Clash’s Mick Jones shared his personal guide to a healthy and happy life: “Don’t be a cunt to anybody.” And always out front and center was Glenn, looking handsome and sophisticated in his slacks and shirts or his Basquiat-customized leather jacket, somehow seeming a notch cooler than the uber-cool legends of art, music and fashion he had on the show. There is no greater example of Glenn’s savvy for turning a cultural moment into a historical movement than the years he spent producing TV Party. It set the stage for where his career would head. Click here to read more.
Galerie Thaddaeus Ropac is pleased to announce an exhibition of new work by German artist Georg Baselitz in the Paris Pantin space. Titled Descente (Down), it brings together new paintings and works on paper. The exhibition comprises five groups of works that are stylistically and iconographically linked to the fragmented self-portraits known as the Avignon series, which was shown at the 2015 Venice Biennale. Two of Baselitz’s concerns were the notions of “late work” and “age”, with particular reference to the historical decision of the city of Avignon to reject the donation of a series of late works by Picasso. In 2017, one year before Baselitz’s 80th birthday, these themes are still relevant, as he has recently stated: “I have been looking at Picasso’s late works. Avignon. At the time Picasso had reached his lowest point. Nobody wanted these later paintings. Arman and Christo did their thing in Paris whereas Picasso was absent. If you’re getting old you keep asking yourself: Am I still part of it, or are the others already ahead of me?” Galerie Thaddaeus Ropac "Descente" will be on view until June 2, 2017 at Galerie Thaddaeus Ropac. photographs by Mazzy-Mae Green
Depart Foundation presents Michael Pybus: Peak Human, its first exhibition of works by the London-based mixed-media artist. A satirical blurring of boundaries and hierarchical relationships, PEAK HUMAN is a playful admixture of high and low. Hijacking the visual language of commercial consumption, Hollywood stargazing, and popular entertainment franchises, Pybus irreverently dissolves the graded divisions between the little known and the branded, the world of design and that of mass consumption, with the rarified vernaculars of fine art. PEAK HUMAN will include a series of large-scale, collage paintings in which Pybus appropriates imagery from iconic sources. Recognizable are references to artworks by the likes of Warhol and Hokusai, Nintendo video game characters, Pokémon, and graphics from commercial design. Pybus creates amalgams of readily familiar brands in a commentary on the indiscriminate power of branding, while also referring to his cooptation of this fame. The freedom with which Pybus borrows objects, images, and references, captures varying forms of desire, whether it be the covetous satisfaction of consuming through retail, aspirational fantasies, or the familiar din of popular culture. Michael Pybus "Peak Human" will be on view until June 3, 2017 at Depart Foundation in Los Angeles.
Shown in the United States for the first time, Ruby’s SOFT WORK is a large-scale installation of stuffed fabric sculptures in unsettling biomorphic forms. Appendaged cushions and gaping, fang-filled mouths are manically arranged as sausage link–like drips from the ceiling, coiled heaps across the floor, and slumping, abject forms throughout the space. Using textiles that evoke the colors and motifs of the American flag, the sprawling installation offers up that iconic symbol of national pride as an intensely visceral experience—a political scene filled with performative “bodies” that seem to manifest both theater and playground simultaneously. On view until June 12, 2017 at The Geffen Contemporary at MOCA in Los Angeles. photographs by Oliver Kupper
photographs by Oliver Maxwell Kupper
Moran Bondaroff presents Where the Sidewalk Ends, a four-person exhibition associating artworks that are evocative of a desire to create parity and connectedness with the natural world or to locate an intersection therein. Through varied mediums and methods, these four artists – Terence Koh, Dennis Oppenheim, Virginia Overton, and Nick van Woert – approach the tension between ecological connectedness and the progress of civilization. Subsequently, the works included in this exhibition present a range of conditional responses that span from exploration and interaction, to repercussions and impermanence. However, these artists do not endeavor to generate homages to ecology or directly reference an environmentalist agenda, rather, the works visually contend with our origins – a human’s nature. Where the Sidewalk Ends will be on view until May 20, 2017 at Moran Bondaroff in Los Angeles.
Dylan Brant, a young curator from New York, is quietly and maturely making a name for himself within the hallowed, oft impenetrable walls of the art world. Sure, his pedigree helps, but he surely has a knack for putting together some of the coolest art shows around. His show Rawhide at Venus Over Manhattan – which was co-curated by Vivian Brodie – was a masculine cowboy romp through post-Modern Americana. Bandana wrapped, and pistol wheeling, the show included artists like Richard Prince and Ed Ruscha, but also queer artists known for their muscle toned homoerotica, like Bob Mizer and Tom Of Finland. And just recently, Brant curated a show called Heatwave, which is open now at the UTA Artist Space in Los Angeles. The exhibition, which includes artists like Dash Snow, Rob Pruitt, Nate Lowman, and Cady Noland, takes a more abstract route in its curatorial expression, but it is probably Brant's most personal. The artists involved are artists that he grew up with or knows personally - or knew personally, like the late Dash Snow. According to Brant, the show really came together after watching an interview of Lux Interior (of the Cramps) who talks about music having an inherently youthful energy - no matter the age of the musician or the audience. We stopped by the gallery to ask Brant a few questions about the show and gained a unique insight into his ambitions as a curator. Click here to read the full interview.
Rene Ricard, "So, Who Left Who," will be on view until April 26, 2017 at Half Gallery in New York. photographs by Adam Lehrer
Get a rare chance to sit fireside at the iconic Schindler House in West Hollywood for a dinner series with Venice’s Foodshop, presented by MAK Center For Art And Architecture. Click here for reservations in April.
Baby, I Like It Raw: Post-Eastern Bloc Photography & Video will be on view until April 4, 2017 at the Czech Center New York. Click here to read our interview of one of the curators, Marie Tomanova. photographs by Adam Lehrer
David West "Outside Errors" will be on view until April 15, 2017 at Mannerheim Gallery in Paris. photographs by Mazzy-Mae Green
Rezaire is in the business of identifying sicknesses we carry within us everywhere we go—our histories, our implicit and explicit prejudices, our language. She is able to see through the veils of the “free, open Internet” to its capitalist underbellies, using the very tools of the Internet to undermine it. Rezaire is calling us out on the spread of colonial viruses—on our computers, in our history books, in our words. click here to read the rest of the interview.
photograph by Oliver Maxwell Kupper
HeatWave will be on view until April 22, 2017 at UTA Artist Space in Los Angeles. photographs by Oliver Maxwell Kupper
The David Hockney Issue. Noboyoshu Araki, Richard Hell, Alan Vega, Meryl Meisler, Swarovski Crystal Meth, Philip Hinge, Greta Bellamacina, Robert Montgomery, Christeene, Ryan McGinley, Bil Brown, Olwen Catherine Kelly, Julian Klincewicz, Ottessa Moshfegh & Richard Prince. Click here to preorder.