-titled Kids of Survival, a fluid group of disadvantaged students and former students from the South Bronx.

Reviving, Surviving: Tim Rollins & K.O.S. at the Portland Museum of Art
Modern Magazine

“If we pay attention to the fact that there’s great diversity in the way people learn . . . we will create an opportunity for people to be in museums and feel as though they have a stake in them,” says Jessica May, chief curator at the Portland Museum of Art in Maine. The 134-year-old institution has been undergoing a large-scale renovation for the past three years in a bid to make the museum’s collection more accessible and engaging—a project known as Your Museum, Reimagined. As part of that effort, starting this month, the work of collective Tim Rollins and K.O.S. (Kids Of Survival) will be on view in Unbound: Tim Rollins & K.O.S., a special exhibition curated by the museum in collaboration with the artists, while at the same time, a major acquisition by the group, A Midsummer Night’s Dream, will also be unveiled.

An Interview with Juergen Teller
Purple Magazine

The brilliant German artist and photographer recently took on the digital revolution without tarnishing his radical aesthetic. What’s his formula?

Dissecting the Collage: An Interview with David Salle

Walking down Hong Kong’s Pedder Building’s fourth floor hallway toward Lehmann Maupin, I can already glimpse the bold colors and varied techniques that make up the David Salle’s paintings. It’s the preview of Salle’s solo exhibition and he is due to present a talk on his works, which in this exhibition ranges from his signature large-scale compositions to smaller canvases, the latter of which represents his most recent creative evolution.


Lauded as a leading figure in the development of American postmodern sensibility, the New York-based artist is best known for his collage-like work in which he combines traditional painting techniques with vibrantly colored pop culture imagery. The works speak for themselves, figuratively and literally—across these surfaces float snowmen, bowls of mysterious green liquid and even subjects as mundane as waffles. Although these enlarged and hyper-detailed motifs dominate the space at Lehmann Maupin, at once bringing up sensations nostalgic and unsettling, there is also something cryptic about their arrangements. Their creator is similarly elusive; while Salle spoke eloquently about broader dialogues on contemporary art during his artist talk, he revealed little about the conception of this new show.


The next day, I sat down with Salle at the gallery to discuss narrative theory, his move to New York from Wichita, Kansas, his oeuvre and the creative process that produces these paintings.


The Paris Review
Staff Picks: Stage Fright, Substitute Teachers, Skin

Alex Prager’s brilliant ten-minute film La Grande Sortie in its U.S. debut, is looping in the upstairs screening room of Lehmann Maupin Gallery through October 23. Prager has imagined for us the marvelously grotesque descent of a prima ballerina into a state of hysteria provoked by our worst fears of stage fright. Witnessed through the shifting perspectives of the dancer (the remarkably theatric Émilie Cozette) and her ever more repulsive and hostile audience, the ballerina’s derangement reminds one of a desperate Mia Farrow surrounded by equal parts evil and camp in Rosemary’s Baby. Even on the fourth viewing, my heart rate surged in time with the stabbing string instruments in the film’s score, sampled from Stravinsky’s “Rite of Spring” and composed by Radiohead’s producer, Nigel Godrich. Layered under these orchestral notes is the amplified tap-tap-tap of scraping toe shoes across the wooden stage, the flapping of the dancer’s tulle skirt, and the noisy fidgeting of her restless audience. I marveled at Prager’s ability to create such a polished and darkly humorous examination of the extremes of human anxiety and artificiality. And the artist delivers up a panic-filled surprise ending worthy of a Hollywood horror flick. 

The Guardian
Tracey Emin makes her own crumpled bed and lies in it, on Merseyside

Tracey Emin throws her knickers on to the bed. She’s not quite satisfied, so she retrieves them and has another go. It takes five increasingly athletic throws and a lot of laughing until the pale blue underwear is in just the right state of casual abandon. For this is no ordinary bed. It is THE bed.

O Beijo (The Kiss)

OSGEMEOS' O Beijo (The Kiss), is painted in bright hues that exude a sunny splendor and is anchored by a mechanical sculpture, representative of the masculine, which plays compositions arranged by the artists together with their brother. A sculpture affixed to the ceiling directly above it, depicting a female, moon-shaped face, seemingly kisses the floor sculpture to trigger the music played.

The sculpture will play music at 12PM and 4PM, Tuesday-Saturday.

'La Grand Sortie': Alex Prager dances into Lehmann Maupin’s Lower East Side location Read
Wallpaper Magazine

It’s the Paris Opera Ballet’s opening night and Émilie Cozette, the company's étoile – the French version of the prima ballerina – is set to make her big debut after an unexplained hiatus. The curtain rises, and a rendition of Stravinksy’s The Rite of Spring, composed by Radiohead producer Nigel Godrich, begins to play. As Cozette begins to perform choreography adapted from Benjamin Millepied’s Amoveo, stage fright takes over as one by one, a string of random audience members somehow end up on stage with her, before her worst nightmare takes place.


Kader Attia
Marcel Duchamp Prize Nominee

Lehmann Maupin congratulates Kader Attia, who has been nominated for the 2016 Marcel Duchamp Prize. 


The Marcel Duchamp Prize was created in 2000 by the ADIAF. Its ambition is to honour a French artist or artist residing in France, representative of his or her generation and working in the field of the visual arts: installation, video, painting, photography, sculpture. In keeping with the essential artist after whom it is named, this prize wishes to bring together the most innovative artists of their generation on the French scene and encourage all of the new artistic forms, thereby stimulating creation.


An exhibition of works by nominated artists will be on view at Centre Pompidou, Paris, from October 12, 2016-January 16, 2017.


Photo by Pirje Mykkänen


An Artist’s Haunting Fantasy of the Paris Opera Ballet
T Magazine

Last year, the Paris Opera Ballet’s new online platform, 3e Scène, approached the photographer Alex Prager and asked her to make a film. She was given creative carte blanche, and allowed full access to the company’s facilities and dancers. What resulted is “La Grande Sortie,” a ten-minute movie that makes its stateside debut at Lehmann Maupin in New York this week alongside Prager’s distinctive, haunting photographs.


Alex Prager’s Paris Opera short at Lehmann Maupin
Financial Times, How To Spend It

Los Angeles-based artist and filmmaker Alex Prager brings the aesthetics of the entertainment industry to New York this month with her third solo show at contemporary art gallery Lehmann Maupin (September 7-October 23). The US premiere of La Grand Sortie, the short film Prager made last year for the Paris Opera Ballet’s digital channel, will show alongside a series of photographs ($20,000-$100,000) she took while making the film in Paris.

Do Artists Feel Stage Fright? Alex Prager Dares Gallery-Goers to Step into Her Shoes

Do artists feel stage fright? It’s not the first question you might ask when thinking about the life of an artist. But upon considering the multitude of vulnerable situations that artists encounter (when they debut a daring new body of work to a roomful of collectors or the press, for example), it seems safe to say that stage fright, or some form of performance anxiety, is part of the plight of being an artist. For a 2015 commission for the Paris Opera Ballet, Los Angeles artist and filmmaker Alex Prager channeled these emotions into a 10-minute film, La Grande Sortie, which pictures a prima ballerina as she warily returns to the stage after a hiatus. This fall, Prager presents the film anew at Lehmann Maupin’s Lower East Side gallery, alongside a new series of photographs inspired by it. The film itself conjures the anxieties of being alone on a stage, performing a role and facing criticism, and now in New York, Prager gives her New York audience a taste of how that feels.


5 Questions with OSGEMEOS
Elephant Magazine

Music is central to the mixed-media practice of Brazilian twin brothers OSGEMEOS. The colourful pair are opening Silence of the Music this week at New York’s Lehmann Maupin, which will explore the dream experience, and New York of the 1970s and 80s.

Double Vision
Time Out New York

Identical twin brothers Gustavo and Otavio Pandolfo exhibit together as the collaborative art duo OSGEMEOS ("the twins" in Portuguese), and they create paintings, sculptures, videos, installations and public-art projects that reflect the impact of hip-hop on their native Brazil. While their work is sometimes mistaken for street art, they're studio artists who've shown internationally in galleries and museums since the late '90s. For their new show at Lehmann Maupin gallery in Chelsea, the brothers created a series of immersive environments that combine art and music. Time Out New York met them there to discuss the inspiration behind it.

David Salle Showcases New Complex Compositions at Lehmann Maupin HK

One of the definers of postmodern sensibility, American artist David Salle is having a major solo exhibition at Lehmann Maupin Hong Kong. His latest body of work is on display through November 12, taking inspiration from one of his distinctive oeuvres from 1993 titled “Early Product Painting.”


See an Artist’s Cinematic Take on a Paris Ballet
New York Magazine

Commissioned by the Paris Opera Ballet, the film La Grande Sortie is Los Angeles–based artist and filmmaker Alex Prager’s cinematic take on classical dance. With a score by Radiohead producer Nigel Godrich, her ten-minute piece premiered last year in Paris. Now, New Yorkers can see the film at the show “Alex Prager: La Grande Sortie,” which opens at Lehmann Maupin gallery tonight.


The exhibit will screen Prager’s film and showcase a new collection of photographs captured during the film’s production at the Ópera Bastille Paris opera house.


Click through to preview photographs from the exhibit. Two dancers will perform live ballet solos at the opening tonight, at 6:30 and 7:30 p.m. The exhibit runs until October 23.


10 Hong Kong Exhibitions to Look Forward to This Fall

“David Salle” at Lehmann Maupin


Recognized for breaking conventions in painting and pictorial language, David Salle will showcase his new body of work next week at Lehmann Maupin. Salle’s latest creations continue to explore the thematic and formal possibilities of the medium, as he develops his rich visual language. The show will feature the artist's new paintings, which revisit his 1993 series “Early Product Painting.” This new oeuvre highlights Salle’s ability to create complex images with a juxtaposition of colors, gestures, and forms, offering multiple interpretations for the viewer to piece together.


“David Salle” will run from September 8 through November 12.

5 Questions with OSGEMEOS
Elephant Magazine

Music is central to the mixed-media practice of Brazilian twin brothers OSGEMEOS. The colourful pair are opening Silence of the Music this week at New York’s Lehmann Maupin, which will explore the dream experience, and New York of the 1970s and 80s. 

20 New York Gallery Exhibitions Everyone Should See This Fall

Os Gêmeos, “Silence of the Music” at Lehmann Maupin
The twin Brazilian street artists, Gustavo and Otavio Pandolfo, have forged their own wildly lovable—if not exactly edgy—style that characterized by brightly colored cartoon icons. The twins were inspired by their encounter with Mission School street art great Barry “Twist” McGee, and, following in his footsteps, have moved from outdoor murals to immersive indoor installations as they head into the fine art world. They continue to turn up the volume on their creations—in this case literally, with a variety of “boom box paintings” (canvasses with embedded speakers) and sculptures that play LP records, all of it somehow themed around the golden age of hip hop. (Ben Davis)


“Silence of the Music” is on view at Lehmann Maupin, 536 West 22nd Street, from September 8–October 22, 2016.

Datebook: ‘La Grande Sortie’ at Lehmann Maupin

“La Grande Sortie,” at Lehmann Maupin in New York from September 7 through October 23, is Los Angeles–based artist and filmmaker Alex Prager's third solo exhibition at the gallery. It features Prager’s latest film of the same title in its U.S. premier, accompanied by a series of photographs shot on location during its production in Paris.

Preview: OSGEMEOS “Silence Of Music” @ NYC’s Lehmann Maupin
Street Art News

Lehmann Maupin will be opening next month “Silence of the Music”, the Brazilian artist duo OSGEMEOS’ first New York solo show with the gallery.


Twin brothers Gustavo and Otavio Pandolfo will transform multiple rooms into an immersive installation that combines drawing, painting, collage, mixed media sculpture, and kinetic and audio elements. These newest works represent an evolution of the style OSGEMEOS has honed over decades, while also returning to their early experimentation with diverse mediums, including new oil paintings.


This exhibition will offer a heightened multi-sensory experience that embraces the power of human imagination and the vast possibilities in visually interpreting the subconscious.


If you are in New York City on these dates, make sure to stop by the gallery for the opening reception on Thursday, September 8, from 6-8PM.

Searching for Light in the Darkness of the ’80s
New York Times

For contemporary art in America, the 1980s was an exciting if not lovable decade. Arguably it was second only to the 1960s for ambitious innovations of style and thought. Consider Julian Schnabel’s brawny Neo-Expressionist paintings, Cindy Sherman’s canny, staged self-portraits, Jeff Koons’s sumptuous sculptures of kitschy objects and Barbara Kruger’s suavely designed leftist agitprop: The ’80s abounded in eye- and mind-grabbing work.


In contrast to the future-oriented euphoria of the ’60s, however, the mood of art in the ’80s was retrospective and darkly rueful. With AIDS taking the lives of many in the art community and a conservative president, Ronald Reagan, in the White House, reasons for optimism apparently were few.


That downbeat feeling is stirringly conveyed by “Unfinished Business: Paintings From the 1970s and 1980s by Ross Bleckner, Eric Fischl and David Salle,” an exhibition of paintings and drawings by three artists who rose to stardom in the ’80s, at the Parrish Art Museum in Water Mill, N.Y.

A beaded materiality for art and sculpture–In conversation with artist Liza Lou
Material Driven

My first exposure to artist Liza Lou's work was Color Field. The bright pop of colors, the infinite, upright stalks, and the intense sensation of truly being within a 'field', all created from tiny glass beads, was hard to step away from. I was, at once overwhelmed by the monumental effort it would have taken to create this piece of art, and awed by the idea of a small, seemingly insignificant element–the glass bead–coming into its own this way.


Returning home, I found myself catching up and reading about the preceding twenty years (at the time) of beautiful and bold art and sculpture created by Liza.
At the time, in 2013, Color Field had first opened to the public, at the Museum of Contemporary Art San Diego. Since then, Liza's largest work to date has traveled to several locations; and was seen most recently at the Neuberger Museum of Art, in New York.

A Gift of Artworks by Women for Florida Museum
New York Times

In the early 1990s, when many galleries virtually ignored female artists, Francie Bishop Good and David Horvitz began buying art predominantly by women — work that Ms. Good, an artist herself, found inspiring for her own practice.


The collectors have now promised 100 of their 800 works — more than 90 percent of the collection is by women and emphasizes minority artists — to the NSU Art Museum in Fort Lauderdale, Fla. Some 70 pieces will go on view there in the exhibition “Belief + Doubt: Selections from the Francie Bishop Good and David Horvitz Collection,” opening Aug. 26.


Radical Materiality

Why is materiality important? Besides the form and content of an artwork, the materials that compose an art object reveal a myriad of information, from the artist’s background to their life philosophies. Throughout history, artists experiment with a vast array of materials to construct narratives, as well as to enhance visual experience, pushing boundaries in a radical manner.

Painter Writes About Art
New York Times

While David Salle has been painting, he has also been writing — namely art reviews for publications like Town & Country. Now, he has assembled these essays, along with some of his lectures and other pieces, in a book, “How to See: Looking, Talking, and Thinking About Art,” to be published by W. W. Norton on Oct. 6.

