Four new works from Richard Serra’s Rounds series fills the entire West 24th Street gallery. Each forged steel sculpture is composed of multiple -ton elements of differing diameters and heights. Bisecting the West st Street gallery space will be Reverse Curve, a sculpture measuring feet long and feet high. Originally conceived in for a public project in Reggio Emilia, Italy, Reverse Curve is finally being realized for the first time. In conjunction with these exhibitions, Gagosian and Anthology Film Archives will present a three day retrospective of Serra’s films and videos from October 17 through 19, drawn from the collections of the Museum of Modern Art, Anthology Film Archives, Joan Jonas, and Stiftung Situation Kunst. This is the first time that all of the artist’s film and video work will be shown together. The screening on October will be followed by a panel discussion between curators Søren Grammel, Chrissie Iles, and Jeffrey Weiss, moderated by art historian Benjamin Buchloh. Additional screenings of the full program will take place on October 20 and 23. The exhibition will be accompanied by a fully illustrated catalogue with an essay by Julian Rose. Forged Rounds is on view through December 17 at Gagosian 555 West 24th Street, New York.
Resilience: Philip Guston in 1971 is Guston’s first solo Los Angeles exhibition in over half a century. The exhibition sheds light on a single pivotal year that launched Guston into the final prolific decade of his career, during which he painted what are now celebrated as some of the most important works of art of the 20th Century. On view will be two major series, the Roma paintings and the Nixon drawings, accompanied by a select group of larger works. Created immediately after the overwhelming critical rejection of his new figurative work, exhibited in October 1970 at Marlborough Gallery in New York City for the first time, during a time of social and political turmoil in the United States, these works bear witness to an artist at the height of his powers, exquisitely responsive to his world. Resilience: Philip Guston in 1971 is on view through 5 January 2020 at Hauser & Wirth 901 East 3rd Street Los Angeles. photographs courtesy of Hauser & Wirth
The first European retrospective of Lee Krasner’s work in over fifty years is now showing at the Barbican Art Gallery in London. Lee Krasner: Living Colour features nearly 100 works made throughout the artist’s career, including self-portraits, energetic charcoal life drawings, as well as her acclaimed “Little Image” paintings. As one of the pioneers of Abstract Expressionism, Krasner created pieces reflecting the feeling of possibility and the spirit of experimentation in post-war New York. Krasner’s talents have often been eclipsed by her marriage to Jackson Pollock, however, this exhibition celebrates the career of a formidable artist dedicated to her dynamic, abstracted vision.
Lee Krasner: Living Colour is on view through September 1 at Barbican Art Gallery Barbican Centre, Silk St, London. photographs courtesy of Barbican Art Gallery
Inspired by Cuban Modernism, The Decorator’s Home, curated by Neville Wakefield, personifies the vision of a fictional interior designer, tracing their style evolution from the commercial, North American-influenced Modernist design of the 1950s to the revolutionary, Soviet-influenced style of the 1960s and 1970s. Through sculptural installations, watercolors, drawings and a video, The Decorator’s Home is an attempt to capture the work of a generation that was cut short. Click here to read our interview with the artist.
The Decorator’s Home is on view through July 13 at UTA Artist Space 403 Foothill Rd. Beverly Hills, CA 90210.
The central focus of Claudia Parducci’s exhibition consists of twenty-three 16’, hand-knit jute pillars spanning from floor to ceiling. Arranged in a staggered grid measuring approximately 14 feet square, they reference the twenty-three interior columns of the Parthenon that surrounded the monumental statue of Athena. Over the two years Parducci spent knitting these pillars, she considered the gendered aspects of labor, and the symbolic significance of the physical remnants of Western history. Appearing, but failing to be structurally supportive, Parducci’s knit columns, along with related sculptures and drawings, address the dual nature of societies that build, and then ultimately destroy themselves. Through the substitution of a traditionally feminine craft as the means of production, Parducci considers these recurring cycles in history and wonders about the possibilities of a society built from a female perspective. 23 Columns will be on view through April 27 at Ochi Projects 3301 W Washington Blvd, Los Angeles. photographs courtesy of the gallery
Co-organized by The Museum of Modern Art and Laurenz Foundation, Schaulager Basel, Bruce Nauman: Disappearing Acts draws upon the rich holdings of both institutions and nearly 70 lenders. Encompassing Nauman’s full career and featuring a total of 165 works, the exhibition occupies the Museum’s entire sixth floor and the whole of MoMA PS1. This joint presentation provides an opportunity to experience Nauman’s command of a wide range of mediums, from drawing, printmaking, photography, and sculpture to neon, performance, film and video, and architecturally scaled environments.
Disappearing Acts traces strategies of withdrawal in Nauman’s art—both literal and figurative incidents of removal, deflection, and concealment. Close relatives of disappearance also appear in many forms. They are seen, for example, in holes the size of a body part, in the space under a chair, in the self vanishing around a corner, and in the mental blocks that empty creative possibility. “For Nauman,” said Halbreich, “disappearance is both a real phenomenon and a magnificently ample metaphor for grappling with the anxieties of both the creative process and of navigating the everyday world.”
Bruce Nauman: Disappearing Acts is on view through February 18 @ The Museum of Modern Art, and through February 25 @ MoMA PS1, 22-25 Jackson Ave, Long Island City, New York. photographs courtesy of MoMA
Myths & Mortals is Marlene Dumas' first solo presentation in New York since 2010, features a selection of new paintings that range from monumental nude figures to intimately scaled portraits. Alongside these works, Dumas is debuting an expansive series of works on paper originally created for a recent Dutch translation by Hafid Bouazza of William Shakespeare’s narrative poem Venus and Adonis (1593). In these drawings—tender and erotic with hints of violence—the artist renders the story of Venus, the goddess of love, and her tragic passion for the handsome youth Adonis in her singularly expressive ink wash. Myths & Mortals is on view through June 30 at David Zwirner 537 West 20th Street New York. photographs by Adam Lehrer
This Brush for Hire: Norm Laich and Many Other Artists surveys an array of world-renowned artists and one indispensable assistant—the Los Angeles-based artist, sign painter, and fabricator Norm Laich. The exhibition will consist of paintings and graphic installations fabricated by Laich over the past three decades. Laich has been a key contributor to the production of many iconic works by a range of artists including Ed Ruscha, Paul McCarthy, Barbara Kruger, Allen Ruppersberg, and Jenny Holzer, among many others. The exhibition is on view through September 2 at Institute of Contemporary Art 717 East 7th Street Los Angeles. photographs by Oliver Maxwell Kupper