A walking tour of New York’s High Line with Cecilia Alemani
The Art Newspaper

Summer is the time for so many outdoor art activities in New York, and perhaps one of the most popular destinations in the city is the High Line, the former train tracks that were turned into a public park in Chelsea and the Meatpacking District. The Art Newspaper had the opportunity to walk the line with Cecilia Alemani the organisation’s curator and director of High Line Art, to see how the summer was treating this year’s sculptures, part of which comprise the current group show Wanderlust. Join us for a director’s tour of the elevated art park.

"Smart Treet" Q&A with Nari Ward
High Line Art

Nari Ward, an artist originally from Jamaica, makes sculptural installations from materials he collects in his own neighborhoods. Throughout his work, Ward juxtaposes surprising materials and themes. Ward takes up daunting societal topics ranging from healing and health care, to justice and the police, to immigrant identity struggles. For the High Line, Ward presents Smart Tree, an installation of a Smart car refinished with strips of tire treads and propped up on cinder blocks with an apple tree growing out of its roof. Our Donald R. Mullen, Jr Director & Curator Cecilia Alemani sat down with the artist to discuss his project.


"Repossession" at Lehmann Maupin

At a time when levels of xenophobia are painting a racial landscape that echoes the first half of the twentieth century—or, frighteningly, even earlier—exhibitions like this one are vital and necessary. “Repossession” asks us to fight against a hatred that’s become far too normalized.


The Equilibrists: A report from Greece

The second part of DESTE’s summer show consisted of an opening performance at the Slaughterhouse on Hydra titled Putiferio (which in Latin means ‘bring the stink’, ‘chaos’, or ‘a small taste of hell’), for which Roberto Cuoghi fired clay and metal crabs to fill DESTE’s project space (a former slaughterhouse) in kilns built outside and above it, apparently modelled after various cultures (and constructed by following YouTube videos). The result is a mesmerising installation (on show to 30 September 2016) that is bound to context, in that it was the island that inspired Cuoghi to produce such an intervention, not to mention the long tradition of kiln-work in the region itself. The opening performance was also staged purposefully on the first night in 50 years that the summer solstice coincided with a full moon, and the day the sun entered Cancer: June 20; a Strawberry Moon that the inauguration of Putiferio marked with a feast of village pies and grilled meat.


Tony Oursler
BOMB Magazine

For the past three decades Tony Oursler has been known for his videos, installations, and public projections. But he is also a collector of images—mostly photographs, alongside books, posters, and other objects—which together map esoteric practices and collectives that range from 19th-century spiritualism to ufology and the Baader-Meinhof group. A show of works from this collection, Tony Oursler: The Imponderable Archive, will be on view at the Center for Curatorial Studies, Bard College, through October 30, 2016. A feature-length, immersive 5-D film and large-scale installation, Tony Oursler: Imponderable, is now on view at the Museum of Modern Art through January 8, 2017.

Lehmann Maupin HK Explores the Boundaries of Raw Materials

Hong Kong’s art gallery scene is presenting an abundance of captivating group shows this summer. Leading galleries such as Pearl Lam Galleries and Galerie du Monde are showcasing their stellar artists in carefully curated exhibitions. Lehmann Maupin, part of that flock, is spotlighting the work of some of its established artists in an engaging exhibition titled “Radical Materiality,” which will run through August 27.


Featuring artworks by Mary Corse, Liu Wei, and Nari Ward, three international artists with distinct artistic methods, the exhibition invites viewers to explore how the artists' practices push boundaries within traditional techniques, genres, and materials. The trio are exemplary artists who have gone beyond the canvas and imagination, experimenting with unconventional mediums to produce inventive work.

BUT A STORM IS BLOWING FROM PARADISE: Contemporary Art of the Middle East and North Africa
The Brooklyn Rail

On its third and last stop (following forays into South and Southeast Asia and Latin America), the Guggenheim UBS MAP Global Art Initiative ventures into the Middle East and North Africa. But a Storm Is Blowing from Paradise... fills the fourth and fifth tower levels of the Guggenheim with seductive works on paper, elaborate installations, large-scale sculptures, and magnifying videos. The curator, Sara Raza, has brought together sixteen artists from across the region, for whom the visual heritage, complex history, political trauma, and contemporary turbulences is a platform for a critical exploration. While her approach—which takes as a point of departure the region’s long history of abstract art—seems familiar at first glance, the show unfolds into something much more nuanced.

'Sun Splashed': Finding art, and modern life, in the streets
The Philadelphia Inquirer

The visitor wasn't offended or repelled by the piece. But, like most who go to the Barnes, he was on his way to see the Matisses, Cézannes, and other certified masterpieces. He clearly didn't feel that this tree of discards required his scrutiny.


The Barnes' current special exhibition, "Nari Ward: Sun Splashed," on view until Aug. 22, proposes otherwise. Ward, who was born in Jamaica in 1963 and spent most of his adulthood in Harlem, roams the streets looking for things he can use in his complex, bound-together constructions of material and meaning. He wants to make us look at things - objects and people - that most people feel they don't really need to see. It is art driven by ideas - too many ideas at times - yet it is also about the physical labor and psychic obsession that goes into its making, and about the materials from which it is made.


Mickalene Thomas' Photography: The Epitome of Black Girl Magic
Whitehot Magazine

Superstar artist Mickalene Thomas departs from her signature, rhinestone-studded, mixed-media paintings and focuses primarily on photography, collage, and installation in her latest exhibit ‘Muse: Mickalene Thomas Photographs’, currently on view at the Aperture Foundation. The exhibit, comprised of work from the last fifteen years or so, includes large portraits, small collages, and a self-curated mini exhibit titled ‘Tête-a-Tête’.  What makes Thomas’ art so singular and influential is her outright celebration of black femininity. Whereas society and mass media have had a long tradition of fetishizing, denigrating, and marginalizing black female bodies, Thomas refutes those notions and exalts the black female form. Her subjects are depicted as proud and triumphant, perfectly confident and utterly seductive, and poised for victory. 

Waves of Dark History Break on an Olympic Pool
New York Times

In a few weeks, as TV cameras swoop over the Olympic Park in the Barra da Tijuca neighborhood of Rio de Janeiro, viewers will glimpse what looks like a colossal seascape mural encircling the new aquatics stadium.


But what appears to be ancient, cracked decorative tile is actually a scrim of 66 panels of perforated canvas, each 90 feet high — the largest contemporary artwork commissioned for Rio 2016. And the blue-and-white work is steeped in a complicated past that is typical of its creator, Adriana Varejão, 51, the revered Rio artist.

The New York Times

People talk about Africa as if it were a unitary thing, one culture, one mind, which it’s not. That’s my only problem with “Creative Africa,” at the Philadelphia Museum of Art, and my complaint stops with the title. The project itself, a set of five small, tight, concurrent exhibitions of African material, is richly textured, and in one case sensational.


Add to it a fine survey of work by the Afro-Caribbean conceptualist Nari Ward at the nearby Barnes Foundation, and the foundation’s pioneering and under-known collection of “classical” African sculpture, and this city can lay claim to being in the middle of a full-fledged African art summer.

Political art: Kader Attia at the Museum für Moderne Kunst, Frankfurt
Financial Times

You hear the sound before you see it: an excerpt from J’accuse!, a powerful antiwar film made in 1919 by the French director Abel Gance, in which he persuaded scarred first world war veterans to play the war dead summoned up by the film’s protagonist as a lesson to the living. But before you see the extract, you confront its “audience”: 18 towering wooden busts, their rough-hewn faces distorted and scarred in an echo of the gueules cassées (broken faces) on the screen before them.


Named after Gance’s film, this striking installation is the centrepiece of an exhibition by the French-Algerian artist Kader Attia at Frankfurt’s Museum für Moderne Kunst (MMK).

Tony’s Oursler’s Occult Archive—A Family Affair
New York Observer

Go to almost any museum, and you’ll find exhibitions that are tributes to the discernment of this or that wealthy collector. Yet much of what’s collected are the same new (or slightly old) things that you find at the same galleries, art fairs or auctions.


Not so at the Hessel Museum of Art at Bard College, which is displaying an archive of the occult assembled by the artist Tony Oursler. Oursler fuses these images and the stories that they told (and still tell) in his own films that venture into the contested territory of supernaturalism. Those are also now on view at the Museum of Modern Art (through January 2, 2017) and at Bard.


Roberto Cuoghi’s Post-Apocalyptic ‘Putiferio’ on Hydra, Greece

“Putiferio” at the DESTE Foundation’s Project Space in the former Slaughterhouse on the island of Hydra is a major exhibition by Italian artist Roberto Cuoghi who works in painting, drawing, digital animation, and sound to explore issues surrounding transformation, identity, death, memory, and time – what he describes as facing “complex ideas iconographically”

Crab Walk

After Art Basel, but before Brexit, there was Greece.


In this ancient and modern land, root of a glorious past and home to a beleaguered present, collector Dakis Joannou ushered in summer with his annual DESTE Foundation weekend (June 19-20) in Athens and on the island of Hydra.

Tony Oursler’s Grand Illusions, Science Left at the Door
New York Times

Ken Johnson reviews Tony Oursler's concurrent exhibitions at the Hessel Museum of Art, Bard College and The Museum of Modern Art, New York.

Japanese artist Mr. on art, life and anime
Time Out New York

A protégé of Takashi Murakami, Japanese artist Mr. (née Masakatsu Iwamoto) first came to prominence with his interpretations of otaku culture and its sexually exaggerated portrayals of prepubescent girls in cartoons, comic books and video games (a depiction that’s acceptable in Japan, though it leaves some Americans taken aback). With a career that also extends into pop music—he animated Pharrell Williams’s video for “It Girl”—Mr. has been busy, though he recently took time to discuss his new art show at the gallery Lehmann Maupin and his fascination with otaku’s unnerving eroticism.


15 New York Group Shows You Need to See This July

Repossession at Lehmann Maupin, 201 Chrystie Street


The show’s three artists aim to challenge the dominant narratives of Western culture and promote underrepresented communities through works that explore issues of inequality, race, gender, or colonialism. Collages are the focus of the exhibition and include Mickalene Thomas’s new eight-channel video installation Angelitos Negros (2016), hybrid forms by Kader Attia, and monumental works by social engagement collective Tim Rollins and K.O.S.


Anya Gallaccio breaks out with first permanent art work
BBC News

Former Turner Prize-nominee Anya Gallaccio has made her name creating transient works using organic material, famously placing hundreds of gerberas behind Perspex and coating gallery walls with chocolate. Her new work, however, could not be more permanent, cast as it is in metal.

Liu Wei
Christie's International Real Estate

Although you might not exactly describe him as a "landscape artist," landscape has featured in the work of Chinese artist Liu Wei, 43, for many years. In one way, it made his career: when his ambitious installation proposal for the 2004 Shanghai Biennale was accepted on the condition that changes were made, he was so furious that instead he submitted a huge black and white photograph that looked like a traditional Chinese painting of a mountain range. It was, in fact, a collection of naked buttocks. "I was really angry, so I decided to show them an ass," he said in an interview with ARTnews in 2014. The photograph changed his life, he said, enabling him to work as an artist.

Exhibitions: Anxiety on show at the NY Guggenheim’s new Mena exhibition
The National

The first sculpture in an exhibit of Middle Eastern and North African art at the Guggenheim Museum in New York is a scale-model city made not of wood, clay or foam but, rather, a colossal mound of couscous. It was cooked and put there, all 349 kilos of it, by the French-Algerian artist Kader Attia.

This Week’s Must-See Art Events: Summer in the City
Art F City

Repossession at Lehmann Maupin, 201 Chrystie Street
Through August 12


Kader Attia is probably my favorite living artist, so I’m thrilled to see him showing in the US again. In this exhibition, Attia, Tim Rollins & K.O.S., and Mickalene Thomas are positioned in dialogue through the medium of collage. All three raise questions about dominant art historical narratives and play with semiotics, so collage is a pretty natural medium, though I’ve never seen any of Attia’s collage work (at least of the 2-D variety). It’s not that often that we get to see his work at all—he mostly shows in Europe and the Middle East—so prioritize this show!

Manchester's metal tree opens weird weekend in Whitworth Park
Manchester Evening Standard

A metal tree made by the Turner Prize-nominee to replace a real London planetree lost during the renovations of the Whitworth Art Gallery will be unveiled this weekend.


Around 12 metres tall and positioned next to the Whitworth's glass cafe, the tree is the latest in a series of public art installations to be added to the neighbouring park.


Created by artist Anya Gallaccio, the tree will be unveiled at 6pm on Friday June 24, kicking off the two day WARP Festival - a special weekend of entertainment in the park.



Tony Oursler at the MoMA
Musee Magazine

There’s a lot happening this summer on the MoMA’s second floor — we’ve already been awed by Nan Goldin’s“Ballad of Sexual Dependency,”  and we’re happily looking ahead to a solo exhibit by Teiji Furuhashi. But currently, our attention is captured by Tony Oursler and his mesmerizing cinematography.


Imponderable, touted as a “5-D” experience, incorporates a full length film for the eyes and a multitude of extraordinary effects for the other senses. The film features a colourful cast of characters, including Sir Arthur Conan Doyle, Harry Houdini and Oursler’s own ancestors.  The artist’s dark and psychedelic archive, which spurred the film, is also on view.


The exhibition is organized by Stuart Comer, Chief Curator, and Erica Papernik-Shimizu, Assistant Curator, Department of Media and Performance Art, MoMA.


Nari Ward brings Mango Tourists and other exotics to the Barnes Foundation
The Philadelphia Inquirer

When Jamaica-born Nari Ward, 53, was preparing for a large 2011 exhibition at Mass MoCA, the contemporary art museum in North Adams, Mass., he took a look around and knew exactly what he needed.


Snowmen tourists. Obviously.

What’s Sold at Art Basel in Basel

As the art world descended on Switzerland this week for the 47th edition of Art Basel in Basel, the finance and business worlds continued to mull over the fact that one week from today, Britain may vote to exit the European Union. Brexit, as the referendum has been termed, is among a laundry list of factors that have some market analysts, wealth managers, and central bank economists alike predicting increased volatility in the global economy.

Cannibalizing the Culture of Colonizers and Other Artistic Strategies

Someone once said to me that for him, one of the famous modernists, I think it was Paul Klee, represented the values of serious play. That idea lingered in cobwebbed corners of my mind until I walked into the Lehmann Maupin’s downtown gallery to see Adriana Varejão’s Kindred Spirits when it flashed into relevance again. Taking in the small, almost square paintings, I intuited the game, thinking to myself, I see the visual references to Sol Lewitt, to Jackson Pollock, to Robert Rauschenberg, Jaspers Johns, Donald Judd, and Barnett Newman — the heroic modernists, at least in the canonical version still taught in freshman art history courses.

Liza Lou: "Survival is at the core of it."
The Talks

Ms. Lou, how has moving from Los Angeles to Durban, South Africa changed the way you approach your art?


It’s actually such a big question that you’re asking because it has, in so many ways, changed me, and my work. The first thing that kind of occurs is the re-evaluation of everything. For me, I felt as though I had to reconsider everything about myself, fundamentally. My ideas about who I was, about privilege and what it means to be a white person and to live in the West. I found myself really questioning what is the nature of happiness?

Soweto uprising remembered in work created at Art Basel
The Art Newspaper

South African artist Robin Rhode used his handprints to create a mural to mark 40th anniversary of the deadly protest


Robin Rhode has created a mural at Art Basel commemorating the 40th anniversary of the Soweto uprising, when 12 people were killed in clashes between demonstrators and police in South African townships. The work was made on the stand of the Cape Town-based Stevenson gallery on Thursday. “It’s a memorial, and will only remain on show for one day,” says Joost Bosland, the gallery’s director. The piece was made with Rhode’s handprints, recalling a photograph in which the sister of 12-year-old Hector Pieterson, who was shot by police, is holding up her hands. “The work demonstrates that within the context of Art Basel, there is still room for a political gesture,” the artist says.


Kim Kardashian, Joan Didion, and Himself: Juergen Teller at Bundeskunsthalle

As the exhibition’s title, “Enjoy Your Life!,” suggests, this exhibition finds Teller in an ebullient mood. In his typical photographic style of candid, naturalistic, seemingly raw images, the artist himself appears, smiling under a gigantic disco ball in the rehabilitation clinic that he visited as a present to himself for his 50th birthday two years ago. Other images see Teller, who has been working professionally for 30 years, embracing the surreal, riding a donkey naked.


Gilbert & George to Open Nonprofit Space in East London

Nadia Khomami of The Guardian writes that art duo Gilbert & George plan on opening a nonprofit gallery/cultural venue in East London’s Spitalfields—where they have lived and worked for over four decades—as a way of giving back to the community.


Sir Solutions, on behalf of the Gilbert & George Centre, a charity created in 2010, states that the site will be “a nonprofit foundation for contemporary art that operates purely for the public benefit with the aim to promote the education of the public in the arts by exhibiting contemporary art in its exhibition spaces, benefiting both the local community as well as the wider community attracting visitors from other locations”.


The building where the future center will be is located on Heneage Street. It was previously the studio and private residence of artist Polly Hope, who died a few years ago. The refurbishment plan calls for the addition of a basement, a total revamp of the main space, and the remaking of a 1970s workshop that will be used to host two exhibitions per year.


Liza Lou joins Lehmann Maupin

Lehmann Maupin is pleased to announce its representation of artist Liza Lou. Known for her labor-intensive processes, Lou meditates on the beauty of repetition and materiality. Her practice is embedded with themes of social justice, with particular consideration to women’s issues.

Artist Tracey Emin Explains Why She Married a Rock
New York Magazine

Tracey Emin is singing part of the chorus from David Bowie’s song “Soul Love.” “All I have is my love of love, and love is not loving.” Sitting in the Lehmann Maupin gallery, where Stone Love, her new show, just opened, she explains that last summer, as a sort of metaphysical metaphor, she “married” a large stone in the garden of her studio in France. “The words of the song were in my head at the time, and the chorus is fantastic because it expresses exactly how I love,” she says.

Liza Lou Makes a Move
New York Times

Since 2005, the artist Liza Lou has split her time between her home in Los Angeles and South Africa, collaborating with Zulu women on intricately-beaded works that have earned her an international reputation.


More recently, she and her team have been creating monochrome woven canvases, to be featured in coming exhibitions at Lehmann Maupin, which has just become Ms. Lou’s New York gallery.


“I realized what I really needed to do was respond to the place where I was working and listen to the stories and the lives of the women that I care about,” Ms. Lou said. “When you weave, you keep the work very close to your body — it’s much more transportable.”


“If there is a taxi strike or rioting, I make work in response to that,” she added. “I don’t say, ‘We’re going to still make that sculpture.’ We’re going to make work that can be easily hidden. You can put it in your bra, you can stick it in your handbag and the work can carry on.”

10 Must-See Art Exhibitions Opening in Europe in June

“Putiferio” at the DESTE Foundation Project Space, Slaughterhouse, Hydra


The Italian multidisciplinary artist Roberto Cuoghi explores the properties and characteristics of materials both as natural entities and mental structures. During the opening of the exhibition, whose title in Latin means “to bring the stink,” but may also signify chaos or a small taste of hell, Cuoghi will transform the area around the Slaughterhouse into a camp to experiment with archaic firing techniques for ceramics. June 21 to September 30, 2016

Catherine Opie on the Louis XIV Bedroom
Met Museum Artist Project

The Artist Project is an online video series in which The Metropolitan Museum of Art gives artists an opportunity to respond to our encyclopedic collection.


Since March 2015 The Met has invited 120 artists—local, national, and global—to choose individual works of art or galleries that spark their imaginations. In this online series, artists reflect on what art is, what inspires them from across 5,000 years of art, and in so doing, they reveal the power of a museum and The Met. Their unique and passionate ways of seeing and experiencing art encourage all museum visitors to look in a personal way.

Adriana Varejão: Kindred Spirits
The Brooklyn Rail

Adriana Varejão, one of Brazil’s most visible contemporary artists, mines historical narratives such as these as rich artistic material. Her paintings and sculptures deal in epochs of cultural quicksand: when cultures—by means either violent or acquiescent—merge and cannibalize each other, producing intertwined histories and peoples. In “Kindred Spirits,” a series from 2015, the artist turned her archeological eye to the American Plains and Southwest, finding subtle resonances between two periods of American art history, one highly triumphant (the trademark forms of Ab-Ex and Minimalism), the other, belittled and largely extinguished (the academic portrait of the “noble savage”).

Video: 5 Must See Chelsea Sculpture Shows

Some of the best gallery shows happening in Chelsea right now are sculpture exhibitions. Here are five shows to catch this spring in New York’s ever-inventive art district.

Art against the system
The Korea Herald

PLATEAU, Samsung Museum of Art, holds Chinese artist Liu Wei solo show as farewell exhibition 

Artist Tracey Emin Explains Why She Married a Rock
New York Magazine

Tracey Emin is singing part of the chorus from David Bowie’s song “Soul Love.” “All I have is my love of love, and love is not loving.” Sitting in the Lehmann Maupin gallery, where Stone Love, her new show, just opened, she explains that last summer, as a sort of metaphysical metaphor, she “married” a large stone in the garden of her studio in France. “The words of the song were in my head at the time, and the chorus is fantastic because it expresses exactly how I love,” she says.


Angel Otero on His New Painting Technique and First Hong Kong Exhibition

Ahead of two museum retrospectives in America, Puerto Rican artist Angel Otero is presenting new work at his first Hong Kong exhibition at Lehmann Maupin, which runs until July 2.


ARTINFO spoke to the painter about this new series, which involves an innovative medium developed by the artist called “oil skins,” as well as his Hong Kong city highlights. 

What makes a muse? Mickalene Thomas on the power of the model

Mickalene Thomas' first book comes as a bit of a surprise. While the New York-based artist is known for her striking large-scale paintings -- embellished with rhinestones, sequins and glitter -- her monograph is dedicated to her photography. The book's subject matter, however, is true to form. The sensuously posed black women on its pages -- adorned with costume jewelery, elaborate makeup and colorful clothes -- have long represented the heart of Thomas' practice. The book is aptly named "Muse".


"'Muse' is a way of celebrating all of these women and what they have to give in these images," the artist says from her studio in Brooklyn.

The Lookout: Adriana Varejão
Art in America

Rio de Janeiro-based artist Adriana Varejão’s work will find new audiences this summer during the 2016 Olympics. She’s making a large mural for the aquatic center. A show at Lehmann’s Lower East Side outpost, her sixth with the gallery, combines two powerful bodies of work. One group includes twenty-nine self-portraits, each with face paint or adornments drawn from her research into Native American culture. Some also have imagery from postwar art. The effects are both jarring and oddly familiar, recalling the nineteenth-century portraits of Native Americans that served both aesthetic as well as anthropological aims; Varejão’s twist is approaching contemporary art as both appropriator and ethnographer. In her “Mimbres” series of paintings, the artist explores the visual culture of a people that lived in the American Southwest in the eleventh century through cracked monochromes. Titled “Kindred Spirits,” the exhibition hints at formal similarities between geometric forms used by indigenous peoples and those of twentieth-century Minimalism. —Lindsay Pollock

Gilbert & George to create gallery in London's East End
The Guardian

Spitalfields in east London has been the inspiration for some of Gilbert & George’s most famous artworks – and now the pair are planning to give back to the area by converting a local house into a non-profit gallery and foundation for contemporary arts.

10 Must-See New York Exhibitions This Summer

Mr., Sunset in My Heart at Lehmann Maupin, Chelsea (June 23–August 12, 2016)

The Arte Povera-inspired Japanese artist is back in New York with a new show at the Chelsea gallery, which is featuring new works inspired by manga and anime subculture.

Oil Skin Paintings by Angel Otero
HK Magazine

Puerto Rican artist Angel Otero exhibits his work in Hong Kong for the first. His pieces are created through a method he developed himself: He reproduces images in thick oil paint on a piece of glass, scrapes off the "oil skin" from the glass when it's dry, and collages these pieces over large-scale canvases to create totally new art pieces—proving, of course, that there's more than one way to skin a canvas. 

Hernan Bas
Modern Painters

It's all in the eyebrows. The faces of the young men in Bas's Bright Young Things actually vary little, with their pursed lips and youthful bone structure, yet the artist managers to capture a range of emotion. Consternation, captivation, and malaise play out in the backgrounds of vibrant, thickly painted scenes. The bohemian 1920s crowd photographed by Cecil Beaton, which served as inspiration for this series, is here reimagines in paintings that are as luxuriant and ornate as the parties thrown by that social set were purported to be. 

Nari Ward: The story behind an artwork in the artist's own words
Modern Painters

The is a performative piece that I first made in 2004, inspired by my application for citizenship. It took me a while; I would always get distracted because it’s a 10-page application. The papers would end up sitting on my desk, turning into an art material. So I decided I wanted to do a work that talked about the process of applying for citizenship, but correlating that with the idea of being part of a community. I took the pages of the application and make a series of drawing on them. Some of the drawings recall the schematics of colonial fortresses in Jamaica, the country where I was born. But in face they’re also just kind of meandering scribbles of space. They reference an honor the Jamaican artist John Dunkley, who painted these strange landscapes that suggest tunnels or holes.

Dakar biennale fuels new life into Africa’s contemporary art
Washington Times

Videos projected onto massive buildings, pop up art galleries and installations in an old courthouse are features of the Dakar Biennale, Africa’s largest contemporary art festival currently enlivening Senegal’s capital.


Held every two years, Dak’Art gives African and diaspora artists an opportunity to engage with each other and audiences from around the world.


The theme of the 12th edition of the Dakar biennale, “The City in the Blue Daylight,” is taken from an excerpt of a poem written by Senegal’s first democratically elected president, Leopold Sedar Senghor, a poet and strong supporter of cultural activity.

David Ebony's Top 10 New York Gallery Shows for May

Tracey Emin's journey of self discovery continues to unfold in the dynamic new series of paintings, sculptures, embroidered pieces, works on paper, and text wall reliefs in neon featured in this engaging show. The exhibition's title, “Stone Love" pays homage to the late great David Bowie, and was borrowed from the lyric to his song “Soul Love." Most of Emin's works in the exhibition center on an image of a single female nude—a self-portrait loosely based on recent photos that studio assistants have taken of her. In each work, the face is obliterated. “I don't want it to be just about me," Emin told the press at the show's preview. In the work, she aims for a more universal feeling, a sense of being alone, but not exactly of loneliness. She says that after years of struggle, she has finally embraced the fact that she is without a life partner, and has devoted herself to her true passion, which is art.


Having just been honored with a well-received two-person exhibition with Egon Schiele at the Leopold Museum in Vienna last year, Emin is committed to ever more adventurous explorations of the figure. Unlike many other prominent contemporary artists, she prefers a hands-on approach, reveling in the tactile qualities of clay, as she forms the works that would be later cast in bronze, and the fluidity and chance properties of the painting medium. For her, art-making is a profoundly sensuous, life-affirming activity, incorporating a rather lofty ambition to uphold the long and noble tradition of figurative painting and sculpture.

Liu Wei
"Artist of the Year," 10th Award of Art China

The awards ceremony for the 10th Award of Art China was held in Jianfu Palace in Beijing’s Forbidden City on May 16, 2016. The AAC, now in its tenth year, and two years into major reforms, carried out this year’s selection according to the theme of “The Contemporary in History,” seeking out the unique logic and value of contemporary art in the confluence of history and the
contemporary, global and Chinese, inside and outside, in hopes of rediscovering the
contemporary within a historical vision.

This year’s jury was originally directed by the recently departed scholar HuangvZhuan. After his unfortunate passing, his duties were assumed by the jury’s academic
 director Wu Hung, who led a jury consisting of Boris Groys, Carolyn Christov-Bakargiev, Yuko Hasegawa, Karen Smith, Wang Huangsheng, Li Zhenhua and Philip Tinari, all accomplished scholars and experts from China and across the world. They brought their diverse abilities, knowledge and experiences to bear on this year’s candidates for the AAC Awards. After intense deliberation, the jury selected this year’s award winners, with World 3: the History of Art as Ideas, edited by Huang Zhuan, winning Publication of the Year, Hu Xiangqian winning Young Artist of the
Year, and Liu Wei winning Artist of the Year.

What Happens When Artists And Technologists Work Together: Inside The Seven On Seven Conference

Plenty of technology companies struggle to put new inventions in the right context. Many call on artists to help demonstrate what’s possible. Google is systematically handing artists its HTC Vive VR headsets, which have software that enables 3D sketching, in hopes that they can demonstrate creative uses for the technology. Microsoft just presented an interactive installation, with Grimes’ music, that shows off its Kinect motion-sensing technology. There’s no shortage of similar examples, and just as much excitement to do more of it.


Artist / technologist collaborations aren’t exactly a new idea, but Seven On Seven is one of the most notable events promoting them. It’s an annual art tech hackathon hosted by Rhizome, an organization that commissions, exhibits, preserves and creates art engaged with digital culture, and the New Museum in New York City. Seven on Seven pairs seven artists with seven technologists and asks each pair to make something — anything — and then talk about it in front of a live audience.

Artist Talk

Teresita Fernández: Contemporary Forum Lecture Series
Phoenix Art Museum

May 18, 2016

Phoenix Art Museum is proud to present the internationally-acclaimed artist Teresita Fernández, in town for one night only and presenting a FREE lecture in the Museum's Whiteman Hall on May 18, 2016, beginning at 6:30 pm, as part of Contemporary Forum's Lecture Series. In this exclusive visiting artist lecture, Valley residents have an opportunity to hear first hand from Fernández on her work, vision and life, as part of the Museum's visiting artist lecture series.


The event is free and open to the public. Seating is limited.
To reserve seats, click here

Shelf Life
The New Yorker

The M’zab Valley, deep in the Algerian Sahara, is renowned for its architecture—curvy white structures built a thousand years ago from sand and clay. On a recent sunny morning, the artist Kader Attia set out to create a model of the M’zab hilltop fortress Ghardaïa for an exhibition at the Guggenheim Museum. Standing in for the adobe of the original was another ancient North African invention: couscous—around seven hundred and seventy pounds of it.

Rhizome Seven on Seven Conference
Jennifer Steinkamp & Rana el Kaliouby

May 14, 2016
New Museum, New York


Presented by Rhizome, the Seven on Seven conference pairs seven leading artists with seven luminary technologists, and challenges them to make something new together – be it an application, artwork, provocation, or whatever they imagine. They unveil their creations, and discuss their process, at this intimate public event.

Love note: ahead of her sabbatical, Tracey Emin presents 'Stone Love' in NY
Wallpaper* Magazine

No one could ever accuse Tracey Emin of resting on her laurels. Hot on the heels of unveiling new work at Lehmann Maupin in Hong Kong, the artist has followed that effort up with ‘Stone Love’ at the gallery’s New York space – a presentation of more new paintings, works on paper and neons, along with captivating embroidered works and a series of provocative bronze sculptures. The exhibtion is confirmed as her last before a year’s break.


Tracey Emin's Stone Age
W Magazine

Now that her third exhibition this year opened last week at New York’s Lehmann Maupin gallery, Tracey Emin feels that she has earned a yearlong sabbatical, which she chose to announce, in the tradition of artists who wish to make an overt statement that doubles as an inside joke, by taking out an ad in Artforum: a photo of herself along with her four representatives, their contact information, and the message “If you need anything call one of these people” in the scrawl now so recognizable from her signature neons.

The New Face of African Art
Wall Street Journal

At a time when values for some blue-chip contemporary artworks have fallen by a third from a year ago, collectors are finding pockets of strength in a surprising new art mecca—Africa.

Erwin Wurm deforms domestic interior objects at Frieze New York

At the 2016 edition of Frieze New York, Lehmann Maupin gallery presents a selection of new bronze works by Austrian artist Erwin Wurm. the three sculptures depict deformed interpretations of modern furniture and household objects, disfigured by a direct engagement with the artist himself. wurm sits, punches, crushes and drives across the original clay forms prior to casting, leaving permanent marks on their final figure. an oversized gun, a low cabinet and a sculptural dresser are arranged as a domestic interior, highlighting wurm’s engagement with everyday objects —particularly as a catalyst for challenging perceptions of volume, form, and materiality. this series continues wurm’s work with malformed and misshapen objects, beginning with the deconstruction of architectural objects, and evolving to include vintage furniture pieces and domestic items.

Instinctual Voyages: Nicholas Hlobo at Lehmann Maupin, NYC

When I saw South African artist Nicholas Hlobo’s first solo show, ‘Izele,’ at Michael Stevenson Gallery in Cape Town in 2006, I knew immediately that his work was directed by some remarkable creative impulse – it was a leap into something completely different. Rather than addressing political concerns in the aftermath of apartheid in an obvious manner, his sculptures gave pause. They gestured towards the ways in which the social and historical imperatives to which our lives are coupled – sexuality and gender expectations, and the ethnicities to which we have been tied – weigh in insistently, despite our wishes to make departures from these dictates and to fashion ourselves into the future.

Must See New York

Tracey Emin has received a lot of flak for being a hard-core romantic. Many have questioned her sincerity, but you know—love is ugly, funny, murderous, and strange. This exhibition—of sculptures, drawings, and embroidered and appliquéd paintings—though formally restrained, even classical, offers up more of what we’ve come to expect from Emin, delivered as a longing embrace that, gradually, suffocates.


10 Picks from Frieze New York 2016
Interview Magazine

The Erwin Wurm performances in front of the Lehmann Maupin booth on Wednesday and Thursday are perhaps the fair's most fleeting works. Every five to 10 minutes, a participant will pose for one minute according to Wurm's instructions.


2016 Frieze VIP Preview Reports Strong Sales, Attracts Celebrities And Collectors

“Everyone seems to be in a good mood,” said Rachel Lehmann, of Lehmann-Maupin. “It’s a very mature fair. There are great artworks, and we’ve already been selling.”

15 Blockbuster Gallery Shows You Need to See in New York This May

Tracey Emin at Lehmann Maupin, May 5-June 18, 2016


Following her marriage to a stone last summer, the honeymoon phase continues for Emin this spring in “Stone Love” (a title is inspired by the David Bowie song “Soul Love”), which spans neons, bronze sculptures, and embroidery, and a significant return to expressionist figurative paintings. Raw intimacy is at the helm of the British artist’s practice, but lately, her focus has turned to unbridled expressions of love.

Frieze Week Edition: 25 Things to Do in New York’s Art World Before May 9
New York Observer

Opening: “Tracey Emin: Stone Love” at Lehmann Maupin


Fresh off the double solo show “I Cried Because I Love You” at the Hong Kong branches of both this gallery and White Cube, British artist Tracey Emin presents new work that continues the journey of self-discovery she wowed fans in Hong Kong with. Featuring paintings, bronze sculptures, neon, embroidery and works on paper, “Stone Love,” which takes its title from David Bowie’s love song Soul Love, explores the artist’s intimate side via expressive depictions of female nudes modeled after both her own body and historical photographs. Meanwhile, the neon works glowingly capture Ms. Emin’s romantic ramblings in her own handwriting and the embroidered pieces reproduce her erotic watercolors on a grand, inviting scale. When visiting, be sure to catch the solo show of the artist’s new monotypes at Carolina Nitsch Project Room, right next door.


Lehmann Maupin, 536 West 22 Street, New York, 6-8 p.m.


Pictures at an Exhibition presents images of one notable show every weekday. This week’s shows are selected by artist Mark Dion.


Today’s show: “Kader Attia: Sacrifice and Harmony” is on view at MMK Museum für Moderne Kunst Frankfurt am Main in Frankfurt through Sunday, August 14. The solo exhibition presents new works by the artist.


Mark Dion writes: Kader Attia is one of the most significant artists working today. His complex and thoughtful meditations on individual and social trauma could not be more relevant to the realm of visual culture today.

Liu Wei Opens New Exhibition at PLATEAU in Seoul

Samsung Museum of Art’s PLATEAU space in Seoul has opened a major retrospective of controversial Chinese artist Liu Wei's works.


Entitled “Panorama,” and running until August 14, the exhibition presents highlights from the last 20 years of the artist’s varied practice, during which time he has worked in video, installation, and sculpture, as well as works on canvas and paper. The exhibition also presents his latest site-specific installation, housed under the roof of PLATEAU’s glass pavilion.

What Sold A Frieze New York So Far?

The mood at Frieze New York on Thursday was more subdued as compared with the previous preview day, exhibitors said, though it was anyone's guess whether this was due to the previous day's crush of VIPs or Thursday's gray, gloomy weather that made it feel more like Frieze London in October, and not New York in May.

Top 10 Exhibitions in Asia in May 2016

Liu Wei, “Panorama,” PLATEAU, Samsung Museum of Art, Seoul, through August 14, 2016


A leading figure of the so-called Post-Sense Sensibility generation of Chinese artists who came to prominence in the late 1990s, Liu Wei is known for a hard-edged abstract idiom and formalist vocabulary that take center stage at this ambitious exhibition. Following the artist’s critically acclaimed 2015 retrospective “Colors,” held at the Ullens Center for Contemporary Art (UCCA) in Beijing, this show presents highlights from the last 20 years of Liu Wei’s diverse practice, which encompasses video, installation, and sculpture, as well as works on canvas and paper, in addition to Liu’s latest site-specific installation, housed under the roof of PLATEAU’s glass pavilion.


Rio Artist Adriana Varejão on Her Olympic Commission and New York Show

On Thursday morning, just hours after the Olympic torch was lit in the Greek town of Olympia before embarking on a symbolic journey that will end in Rio de Janeiro in early May, the Rio-based artist Adriana Varejão welcomed a small group of press to her new show at Lehmann Maupin in New York. In a little over three months, an international audience will encounter Varejão’s work—a large mural covering the city’s new aquatics stadium—at the 2016 Summer Olympics in Rio. “I’m interested in the idea of a melange of countries, and absorbing culture,” Varejão says of her art practice, as she walks through the new show. It’s clear that the context of the Olympics, where disparate cultures commingle and compete, is an extremely fitting context for the artist’s work.


Adriana Varejão’s Cultural Anthropology
Huffington Post

Deep cultural and historical research seems to be the pivotal anchor of Adriana Varejão‘s work. Her versatile painting and sculpture-making skills, coupled with thorough investigations about colonialism, anthropology, cultural cannibalism and racial identity in Brazil, have made Varejão one of the most relevant South American contemporary artists in the past two decades. However, it was a conversation with Pedro Alonzo, adjunct curator of Dallas Contemporary, which prompted Varejão to shift focus from her native Brazil to the Native American Indians. These conversations with Alonzo turned into Kindred Spirits, a series that made its debut in Varejão’s solo show at Dallas Contemporary in September of 2015. These pieces are now on view at Lehmann Maupin on Chrystie Street along with the Mimbre paintings.




Ahead of her exhibition in Hong Kong last month, Tracey Emin announced she was married – to a rock from her garden in southern France. For a woman who spent her entire career trying to find the truth about love, this indeed represents a stepping stone… all puns intended. Soon to be hosted by New York’s Lehmann Maupin and entitled Stone Love, her latest show is yet another ode and exploration of this mysterious concept we all depend on so dearly, inspired by the first line of David Bowie’s song Soul Love and possibly this new spouse of hers. But what’s more, this exhibition marks Tracey Emin’s glorious return to Expressionist painting.

How Curator Sara Raza's New Show Smuggles Inconvenient Truths Into the Guggenheim

When Sara Raza went about curating the exhibition “But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa," which opens April 29 at the Guggenheim, she was looking for artwork rooted in that region as she has done for the many other shows she's organized over the past decade for a diverse array of international cultural institutions. But this one is a little different: all of the work she selected is entering the collection of the Guggenheim, in perpetuity.



Incorporating a stunning collection of collaged images created for the issue by the Brooklyn-based artist, Together incorporates die-cuts, embossing, different-sized pages, specialty varnishes, and a perforated removable insert.


Mickalene Thomas, a 2015 United States Artists Fellow, is a visual artist and filmmaker who has exhibited extensively both nationally and internationally since 2003. Thomas’s first solo museum exhibitions were in 2012 at the Brooklyn Museum and the Santa Monica Museum of Art. Recent solo shows include “Mickalene Thomas: Mentors, Muses, and Celebrities” at the Aspen Art Museum and “Muse: Mickalene Thomas Photographs” at the Aperture Foundation, New York, which is scheduled to travel to other venues across the United States through 2018. She is currently working toward her forthcoming solo exhibition at Museum of Contemporary Art, Los Angeles, which will open in October 2016. Her work has been shown in numerous group exhibitions, and it is in the permanent collections of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum; the Detroit Institute of Arts; and the Seattle Art Museum; among many other institutions. Thomas is represented by Lehmann Maupin, New York and Hong Kong; Kavi Gupta Gallery, Chicago and Berlin; Susanne Vielmetter Los Angeles Projects; and Galerie Nathalie Obadia, Paris and Brussels. Born in 1971 in New Jersey, she lives and works in Brooklyn, New York.


Critics' Pick: Erwin Wurm

Erwin Wurm has a knack for finding eureka moments in the most mundane circumstances. Domestic objects as activated by everyday people define his current exhibition, bringing together three bodies of work ranging from the early 1990s—including printed instructions on paper outlining fattening recipes—to the present, with oversize bronze and polyester sculptures that look like they’ve been bashed or clawed.


Sculpture Finds a Parking Space on the High Line
Wall Street Journal

Nari Ward’s ‘Smart Tree’ joins a handful of other new artworks at the New York City park


Sculpture Finds a Parking Space on the High Line
Wall Street Journal

Nari Ward’s ‘Smart Tree’ joins a handful of other new artworks at the New York City park

Streets: Os Gemeos (Milan) – Part II

As previously reported, Os Gemeos recently spent some time in Milan, working on the first intervention in a new program by Pirelli’s HangarBicocca – Outside the Cube. Curated by Cedar Lewisohn, this project is dedicated to street art and related forms of art connected to the urban setting and public contexts, and the twins had the honor to open it with a large mural installation entitled Efêmero (ephemeral).



Tracey Emin Turns Poet for Season Two of Daata Editions

Tracey Emin has turned poet for Season Two of Daata Editions’ series of commissioned digital artworks, creating six new spoken word artworks for the site. Founded in 2015,  Daata Editions is an online platform for the sale of easily downloadable video, sound, web and poetry art editions.


An Empty Manhattan Apartment Is Transformed into a Work of Art
Architectural Digest

“I’m going home to paint my walls red,” artist Mickalene Thomas exclaimed earlier this week after walking through an apartment on New York’s Upper East Side. In the living room, which she decorated, a series of photographs of her mother and muse, Sandra Bush, fittingly titled “How to Design a Room Around a Striking Piece of Art,” are hung against red lacquered walls, and a leopard-upholstered sofa and gleaming gold-top tables hold the floor.


Opening: Adriana Varejão at Lehmann Maupin
Adriana Varejão’s jarring abstractions look at the ugliness that lies underneath our everyday lives—the colonialist implications of everyday objects and the way identity is coded into them. In the past, the Brazilian artist has made sculptural works in which tiles from the Baroque period are blown open, revealing blood and guts underneath them; the beauty of colonialist structures is quite literally built on violence. But tiles, for Varejão, refer to the structures that guide life, and so, in her new works, Varejão will combine allusions to Minimalism, a style based on constructions, with Native American motifs. In new paintings, these visual motifs are laid over her face, making her image a toss-up of symbols that create identity. Meanwhile, in new works from her “Mimbres” series, Varejão continues making art about a New Mexican people that make pottery using a crackled technique. The picture plane quite literally bursts open, in reference to how forms are unstable when cultures come together. 


Editors' Picks: 12 Art Events to See in New York This Week

Artist Talk: A Conversation with Adriana Varejão for "Kindred Spirits" at Lehmann Maupin
Before she takes on the Aquatic Stadium at the upcoming Rio Olympics, Adriana Varejão is exploring how Native American art has influenced 20th-century minimalism in her sixth show at Lehmann Maupin.


In the 29 self-portraits that make up Kindred Spirits, sparse lines coexist with a variety of Native American face paintings, while her Mimbres series consists of a series of oil paintings that reference designs of the Mimbres people who once dwelled in the American Southwest. Both series pay tribute to overlooked influences, and the need to recognize origins.


Location: 201 Chrystie Street
Price: Free
Time: 5:00 p.m.


10 Things to Do in New York’s Art World Before April 22
New York Observer

Opening: “Adriana Varejão: Kindred Spirits” at Lehmann Maupin
Adriana Varejão’s sixth solo outing at the gallery offers a selection of paintings from two recent bodies of work that explore the effects of colonialism on the aesthetics of identity. The 29 paintings in this internationally recognized Brazilian artist’s Kindred Spirits series present realistic portraits of Ms. Varejão with her face and body decorated with motifs related to Native American tribes as well as Minimalist artworks, while her abstract series of “Mimbres” paintings make visual reference to the artistically sophisticated group of people of the same name who inhabited the American Southwest in the 11th century.


Painter Hernan Bas on How His Appetite for Collecting Feeds His Art

The painter Hernan Bas first caught the collecting bug early in his career, when he was a fledgling artist working for the Rubell Family Collection in Miami. “Going past the collection every day, being so familiar with it, made me realize which objects are something you could actually live with every day and which ones kind of fade away after the tenth viewing,” says Bas, recalling his days archiving works and giving tours. “That informed my way of collecting quite a bit.”


Catherine Opie Reflects on Her Evolution on Her 55th Birthday

Artnet spoke to the artist in advance of her 55th birthday to find out what she's learned about art, life, and radicalism.

Women Are Taking Over This Year's 'Seven on Seven' Conference

Rhizome recently announced the teams for their 2016 edition of "Seven on Seven" conference in New York and the lineup is an impressive wave of creative movers and shakers. Since 2010, the nonprofit has invited artists and technologists to collaborate on time-sensitive projects at the New Museum. The all-star roster this year includes polymath Miranda July and video artist Hito Steyerl, who is participating in the 32nd Bienal de São Paulo.


Previous iterations include a 2011 collaboration between artist Rashaad Newsome and inventor Jeri Ellsworth, as well as a 2010 venture between painter Tauba Auerbach and littleBits founder Ayah Bdeir. Among the event's feature projects, notable works count last year's collaborative artwork Panda-to-Panda by artist Ai Weiwei and Wikileaks member Jacob Appelbaum; and Image Atlas, an indexing project by photographer Taryn Simon and beloved computer programmer Aaron Swartz.


Check out what the artists have been up to ahead of their upcoming collaborations on May 14.


An Artist and a Poet Capture Death in a Hospice Room
T Magazine

For T’s ongoing series, A Picture and A Poem, the Rome prize-winning artist Nari Ward responded to a poem by Carol Muske-Dukes, the former poet laureate of California.


Billy Childish: musician, painter and poet
Financial Times

The wildly prolific founder of The Stuckists talks about celebrity fans, his new album and why he’s ‘not bitter about anything’


A Sense of Placeness
High Line Magazine

This spring, artist Nari Ward will unveil a new work on the High Line presented by High Line Art. Cecilia Alemani recently sad down with the artist in his Harlem studio to discuss his upcoming commission, the inspiration for his work, and the High Line’s unique sense of motion and flux. 


Video: Lee Bul’s Monumental Sydney Biennale Dreamscape

South Korean artist Lee Bul’s monumental installation for the 20th Biennale of Sydney 2016 (20BOS) is one of the major centerpieces of the three-month event.


Hernan Bas on Painting Aristocratic, Queer Life in 1920s London

Aloof, gay waifs appear as persistently in Hernan Bas’s paintings as saints in a cathedral. While the young men that appear and reappear in his canvases have become somewhat of a trope, Bas’s compositions nonetheless arise from obsessive research and idiosyncratic material experimentation, as well as a seriously funny sense of humor.


His latest body of work, titled Bright Young Things, is no exception. Immersing himself in the history surrounding the aristocratic elite of 1920s London, Bas identifies a certain emerging permissibility of homosexuality within the period.

Tracey Emin in HK

Hong Kong’s hectic past month may have had art lovers rushing around as madly as March hares, but in case you couldn’t keep up, a few of the exhibitions that opened during Art Basel week are still going on. We’re bringing you two of them. In the 1980s, Tracy Emin came to public attention as part of the art group called the Young British Artists. Her early autobiographical artworks often drew on her own private life, and frankly referenced love and sex. Last month during Art Basel, she was in Hong Kong to open a solo exhibition across two galleries, White Cube and Lehmann Maupin.

Adriana Verejão
in Conversation with Curator Pedro Alonzo

April 22, 2016, 5PM

On Friday, April 22, Adriana Varjeão will be in conversation with curator Pedro Alonzo at 201 Chrystie Street, New York, 5PM.


This conversation takes place the day following the opening of Kindred Spirits, Varejão's sixth solo exhibition with the gallery. Last fall, Alonzo curated an exhibition work by Varejão of the same title at Dallas Contemporary. 


Tracey Emin: The controversial artist on her 'most mature' show to date

Whether it's a bed covered with cigarettes and condoms, or a tent emblazoned with the names of everyone she has ever slept with, Tracey Emin's work has often been personal and confrontational.


But now it seems as though the Turner-nominated Brit has done some growing up. At least that's how she sees it.


10 Blockbuster Shows Opening in New York This Spring

Tracey Emin: Stone Love at Lehmann Maupin, Chelsea
After showing works at a two-gallery show at Lehmann Maupin and White Cube's Hong Kong space, the British artist comes to New York, where she presents her new works before going on sabbatical. Emin's recent works focus on the theme of impermanence, based on her marriage to a stone, which took place at her studio in France last summer.


Tracey Emin: Stone Love will be on view at Lehmann Maupin, Chelsea from May 5 – June 18, 2016.


What Happens When Artists Take Over an Upper East Side Mansion
W Magazine

For the installation "Be My Guest," artists like Mickalene Thomas went wild with color to transform a house the likes of which the staid neighborhood had never seen.


Erwin Wurm and Brigitte Kowanz to Represent Austria at 2017 Venice Biennale

Erwin Wurm and Brigette Kowanz have been tapped to represent their home country of Austria at the 2017 Venice Biennale.


The two artists will present separate projects in the shared space of the Hoffmann Pavilion, under the show title “Licht-Pavillon” (Light Pavilion).


Erwin Wurm and Brigitte Kowanz to Represent Austria at the Venice Biennale

For the 2017 Venice Biennale, Erwin Wurm and Brigitte Kowanz will represent Austria with a show titled "Licht-Pavillon" (Light Pavilion). The pair has been selected for the honor by culture minister Josef Ostermayer and pavilion commissioner Christa Steinle.



Erwin Wurm and Brigitte Kowanz to Represent Austria at 2017 Venice Biennale

Artists Erwin Wurm, whose multidisciplinary works push representations of the body through lenses both funny and grotesque, and Brigitte Kowanz, whose works explore the visual forms of light, will represent Austria at the 2017 Venice Biennale. This is not the first time Wurm will show at Venice: in 2011 he exhibited Narrow House, 2010, an installation of a small cottage with a hedge and path, abutting the Palazzo Cavalli Franchetti.


Where Are They Now? Tracking the Neo-Geometric Conceptualists
LEAP Magazine

We live in a state of the perpetual present. With the revolving door of exhibitions in more and more venues, commercial and scholarly alike, thousands of artists appear on a relatively flat plane of aesthetics. This is good for a lot of things—fair art criticism among them—but it tends to hurt our understanding, as viewers, of where the art is actually coming from. Neo-geometric conceptualism is a case in point. Best known as Neo-Geo (and also called Neo-Conceptualism and Simulationism), the 1980s East Village movement involved a redeployment of minimal strategies from conceptual art in relation to popular culture, melding aspects of pop art and conceptualism. Many of its leading artists are now well-known on their own. LEAP takes a look at how their work has evolved, and what they might still share.


VIDEO | Tracey Emin on ambition and ageing
Financial Times

On the opening of a new exhibition in Hong Kong — her first in greater China —Tracey Emin discusses love and loss, ambition and ageing, with the FT’s Griselda Murray Brown.


The Lookout: Hernan Bas at Lehmann Maupin
Art in America

The apathetic young men in Hernan Bas’s enchanting recent paintings in “Bright Young Things” could be the same figures cavorting on the Rich Kids of Instagram page, wealthy socialite types not shy about their lavish lifestyles. The acrylic and pastel works, showing such BYTs sunbathing, boating, and drinking wine in opulent settings, might inspire the same kind of envy as those “Rich Kids,” though they inhabit an Impressionist-era world of leisure. But, in a departure from similar scenes by Seurat, Renoir, or Monet, Bas’s male figures exude a pronouncedly softer masculinity, suggesting homoerotic readings. —Julia Wolkoff


Fantastic Four

...The next night just about every gallery in town opened their doors to stragglers who made their way through a tropical downpour. Tracey Emin gave a talk at the Four Seasons for her double show at Lehmann Maupin and White Cube: “Art should make people stand still and be quiet,” she said.

VIDEO | My Favorite Things: Sandra Jackson-Dumont on Mickalene Thomas' "Hair Portrait #20"
Seattle Art Museum

The Seattle Art Museum's former Deputy Director of Education and Public Programs and Chairman of Education at the Metropolitan Museum of Art, Sandra Jackson-Dumont, discusses black artist Mickalene Thomas’ impact on the art historical canon.


Winners and losers in the giddy melee of Art Basel Hong Kong
Apollo Magazine

Among the exhibitions opening the same week at Hong Kong’s expanding number of international galleries is Tracey Emin’s ‘I Cried Because I Love You’, at White Cube and Lehmann Maupin galleries (until 21 May). Emin’s work is most powerful when it homes in on a single theme, and a condensed range of media, as was the case here. Bodies tangling together in moments of clumsy coitus were the subject, repeated and developed in the form of sketchbook drawings, bleary paintings, and a couple of embroidered canvases artfully copied from drawings. But Emin’s work is most arresting when it is most artless, raw and uncalculating. This sets her apart from the calculating wit and restraint of many younger peers. She has a gritty kind of gravitas that is rare.



Nicholas Hlobo
The New Yorker

One of the most intriguing figures of South Africa's vibrant art scene makes his New York debut. The high point is a group of uncanny assemblages, hanks of leather sutured to found objects. A chunk of driftwood, conjoined to a curve of black leather and a mass of red tentacles, has the menace of a beached sea creature. Hobo’s paintings, ribbons and leather stitched onto canvas, are far less enigmatic, and occasionally feel half finished. Titles often freight Hlobo’s work with themes of loss, tradition, and gay black identity—but, to understand them, you’d need to consult a Xhosa dictionary.


Through April 17, Lehmann Maupin, 201 Chrystie Street. 


Do Ho Suh: The Fabric of Life
The Art Newspaper

As shows of his work open at opposite ends of the US, the nomadic Korean-born artist explains how his coloured cloth installations reflect his transient existence 


Tracey Emin Pushes Her Art Forward through a Marriage to a Stone

Last summer, Tracey Emin arranged a marriage ceremony at her studio in southern France, in which she wedded a stone. This month, the artist’s two-part show in Hong Kong, “I Cried Because I Love You,” spread over Lehmann Maupin’s and White Cube’s galleries, is an insight into this peculiar relationship. 


Hernan Bas: Illustrated Answers with Neo-Romantic Painter

If Oscar Wilde were a 21st century visual artist we have a feeling that his work would look somewhat like Hernan Bas’ paintings. It’s no surprise, then, that Bas cites Wilde and Joris-Karl Huysmans as inspirations for his oeuvre, which consists of intricate and colorful romantic paintings that constantly explore nostalgia, the opulent social lives of the bourgeoisie, and, perhaps most evidently, queerness. The Detroit-based artist has gained worldwide recognition, with exhibitions in the Brooklyn Museum, the Saatchi Gallery in London, the Galerie Emmanuel Perrotin in Paris, and more recently his fourth solo show, ‘Bright Young Things,’ at the Lehmann Maupin gallery in New York City, on view until April 23, 2016. In this exclusive interview, the splashy neo-romantic painter shares illustrated answers with us.


Sculptor taken by the raintree
The Straits Times

Shirazeh Houshiary uses the tree to tell the story of migration in her print works done at STPI


Tracey Emin: from the inside out
Financial Times

By Griselda Murray Brown


You see the woman first; she is leaning back, naked, legs parted. Then you notice she is resting against another body, a man. She has only the outline of a form but the man is more solid, filled in with fleshy pink acrylic. You don’t see the erect penis at first — but there it is, enclosed in the woman’s hand.


Works like “Sunday morning” (2015) are the reason Tracey Emin’s new show in Hong Kong carries a warning of explicit content. Divided between White Cube and Lehmann Maupin galleries, it is her first solo exhibition in greater China and it opens this week to coincide with Art Basel Hong Kong, when the international art world is in town.

April 5: “Fallen Star: Finding Home” Film Reveals the Making of Do Ho Suh Sculpture
UC San Diego News

On Tuesday, April 5, the campus and local community are invited to attend the free premiere of “Fallen Star: Finding Home,” a 50-minute film by artist Do Ho Suh. The documentary tells the behind-the-scenes story of the planning, engineering and installation of “Fallen Star,” a house precariously perched on the edge of a seven-story building at the University of California, San Diego. The public artwork became the 18th addition to the campus’s Stuart Collection—an ongoing program of commissioned, site-specific sculptures—in 2012.


Hailed in her youth, an artist's work matures with her
New York Times

Tracey Emin, whose confrontational and confessional works made her one of the most recognizable figures in the world of British contemporary art, opened her first solo exhibit in greater China on Monday. "I Cried Because I Love You" ls showing at the White Cube and Lehmann Maupin galleries in Hong Kong until May 21.


Ms. Emin, 52, shared her thoughts (and her breakfast) while lounging in a bathrobe in her Hong Kong hotel suite. 


'Embassy of The Real': a Biennale of Sydney satellite show on Cockatoo Island
Wallpaper* Magazine

Monumental in scale, Lee Bul's work drapes the 1,640 sq m Turbine Hall with clear and striped plastic sheets, a hovering air balloon, silver airship and flickering track lighting. Macabre circus scenes appear in black outlines upon closer inspection, from beheaded unicyclists to carousels spinning out of control; its sinister tone suggests that our notion of utopia is deeply marred.


Artist Talk: Tracey Emin
Art Basel Conversations and Salon

March 24, 2016, 2-3PM
Hong Kong Convention & Exhibition Centre

As part of the Art Basel Conversations and Salon program, artist Tracey Emin will be in dialogue with Tim Marlow and Sir David Tang on Thursday, March 24, 2016. Art Basel's stimulating program of Conversations and Salon talks allow audiences to deepen their knowledge of artistic practice, the international art world, and the art market. Conversations and Salon is programmed by Stephanie Bailey. For more information, click here.


Auditorium, Hong Kong Convention and Exhibition Centre
Level 1, Entrance Hall 1A, Hong Kong Convention & Exhibition Centre
Wan Chai
Hong Kong


Best of the Best: Five Booths at Art Basel Hong Kong
New York Observer

Lehmann Maupin balances its display between East and West, with works by Lee Bul, Do Ho Suh and Liu Wei juxtaposed by pieces from Americans Angel Otero, David Salle and Mickalene Thomas. The focal point of the booth, however, is British art star Tracey Emin, who’s having a two-gallery exhibition of new paintings, sculptures, neons and embroideries at the Hong Kong spaces of both Lehmann Maupin and the London-based gallery White Cube, which represents the artist in her hometown. Jointly titled “I Cried Because I Love You,” the doubleheader delves deeply into Ms. Emin’s love life, a favorite topic of the former YBA (Young British Artist), who’s now a more experienced MBE (Member of the Order of the British Empire).


Tracey Emin: ‘I’m looking for a soul mate, nothing else will do’
The Art Newspaper

As her solo show opens in Hong Kong, the British artist tells us about marrying a stone in France


Last summer, under an olive tree in her garden in France and wearing her father’s white funeral shroud, Tracey Emin married a large ancient stone. A series of drawings she made of the union weave a thread through the artist’s first solo exhibition in China (in 2014, she showed a large neon work in Hong Kong’s Peninsula hotel). Her show, I Cried Because I Love You (until 21 May), is a joint presentation by Lehmann Maupin and White Cube and is displayed across their Hong Kong galleries. Love has been a constant source of inspiration for Emin, and here she discusses marriage, soul mates and how her perception of love has become more spiritual with age.


A Conversation with Tracey Emin

With her first exhibition in Greater China opening at Lehmann Maupin and White Cube in Hong Kong in March, I Cried Because I Love You (21 March to 21 May 2016), Ocula talks to Tracey Emin about her long career. The conversation considers how the artist has developed since her survey exhibition at Turner Contemporary in 2012, a world-class museum located in Emin’s hometown of Margate, where the artist grew up. In that show, Emin presented an entirely new body of work, marking a departure which has seen the artist explore, in more formal terms, the female figure, leading to exhibitions at White Cube in 2014 and the Leopold Museum in 2015.


Tracey Emin: A 'Gold Rush' For Art in Asia

Ahead of Art Basel in Hong Kong this week, galleries Lehmann Maupin and White Cube are presenting Tracey Emin's exhibition, "I Cried Because I Love You". This will be the British artist's first solo exhibition in Greater China and says Asia's art world is in a "gold rush." Bloomberg's Shery Ahn spoke with artist Tracey Emin.

Artist Talk: Lee Bul
20th Biennale of Sydney

March 18, 2016, 1PM
Turbine Hall, Cockatoo Island, New South Wales, Australia

For the 20th Biennale of Sydney, Lee Bul will present a new installation which expands the entirety of Turbine Hall, the largest structure on Cockatoo Island.  Using various materials, Lee Bul constructs a circus like landscape that echoes the industrial architecture of Turbine Hall.


On Friday, March 18, 2016 at 1PM she will discuss her monumental, site-specific work, Willing To Be Vulnerable, 2015-16.


Shirazeh Houshiary & Sue Hubbard: In Conversation
Singapore Tyler Print Institute

March 18, 2016, 2:30PM
Singapore Tyler Print Institute (STPI)
41 Robertson Quay, Singapore 238236

On March 18, 2016, Shirazeh Houshiary will be jointed by art critic, writer, and novelist Sue Hubbard for a walkthrough of her current exhibition The River is Within Us at Singapore Tyler Print Institute (STPI). The artist will share her inspiration and ideas behind this latest body of work, and the installation Breath, which exhibited as a collateral event at the 55th Venice Biennale.


9 Spots to Visit During Art Basel Hong Kong
Architectural Digest

The three-day art fair is the perfect opportunity to check out some of the city’s best designed places to stay, eat, and see


Sydney Biennale review – contemporary art meets sci-fi in wide-reaching show
The Guardian

On Cockatoo Island, for instance, the South Korean artist Lee Bul – an artist with a longstanding connection to sci-fi through robots, cyborgs and anime-influenced sculptures – presents Willing To Be Vulnerable (2016), a gigantic installation in the Turbine Hall of draped and painted plastic sheets, an airship, a balloon, track lighting and ominous black figures that look like impaled and beheaded corpses. The work is highly atmospheric, a perfect fit for the venue, and a playful if dark suggestion of a steampunk circus with the air let out.


Getting Under Angel Otero's Skin

For Angel Otero, painting is a living species like any other. The medium must evolve, change its form and processes in order to survive. Otero’s oeuvre might thus be considered a new, cadet branch of painting, one that pushes against art historical traditions while still paying homage to some of its greatest practitioners. Although Otero begins a work with oils and all the established tools artists have used for centuries, his initial painting is done on glass instead of canvas. After this first part is finished, Otero covers it over with gestural brushstrokes, essentially creating flipped painting in which the background obscures the work underneath. Otero puts away this painting on glass for about a month, during which time the pigments only partially dry. He then scrapes the layers of semi-wet paint onto a sheet of cardboard, transforming the texture of his original work. Lastly, Otero slips all of these layers onto stretched canvas covered in adhesive. The final paintings are often wildly abstract, even if their origins began as, say, reproductions of works by artists as varied as Nicolas Poussin, Cy Twombly, and Stuart Davis (all of whom Otero has cited as directly influencing his most recent series). In this way, Otero turns painting into a new beast entirely, one innovative enough to stand as a retort to the “painting is dead” mantra. With a work by Otero making an appearance in a new auction benefiting the Brooklyn Academy of Music, we ask the artist about his background, the most arduous part of his process, and his studio rituals.



Talking Heads
Prestige Magazine

Multimedia artist Tony Oursler chats with Oliver Giles about the threat of technology, his obsession with the occult and the death of his friend David Bowie.


Taking Tea with Tracey
Discover Magazine

Once the enfant terrible of British art, Tracey Emin reflects on more than 20 years disrupting the art world as she launches a new show in ‘strangely funny’ Hong Kong


Brooklyn Academy of Music Benefit Auction

March 16-31, 2016

With Teresita Fernández as Honorary Artist Chair, this year’s Brooklyn Academy of Music (BAM) Art Auction will feature a selection of works by established and emerging artists, including Angel Otero and Tim Rollins and K.O.S. Bidding opens online on on March 16, 2016 and closes March 31, 2016 at 9PM. The closing party will be held at Bridget Donahue on March 31, 2016 from 7-9PM. 


For the full artist list, to bid, and RSVP, please click here.


Strange Bedfellows
Hong Kong Tatler

Entrepreneur and bon vivant David Tang has been a collector and good friend of Tracey Emin for many years, so who better to interview the former wild child of contemporary British art ahead of her debut Hong Kong exhibition this month? The irrepressible pair meet at a London cultural hub, the China Exchange, to swap views on love, romance and David's bed.


National Spotlight: State of the Art Scene in South Korea

In a multi-part series, various prominent art market players talk to Art+Auction about recent developments in their respective regions. Here, we spotlight Youn-Seok Chey, managing director of Seoul Auction.


Youn-Seok Chey, managing director of Seoul Auction, has spent more than a decade with the house, which launched in 1998. The debut of its Hong Kong branch in 2008 was instrumental in expanding the overseas market for Korean art.


Bohemia, By Way of the Aristocrats
New York Times

The artist Hernan Bas seized on the subject of the “Bright Young Things” generation after discovering a book about Stephen Tennant, a dandy figure of that Jazz Age period. The artist — who has long dealt with queer male themes — was particularly interested in accounts of those young, bohemian aristocrats suggesting that queerness was boyish charm rather than criminal aberrance.


Mickalene Thomas on Muses, Models, and Mentors
Interview Magazine

Brooklyn-based artist Mickalene Thomas is known for her large-scale, rhinestone-encrusted, highly stylized collaged portraits of everyday black women, whom she calls her muses. However, in a new solo show entitled "Mickalene Thomas: Mentors, Muses, and Celebrities," opening today at the Aspen Art Museum, Thomas turns to black celebrity women found in films and on the stage to explore the relationships of black sisterhood.


Homegrown philanthropy fuels the new Speed Art Museum
The Art Newspaper

How did the Speed Art Museum—an under-the-radar institution in Louisville, Kentucky, far from a major art capital—manage to pull off a $60m renovation without a dollar of public funding? “Come to Louisville and you’ll understand right away,” says Brooke Brown Barzun, a native of the city and donor to the museum. Over the course of its seven-year fundraising campaign, the Speed managed to exceed its initial $50m goal by $10m.


12 Things to Do in New York’s Art World Before March 11
New York Observer

Opening: “Hernan Bas: Bright Young Things” at Lehmann Maupin
A Cuban-American artist who splits his time between Miami and Detroit, Hernan Bas makes melancholic paintings of young men that seem to be caught in another time. The dream-like narrative paintings and drawings in the show depict stylish lads decadently reclining by a pool filled with empty champagne bottles, coolly occupying a theatre box and falsely praying for redemption. Dubbed “Bright Young Things,” the new series recalls London in the 1920s as seen through the eyes of young, bohemian aristocrats, who were actual people that were cleverly culled together by the artist from art historical and literary sources.


The Art Market: Fair play
Financial Times

Art Basel owners build a new fair portfolio; Armory Show spotlights African artists; Sotheby’s staff head for the door


PriV%te: Tony Oursler

For nearly four decades, New York-based artist Tony Oursler has built a multimedia practice exploring the increasingly broad intersection between technology and human behavior. Seemingly nothing has been off-limits in his approach: painting, sculpture, video installation, performance, language, music and sound are among the myriad means through which the former protégé of John Baldessari tackles subjects ranging from government surveillance programs to big data.



A talk with Opie in her backyard studio about the state of photography and the city of Los Angeles


Single Artist Presentations Shine at the ADAA Art Show

The ADAA Art Show, the annual outing from the Art Dealers Association of America, struck first this Armory Week, hosting a press preview at the Park Avenue Armory on March 1, as exhibitors scrambled to complete last-minute installation details.

Broad Sees Correction in Art Market as Armory Week Begins

"It’s time for a correction” in the art market, billionaire Eli Broad said.


Broad had just arrived at the VIP opening of the annual Art Show at the Park Avenue Armory where guests -- including actor Steve Martin and financiers Tom Hill, Don Marron, Joel Ehrenkranz and Peter Kraus -- munched Peking duck rolls and bourbon-drenched meatballs. The Tuesday event marked the beginning of Armory Arts Week, this year’s first big test of art fair sales, which have been expanding in recent years.


ADAA Art Show Kicks Off Armory Week with Sales of Sol LeWitt Folding Screens, Nick Mauss Mirrors

As the ceremonial starting bell for Armory Week in New York, the ADAA Art Show brought 72 galleries to the Upper East Side’s Park Avenue Armory


Photographer Spotlight: Catherine Opie
LA Review of Books

Catherine Opie is a formidable figure in the West Coast photography pantheon. She grew up in Sandusky, Ohio, in a family devoted to crafts and painting, surrounded by artistic kin and media, including a grandfather keen on photography. Enthralled by a Lewis Hine photograph, she got her first camera at age nine. “Photography allowed me a way to observe and think about the world and feel that I had a language. Writing didn’t come naturally to me; my language was really visual. And I just never stopped.”


12 Things to Do in New York’s Art World Before February 26
New York Oberserver

Opening: “Nicholas Hlobo” at Lehmann Maupin


A multi-disciplinary artist from South Africa who has a fascination with eels, Nicholas Hlobo makes his New York solo debut with a show of mixed-media paintings and sculptures inspired by the migratory patterns of the elongated creatures. A predatory fish, eels live near the shore before being biologically called to spawn deep in the ocean and dying after the propagative act. The artist uses the voyage as a metaphor for his own creative quest, while making works that also reference his ethnic heritage.

Lehmann Maupin, 201 Chrystie Street, New York, 6-8 p.m.


Editors' Picks: 10 Must-See Art Events This Week

Nicholas Hlobo at Lehmann Maupin

Nicholas Hlobo is known for his sprawling, amorphous installations. At the gallery's first exhibition for the queer South African artist, Lehmann Maupin is offering a different side of his work, "inspired by the migratory patterns of eels," as well as their curious mating rituals. Expect to see lots of stitches, and leather.


Video: Nari Ward show at Pérez Art Museum Miami
Miami Herald

Nari Ward weaves his often scathing commentary through a range of unexpected industrial materials and found objects in his artwork now on exhibit at Pérez Art Museum Miami.


10 Artists You Should Be Following on Instagram in 2016

For those looking for distractions, Instagram is a surefire tool to break up the monotony of the day — see a sinfully delicious runny egg here, check out someone’s jealousy-inducing vacation photos there. But if you commit to enough trolling, Instagram can also be a never-ending encyclopedia of some truly beautiful and wacky things. A lot of these posts come to us courtesy of today’s artists (who have found yet another medium to keep us intrigued), so here we present our 2016 guide to the top 10 artists you should be following on Instagram, in no particular order (click here to see who made the cut in 2015). Some may be bigwigs whose work you already know, while others are quieter forces whose intimate mood boards and color palettes will bring a little spark back into your drab, meme-heavy feed. 


Catherine Opie in Conversation With Rodarte
New York Times

The photographer Catherine Opie is the focus of several new shows on both coasts. A current exhibition at Lehmann Maupin in New York, split between the gallery’s Chelsea and Lower East Side locations, showcases a wide assortment of her work — including landscapes, portraits and pieces from her “700 Nimes Road” series, photographs of Elizabeth Taylor’s belongings.She is also currently the subject of three shows in Los Angeles — at LACMA, MOCA’s Pacific Design Center and the Hammer. She spoke to the Rodarte designers Laura and Kate Mulleavy, her frequent collaborators who will show their fall/winter 2016 collection today, for T.

Opening Party - Do Ho Suh: Passage
Contemporary Arts Center, Cincinnati

Passage is the most comprehensive survey exhibition of Korean-American artist Do Ho Suh to date. Suh creates a series of life-size fabric replicas based on the houses that he has occupied, serving as a meditation on the legacy of home and migration. Passage spans the last 10 years of Suh’s career and will bring together a number of his most iconic installations for the first time, from his signature fabric architectures, room-sized rubbings and appliance-sized lightboxes to thread drawings, works on paper, scale models, video installations and multimedia documents of his public works.


February 12, 2016
7PM ARTIST TALK with Do Ho Suh - CAC Members Only
8PM GALLERIES OPEN - Free and open to the public, Cash Bar


Tracey Emin's "I Cried Because I Love You" at Lehmann Maupin and White Cube Hong Kong

Lehmann Maupin and White Cube are jointly presenting “I Cried Because I Love You,” an exhibition of Tracey Emin’s work spread across their gallery spaces in Hong Kong this March.



Photos of Elizabeth Taylor’s Home Capture Its Beauty and Banality

Like a closed curtain at the beginning of a performance, a red, wavy material with the name “Elizabeth Taylor” emblazoned in white lettering fills the frame. This first photograph in Catherine Opie: 700 Nimes Road, on view at Lehmann Maupin, sets a dramatic tone for the rest of the exhibition.


‘Muse: Mickalene Thomas Photographs’ and ‘Tête-à-Tête’What to See in New York Art Galleries This Week
New York Times

It might be sacrilegious to admit that I like Mickalene Thomas’s photographs better than the lavish, collagelike paintings that made her famous. There is a clarity and simplicity to the photographs; a rawness and immediacy I find preferable to the calculated baroque excess of the paintings. The two practices are connected, though: Many of the photographs on view in “Muse: Mickalene Thomas Photographs” at Aperture served as sketches or studies for those paintings.


The Historical and Fictional Worlds of Nari Ward

At the Pérez Art Museum (PAMM), Nari Ward’s retrospective looks at simulations of paradise — environments not unlike the jungle-like landscapes of hanging greenery and flora that make up PAMM’s curated exteriors. Through five rooms, the Jamaica-born Ward creates fictional experiences for the viewer by skewing found material, photography, collage, video, social documentation, and sculpture into art objects. While the messages of several pieces, like an overprocessed tropical drink, can be overly explicit (for example, do we really need to see monolithic snowmen dotted with mango seeds to understand the effect of consumerist tourism?), Ward’s strengths lie in his exploration of diasporic identity and African-American culture. His pieces, curated by PAMM’s Assistant Curator Diana Nawi, raise questions about the troubling face of contemporary conversations about blackness.


Catherine Opie's 700 Nimes Road review – LA's triple-threat shines like a diamond
The Guardian

Opie’s photography is having a moment with three separate LA shows. The latest focuses on the enduring appeal of Elizabeth Taylor – and her famous jewelry


Mickalene Thomas on Her Photographic Muses

“I started with my mother and myself,” the artist Mickalene Thomas told me when I met her at the Aperture Foundation in Chelsea on a dark, wet night earlier this week. Thomas, best known for large-scale rhinestone-bedazzled paintings of African-American subjects, was in the midst of installing her latest show, “Muse,” which opens today. But with hammers clanging and a flurry of assistants still at work, the artist took time to walk me through the space.


Critics' Pick: Tony Oursler, PriV%te

Tony Oursler’s “PriV&te” draws on the artist’s long-standing concern with the implications of data’s encroachment on personal life, in particular Big Brother’s and big business’ yearning to map and identify the human face. This series of seven large and colorful head-shaped panels, four of which are inset with video screens that play animated composites of erratically moving facial features, borrows dots, grids, and numbers reminiscent of measurements used in facial recognition software to adorn each panel. The panels’ surface textures affect a sleek, glittery mood of hyperbolic sci-fi technology.


'I Do Like To Stare': Catherine Opie On Her Portraits Of Modern America

For some, photography is a vocation. For Catherine Opie, it's also a social liability.


"Staring at people's faces is a problem with me," the artist admits. "I mean, my wife is constantly saying, 'You're staring at that person.' And I'm just like, 'I'm really sorry. I'm making a picture.' And I do like to stare."


Opie is a stocky, affable presence with graying brown hair tucked under a black baseball cap. The 54-year-old has made it a lifelong project to document all kinds of American identities and landscapes, but she caught the art world's attention with a 1994 self-portrait that still affects how she's perceived today.



Prepping for Art Basel Hong Kong
Condé Nast Traveler

As the global market takes notice of contemporary artists from mainland China and Hong Kong, HK has become a regional hub for creators—and the buyers that fuel their visions. Get a glimpse of the latest at these of-the-moment institutions, or during Art Basel Hong Kong (March 24–26).


Kindred spirits: Mickalene Thomas' collaborative photography at Aperture
Wallpaper* Magazine

Even though the outcome of Mickalene Thomas’ artistic practice tends to be large-scale paintings encrusted with rhinestones, along the way she is known to take photographs of her subjects as part of that process. Those photographs are now the subject of ‘Muse: Mickalene Thomas Photography and tête-à-tête’, a two-part exhibition at New York's Aperture Foundation.



Critics' Pick: Catherine Opie

The exhibition “700 Nimes Road” is named for the address of Elizabeth Taylor’s Bel Air home, which Catherine Opie—who shared an accountant with the star—gained access to in November of 2010 and photographed over a six-month period beginning that December. The project took on new significance when Taylor, who had fallen ill, died: Opie’s fifty-print portfolio shows the contours and eccentricities of a life she never directly observed. The works also subtly chart the transition of the house from a home to something else—a memorial, an archive, or a complicated asset—as, for example, Taylor’s jewelry collection is aired and inventoried. The Emeralds, 2010–11, shows her famous Bulgari “green set,” a gift from Richard Burton. Shot in the sun, maybe by the pool, it’s out of focus, like Opie’s seductively generalized landscapes on view across town at the gallery’s Chelsea space.


David Ebony's Top 10 New York Gallery Shows This Winter

This enthralling two-part exhibition presents a distinctive set of works that Los Angeles-based photo artist Catherine Opie has produced over the past few years. Known for her provocative exploration of gender identity, and an often acerbic critique of the urban environment, Opie appears in this show in a rather meditative or introspective mode, although the images are potent and engaging as ever. The gallery's Chelsea branch features recent portraiture, and hazy landscape photos that are both romantic and classical in tone. They often aspire to painterly attributes. Outstanding among the portraits, for instance, are artist celebrities such as Matthew Barney, Lawrence Weiner, and John Waters, who are dramatically lit in a manner that is decidedly Rembrandt-esque.


In Mickalene Thomas’s awe-inspiring portraits, a meaningful reflection of black women in art
New York Times

Over the course of her trailblazing artistic career, Mickalene Thomas has drawn inspiration from prolific artists and pop culture icons alike, from 1970s supermodel Beverly Johnson to Edouard Manet’s Odalisque figures of the 19th Century. From these influences, she’s created a vast body of portraits that critically deconstruct definitions of beauty, race, and gender — specifically for black women — and redefine them on her own terms. Her work has been exhibited in major galleries across the globe and is included in collections at major museums, among them MoMA and the Guggenheim. She’s won numerous grants and awards and over the past decade has been lauded as a leading figure in the art world.


Play thing: Erwin Wurm's One Minute Sculptures incite humour in LA
Wallpaper* Magazine

What’s it like to be looked at as a work of art? For the first time, Los Angelenos can find out.


Erwin Wurm’s widely exhibited One Minute Sculptures, developed in 1980s by the Austrian artist, proffer museum-goers instructions (either in the form of a written description or suggestive drawing) to enact with props he has placed in the space, in order to become a piece of art for 60 seconds. The documented results are invariably surreal, comedic, a test of the boldness – and often, of the balance – of the viewer.


‘One Minute Sculptures’ Invade the Schindler House
New York Times

In the participatory vein of Yoko Ono’s instruction pieces but decidedly less dreamy, Erwin Wurm’s “One Minute Sculptures” are blueprints for visitors to enact their own short performances, using directions and household props — a bucket, board, shoe or sweater, for instance — provided by this Vienna-based artist. For nearly two decades he has been staging these so-called sculptures mainly in galleries and museums, where the absurdity of placing a bucket on one’s head disrupts the rite of fine art consumption. Now he is bringing the series to the MAK Center for Art and Architecture here, with an exhibition in its historic Schindler home from Thursday through March 27.


Tony Oursler: PriV%te
Time Out Hong Kong

Human beings are stubbornly obsessed with faces. Artists have been intrigued for centuries, whether it be Tutankhamun’s stylised and iconic death mask, portraits painted with stunning realism on Roman coffins, Vermeer’s alluring Girl with a Pearl Earring or Picasso’s Cubist dissections and fragmentations of the face. We even locate faces in inanimate objects – think of the numerous times Jesus has been spotted on a piece of burnt toast and creepy faces spotted on the surface of Mars. Why the fascination? PriV%te, a new solo show at Lehmann Maupin, raises the question again, as Tony Oursler presents his modern interpretation of the face in the digital age.



'PriV%te': Tony Oursler's multimedia masks at Lehmann Maupin, Hong Kong
Wallpaper* Magazine

'I’ve always been interested in Big Brother and the craziness around surveillance since the beginning of the very first cameras that were brought into play,' says Tony Oursler, referring to London’s early CCTV network, known as the Ring of Steel. 'As a media artist I was very interested in the poetics of that and the way it collapsed space and the way it shifted power so it was always on my radar.'


Catherine Opie, 'Portraits and Landscapes'
Time Out New York

Critics' Pick!


This show by the renowned L.A photographer features two bodies of works spread across Lehmann Maupin’s two location. The gallery’s LES venue presents Opie’s series, “700 Nimes Road,” in which she documented the interior of actress Elizabeth Taylor’s Bel Air home over a six month period. Halfway through Opie’s time there, Taylor died, but the star’s staff allowed her to continue working until the contents of the house were moved or disposed of. The artist calls the result a portrait of the movie icon. In Chelsea, Opie includes more literal portraits of friends, shrouded in Old Master-ish light against black backgrounds. Also on view are blurry landscapes photos of National Parks inspired by the work of Gerhard Richter. 


High-camp: a pair of Catherine Opie solo shows at Lehmann Maupin, NY
Wallpaper Magazine

New York gallery Lehmann Maupin is going big with its solo debut for photographer Catherine Opie, giving over its Chelsea and Lower East Side galleries to two separate Opie shows.


Photographer Catherine Opie Has a Pair of New Exhibitions That “Humanize Celebrity”
Bedford + Bowery

In the late 1990s, Catherine Opie drove across the country, taking photos of lesbian families in and around their homes. The resulting series, Domestic, (which Opie, who herself is gay, said was an attempt to document “the lesbian dream’’) contains a still life of a washer and dryer, which the photographer joked was “a lesbian washer and dryer.” Because, as she put it, “it’s the same thing.” An ongoing pair of solo exhibitions, Portraits and Landscapes and 700 Nimes Road, at the Lehmann Maupin gallery locations in Chelsea and on the Lower East Side, respectively, also readjust our expectations about the artist and her long-held role as a “provocateur.”

Special Event

Book Signing with Catherine Opie

On January 16 from 2-4PM at 201 Chrystie Street, New York, Catherine Opie will sign copies of 700 Nimes Road, recently published by DelMonico Books • Prestel. The signing coincides with the artist's exhibition of the same title, on view January 14-February 20, 2016.


Photographer Catherine Opie's Time is Now
Wall Street Journal

For three decades Catherine Opie has photographed subjects ranging from Minnesota icehouses to surfers in Malibu to artist friends, including John Baldessari and Kara Walker. In that time Opie, 54, has also become a grande dame of the contemporary art world, with a mid-career retrospective at the Solomon R. Guggenheim Museum, teaching gigs at Yale and UCLA, representation by Hollywood’s Regen Projects and Lehmann Maupin in New York, and a recent appointment to the board of the Andy Warhol Foundation. This winter is one of Opie’s busiest yet, with a two-gallery takeover in New York City and coinciding solo shows in Los Angeles, at the Museum of Contemporary Art and UCLA’s Hammer Museum in January, plus another at LACMA in February.


Catherine Opie's New Exhibit Lets NYC Inside Elizabeth Taylor's Bedroom
Gotham Magazine

Renowned fine arts photographer Catherine Opie, whose work straddles both conceptual and documentary-styles as it explores the changing nature of the American dream and notions of contemporary identity, stages shows at both Lehmann Maupin’s Manhattan spaces in early January.


12 Things to Do in New York's Art World Before January 15
New York Oberserver

Opening: “Catherine Opie: Portraits & Landscapes and 700 Nimes Road” at Lehmann Maupin

For her first exhibition since joining the gallery last year, celebrated photographer Catherine Opie takes over both Lehmann Maupin spaces. In Chelsea, she shows new studio portraits of artists, writers and performers—including an iconic image of John Baldessari pensively emerging from a black background and an allegorical depiction of a shirtless Lawrence Weiner with a burning cigarette in hand—interspersed with blurry, abstract landscape photos shot in national parks. Further downtown, Ms. Opie offers a portrait of Elizabeth Taylor, metaphorically seen through the objects in her Los Angeles home, which the artist photographed over a period of six months. Ironically, she never met Ms. Taylor, who was hospitalized and died midway through the project. The resulting vast portfolio reveals a personal side of the actress that few people knew.


This Week’s Must See Events: Bad Assery Abounds
Art F City

If there’s one Catherine Opie photograph everyone remembers it’s the portrait of her, suckling a year old infant. It references the old Dutch paintings in which nursing babies often outsized their mothers, while presenting the dyke sexual identity in a nurturing role. This show, which will take place in the gallery’s location in Chelsea and the Lower East Side will juxtapose the work she’s become known for—new portraits inspired by European painting—with abstract photos of American landscapes. We expect that Opie will be pushing buttons as usual.


Art & the City: 5 Hong Kong art exhibitions you can’t miss this month
Lifestyle Asia

PriV%te by Tony Oursler

The phenomenon of facial recognition is explored in New York-based Tony Oursler’s sixth show with Lehmann Maupin. PriV%te showcases a colourfully animated mix of video screens set in aluminium panels, and represent a continuation in the artist’s longstanding interest in the production of cultural identity and technology. These themes are of particular relevance today, as man’s relationship with technology becomes increasingly complex — the works in this exhibition seem to gaze at the viewer, evoking the larger cultural question of who is watching whom.

Lehmann Maupin, 407 Pedder Building, 12 Pedder Street, Central, Hong Kong +852 2530 0025,


Q&A: Catherine Opie on her Diverse Body of Work

Her images of California’s LGBT community—including a self-portrait wearing a bondage mask, her body punctured by needles and the word pervert razored into her chest—threw Catherine Opie onto the social-documentary scene of the early 1990s. But the ensuing years have revealed this early concern—describing the complexity
 of individual and communal identities—to
 be the thread that ties together the artist’s otherwise diverse bodies of work. Her double-venue exhibition, on view at Lehmann Maupin 
in New York January 14 through February 20, encompasses abstract landscapes, formal portraits, and a series dedicated to an absent subject. Opie spoke with Juliet Helmke of Modern Painters about the humanism in each.


Tony Oursler’s PriV%te Exhibition Launches at Lehmann Maupin Hong Kong
Hong Kong Tatler

Venture into the New York-based multimedia artist’s mind through a series of eccentric creations that explore the worlds of cultural identity and technology


Tour Mickalene Thomas's Brooklyn Townhouse

Most people spend their daily lives in one place, maybe two—artist Mickalene Thomas splits her time among four. But between her studio, her partner Racquel’s Chelsea apartment, a country house in Connecticut, and her own Brooklyn brownstone, it’s that last residence that Thomas calls home. “It’s our sanctuary,” she says, referring to the house in which she lives with her elementary school–age daughter, Junya, “because the other spaces we share with others. It’s our little retreat, a getaway, a staycation. It’s like having our own room.”


Discovering the World From Nature's Many Perspectives

Brooklyn-based artist Teresita Fernández is well known for using unconventional materials and creating large-scale sculptures and installations that draw our attention to visual perception. In many ways, her latest exhibition at Lehmann Maupin feels like an in-depth study of the central concerns to her practice.


Personal memories, ideas, and history manifest as sculptural objects and delicately rendered drawings intently focused on exposing various perspectives on a singular view. Her installation Fata Morgana, currently on view in Madison Square Park, uses mirroring to create fascinating visual effects. Reflective discs, similar in shape to the park’s foliage, are suspended above its main pathway to create gentle canopies of light and shadow. At nearly 500 feet long, it is the park’s largest and most ambitious outdoor sculpture to date. (Her new permanent piece for the Grace Farms Foundation in New Canaan, Connecticut, “Double Glass River,” also uses mirrored surfaces to double the landscape.)


I recently met Fernández at Lehmann Maupin to talk about the new work and some of the ideas that informed it.


Video Exclusive: Gilbert & George's F**kosophy


During their recent trip to Australia to open their first Australasian retrospective at the Museum of Old and New Art in Tasmania, Gilbert & George treated BLOUIN ARTINFO to a private performance of an extract from “Fuckosophy,” their new performance work.



Personal Effects: Catherine Opie
Interview Magazine

Photographer Catherine Opie is known for her seemingly disparate interests; some of her most famous series have been of S&M enthusiasts and high school football players. But Opie's work is united by a desire to chip away society's one-dimensional imagining of her subjects. So she seized the opportunity when Elizabeth Taylor, shortly before her death, invited Opie to photograph her Bel Air mansion at 700 Nimes Road. "I started to think about portraiture that didn't necessarily show the person, but that was utterly about the person in a more in-depth way," Opie says. "With someone as iconic as Elizabeth Taylor, what does it mean to slowly reveal her through her home?" In January, a show of 52 photographs will open at MOCA Pacific Design Center, including images of Taylor's densely packed closet and her jewels. Meanwhile, Opie herself has a busy calendar, with openings the same month at the Hammer Museum in Los Angeles and Lehmann Maupin in New York. 


Nari Ward with Nicole Smythe-Johnson
Miami Rail

This winter, Pérez Art Museum Miami presents Nari Ward: Sun-Splashed, the largest exhibition of the artist’s work to date. The mid-career survey includes a selection of two decades of diverse works from the Jamaican-born, Harlem-based artist. Jamaican curator and writer Nicole Smythe-Johnson sat down with Ward to talk about his prolific and varied practice, his audiences, his preoccupations, his connections to place—from Jamaica, to Europe, to becoming an American citizen—and his engagement with language, materials, and imagination.


The Genius of Gilbert & George's Pictures at MONA Tasmania

“The Art Exhibition” at MONA, on show until March 2016, is the duo’s first Australasian retrospective, bringing together 97 works spanning five decades from 1970 to 2014.


Shirazeh Houshiary
Hong Kong Tatler

The sculptures of London-based Iranian artist Shirazeh Houshiary explore the spiritual, often investigating ancient mystical doctrines, and display a strong Persian influence. Two highlights of her first solo Hong Kong show are the stainless stell sculpture Resonance and Soar, a mixed-media piece


Angel Otero: New Paintings
The Brooklyn Rail

Puerto Rican-born, New York-based artist Angel Otero has refined a singular, labor-intensive process for making paintings. He applies thick oil paint to Plexiglas slabs and allows it to nearly dry before painstakingly peeling the oil skins away and reapplying them to canvas, to which he then adds and scrapes additional paint, resulting in an entirely new composition. Previously, Otero’s work incorporated highly personal imagery such as household objects or family photographs from Puerto Rico, resulting in work that often depicted highly abstracted, but still decipherable central images. He has also referenced art historical antecedents like Nicolas Poussin, Cy Twombly, and Philip Guston, a diverse selection of painters whose work nonetheless shares a mastery of color.


Shirazeh Houshiary, Through Mist, Lehmann Maupin
Aesthetica Magazine

Through Mist at Lehmann Maupin is Shirazeh Houshiary’s first solo exhibition in Hong Kong and her seventh show with the gallery. Through painting, sculpture, and animation, Houshiary plays with opposing ideas and states of being, including transparency and opacity, presence and absence, materiality and intangibility, and light and darkness, exploring the very nature of existence and metaphysical thought. The artist’s exhibition at the Hong Kong gallery debuts new works that address cross-sensory perception.


The Moment
Cultured Magazine

From the artist studio to an underground lab, on the stage and beind the lens, these dancers, photographers, artists, community builders and technology makers have captured our attention. Here we take a look at how they are shaping the way we live today.


Adriana Verejão

Since the 1990s the work of Brazilian artist Adriana Varejão has been centered on how heritage in her home country is structured by extensive agglomerations of people, culture and civilizations from across the planet. She has built a consistent body of work and sensibility that began with her inquiry on how, over centuries, traditional Portuguese tile-work has symbolized processes of cultural appropriation found in Brazilian colonial history.


Nari Ward’s found object sculptures explore history and power
Financial Times

Jamaican-born Nari Ward uses everyday objects to make sculptures that explore history and power

Every new arrival has a story about becoming a New Yorker, and usually it involves real estate. That’s especially true of the Jamaican-born artist Nari Ward, whose sculptures and installations — the subject of a major retrospective at the Pérez Art Museum Miami — demand hefty quantities of square footage.

Tony Oursler
Art Basel Salon and Conversations

Tony Oursler in Conversation with Beatrix Ruf
"Life in the Archive"
Miami Beach Convention Center
December 3, 2015, 5PM

Panel Discussion including Mickalene Thomas
Art Basel Miami Beach 2015

Panel Discussion including Mickalene Thomas
"Women of Influence in the Business of Art"
Edition Hotel, Miami Beach
December 3, 2015, 11AM

Artists Mickalene Thomas and Shirin Neshat will join Heidi Zuckerman, Director and CEO of the Aspen Art Museum, for a panel discussion moderated by Stefano Tonchi, Editor-in-Chief of W Magazine. The discussion will explore the qualities that define a new generation of female artists and leaders in art, as well as the many different ways in which they have achieved success, despite obstacles and prevailing inequalities. This panel is organized by the Pratt Institute, New York, and will take place at the Edition Hotel (2901 Collins Ave, Miami Beach, FL 33140).

Book Signing with Nari Ward
Pérez Art Museum Miami

On December 3, 2015, PAMM exhibition artist Nari Ward will be at PAMM to sign copies of his new catalogue, "Nari Ward: Sun Splashed."

This fully illustrated catalogue includes an essay by PAMM Associate Curator Diana Nawi with contributions by Naomi Beckwith, Marilyn and Larry Fields Curator, Museum of Contemporary Art Chicago; Erica Moiah James, Assistant Professor, Departments of the History of Art and African American Studies, Yale University; Ralph Lemon, visual and performance artist and choreographer; and Philippe Vergne, Director, Museum of Contemporary Art, Los Angeles. Nari Ward: Sun Splashed is available for $55 in the PAMM Shop.

Women in Art: Catherine Opie
Elle Magazine

Catherine Opie - The Unflinching Observer

In one of Catherine Opie's early-90s self-portraits, the word "pervert" has been cut across her chest. "The LGBT community were calling themselves normal, but anyone in the leather community was abnormal," the photographer recalls. "That binary was upsetting to me." Ever since, she's been exploring the creation of identity and the shifting contours of community, focusing her lens on Malibu surfers and empty freeway overpasses; most recently, she's taken on both Elizabeth Taylor's home and numerous national parks (intentionally blurred: "I'm always trying to to recategorize the iconic.") "Her work makes an impact, says Jennifer Blessing, who curated Opie's 2008 Guggenheim solo show and considers her a master in the vein of Walker Evans. That will certainly be true next month, when Opie's troika of solo shows open at the Hammer Museum and The Museum of Contemporary Art, Los Angeles and at Lehmann Maupin gallery in New York. "If you make powerful work, people assume you're, I don't know, edgier than you are," says Opie, who lives in L.A. with painter Julie Burleigh and their son. "I'm much funnier and more sociable than my photographs."

Women in Art: Teresita Fernández

Teresita Fernández: The Micro/Macro Master

During the daytime, Fata Morgana, a mirrored canopy made of 229 perforated golden discs installed above the walkways of New York's Madison Square Park, leaves dappled patterns of sunlight on the concrete tiles below. At night, it reflects the light of passing cars, turning regular city sights into stars. "I'm interested in making people think about what they're seeing or not seeing," Teresita Fernández Says. "And about why that is." She also explore the way seemingly opposed concepts, like darkness and light or the vast and the tiny, are intertwined. For a 2014 solo show in the cavernous space of MASS MoCA, she installed 40,000 tiny pieces of graphite along the walls; this past fall at Lehmann Maupin, her Rorschach-blot-shaped sculptures in ceramic, bronze, and concrete were both airy and densely heavy. "She wants viewers in a state of active attention," saus MASS MoCA curator Denise Markonish. If you spend time beneath Fata Morgana, for example,a s time passes, "the shadows shift and you understand more about how the earth rotates," Markonish explains. "It's a kind of sublime experience you get to be inside of."


Billy Childish
Modern Painters

Though less impressive than its predecessors, Chidish’s fourth exhibition at Lehmann Maupin does hold moments of dashing brilliant. The 11 paintings on view, all from 2015, grew closely to the artist’s characteristic approach to the medium, which is to scale up photographs into electrifying works on unprimed lined. His subject matter—listed in the exhibition title, “flowers, nudes and birch trees”—is so firmly rooted in the Western tradition of painting that it gives the show an academic air.


At Grace Farms, Encountering Art at Every Bend
New York Times

Up close, each of the small silvered glass cubes in Teresita Fernández’s installation “Double Glass River” holds a tiny reflection of the glorious landscape it faces. From farther away, approximately 10,000 of those cubes coalesce into a flowing form stretching 61 feet across a curved wall. Wherever viewers stand, the piece changes with the weather, the season and the time of day.



Nari Ward Looks Back at Two Decades of Work in "Sun Splashed" at PAMM

As more museums come into bloom, the challenge becomes how to retain an institution's individual identity while speaking to the immediate environment. "Sun Splashed," the latest exhibition at the Perez Art Museum Miami (PAMM), goes a long way towards establishing a relationship with South Florida's Caribbean roots while retaining a resolutely high art perspective. The show — a survey of over two decades of work from Jamaican-born, Brooklyn-based artists Nari Ward — is comprised of installations, highly performative sculptural pieces, photographs, as well as other mix media works. 


Seeing red: Gilbert & George still fired up after more than 40 years of making art
Sydney Morning Herald

The exhibition of close to 100 pieces from throughout their career, which began in the 1960s when they studied at London's St Martin's School of Art, range from black and white photographs to their distinctive banners in the style of newspaper posters, more graphic colour-saturated works (many featuring them naked, and even their faeces) from the '80s and '90s and recent pieces that look at the subject of religion.


Tracey Emin gets first solo show in Greater China
The Art Newspaper

The YBA artist Tracey Emin is due to have her first solo show in Greater China with her two galleries in the region—Lehmann Maupin and White Cube. The joint exhibition, I Cried Because I Love You, will coincide with Art Basel Hong Kong, and is scheduled to open on 21 March (until 21 May 2016). Emin has produced a new body of work for the show, including painting, embroidery, neon and bronze sculpture. “Both Lehmann Maupin and White Cube have a long-standing relationship with Emin, and have a presence in Hong Kong, so it seemed natural to show her works across both spaces as one cohesive exhibition for her first solo show in the region,” the galleries said in a joint statement.


‘Bad girl’ artist Tracey Emin to show her pensive side in first Hong Kong show
South China Morning Post

Tracey Emin, the “bad girl” of Britain’s art world who made a name for herself by airing her dirty laundry in public – sometimes quite literally – will stage a solo exhibition in Hong Kong next March.


Art Basel Week 2015 Guide: At the Museums
Miami Herald

Another great fit for Miami’s flagship museum, Nari Ward: Sun Splashed follows issues of migration and cultural transplantation through the use of found objects and a variety of multimedia materials from Jamaican-born, New York native Ward in his largest mid-career survey to date. Also on view, No Boundaries: Aboriginal Australian Contemporary Abstract Art, featuring nine Aboriginal artists whose work is both rooted in ancient tradition and amazingly connected to Western abstraction. 1103 Biscayne Blvd., downtown Miami;; 305-375-3000


Interview with Sculptor Teresita Fernández
Aesthetica Magazine

Teresita Fernández’s seventh solo exhibition with Lehmann Maupin, New York, coinciding with her monumental sculptural installation Fata Morgana, currently installed in Madison Square Park in New York, showcases her newest sculptural works—intimate interior landscapes in concrete, cast bronze, and highly-detailed glazed ceramic. Best known for her unique installations and immersive public projects, Fernández explores ideas of the figure in the landscape, the natural world, the extremes of scale, as well as the act of looking. Fernández’s conceptually-based, research intensive process of art making often contains many layers of diverse cultural and historical references; she uses devices such as proportion and unconventional material to draw the viewer into her work, evoking an individualised experience of engagement that prompts questions of both place and way-finding. We speak with the artist.


Catherine Opie creates monumental work for Los Angeles courthouse
The Art Newspaper

For her biggest public art project yet, a commission-in-progress for the new federal courthouse in downtown Los Angeles, the artist Catherine Opie has chosen one of the most romantic images of the American West—Yosemite Falls—as the subject of grandly scaled work that will bring some natural majesty to the interior of the boxy steel-and-glass building due to open next summer.


Multimedia Artist Tony Oursler Documents Personal Archive in 'Imponderable' Exhibit and Book

Legendary multimedia artist Tony Oursler has long explored the ways in which the human body is affected by technology. Through works spanning video, collage, sculpture, installation, performance, and painting, Oursler tries to understand the myriad manners in which the mind is seduced by the image as projected by television, technology, violence, media, and mental illness and conceptually draws a thread between these seducers.


An Artist and a Poet on the Dream of Immortality
T Magazine

The artist Shirazeh Houshiary gives form to the poet Monica Youn’s wistful imagining of a celestial body — one that promises immortality just before slipping out of reach.


Mickalene Thomas
Receives 2015 United States Artist Fellowship Award

Lehmann Maupin is pleased to share that Mickalene Thomas has been awarded the 2015 United States Artists Fellowship Grant


Beautiful Photos Of Women Take On Stereotypes Through High Art

Mickalene Thomas doesn’t limit herself to just one medium when she confronts stereotypes of Black women and the cultural expectations imposed on them. But for Muse: Mickalene Thomas Photographs, her new book of portraits, Thomas used photography to play up the glamour and power of her subjects. The photos Thomas shot are beautiful, but they also have the slightly alien, uncanny feel of high-art photography.


Arab Spring Revisited
Canvas Magazine

Anna Wallace-Thompson examines how the futility of violence and the danger of creating vacuums of power were explored in Kader Attia’s powerful performance at this year’s Art Basel Unlimited.


Man of Substance
Architectural Digest

Using a dymanice array of materials Nari Ward conjures beguiling arworks packed with raw emotion. 


Sculpting the Public: Teresita Fernández Wants You In Her Work
Modern Painters

Constructed from more than 250 plates of golden, mirror-polished metal cut into wavy latticelike shapes and mounted on steel scaffolding in layers overhead, the piece immediately alters the body language of those who step under it, causing people to look up and catch their reflections spliced between snippets of treetops, buildings, and sky.


Shirazeh Houshiary, Through Mist
Canvas Magazine

In her first solo exhibition in Hong Kong at Lehmann Maupin, Iranian artist Shirazeh Houshiary presented a series of new works that explore metaphysical thoughts. Through Mist, curated by Fereshteh Daftari, debuted seven new paintings that triggered all the senses in a process that involves building up layers of pigment, pattern and lines. Upon closer inspection, Houshiary’s pencilled-gestures form written words that are obscured through overlapped repetition creating an infinitum. Interestingly, Houshiary’s painting technique involves placing the canvases on the floor and working horizontally above them. This gives her work a direct attachment to the limitations of her body, whether in dimension or in execution. Also included was a one-piece steel wall sculpture, entitled Resonance, coated in matte black paint, which haphazardly contrasts with the artist’s light and colourful paintings. The organic form takes the shape of a flying ribbon whereby the artist reiterates the infinite, while challenging the perceptions of time, space and presence.


In 'Breathing Directions,' Nari Ward Gathers Layers of African-American History
New York Times

Among the things that Nari Ward’s work has been about over the past two decades is how Africa stays alive in African-American. His approach to sculpture and installation has been mostly through accumulation, pulling things from the environment, often from the street: old shoes, rum bottles, television sets and, in his unforgettable 1993 “Amazing Grace,” castoff baby strollers. There’s energy in gathered and layered material.