All Or Nothing: Read Our Candid In-Depth Conversation With Writer, Artist, Former Lover and Muse of Robert Mapplethorpe, and Cultural Survivalist Jack Walls →

When Ryan McGinley, Dash Snow, and Dan Colen formulated a new downtown NYC rebel art scene in the late ‘90s, they all uniformly cited one artist as a massive influence: Jack Walls. The trio was hell bent on having Walls become a mentor of sorts to them, perhaps even a father figure, and eventually Walls relented. Through the process, an entirely new generation of art weirdoes found themselves interested in the work of Jack Walls. He was the subject of a solo exhibit at RARE this past summer, while another exhibition Paintings, Et Cetera opened up at Basilica in Hudson. Though Walls claims to have no interest in the “antiquated system” that is the art world, the art world is surely interested in him. Click here to read our in-depth conversation with Jack Walls here. 

A Private Walk Through Of The Perez Art Museum Miami (PAMM) On The Occasion of Art Basel 2015

On the occasion of Art Basel Miami 2015, the Perez Art Museum Miami (PAMM) gave the media a private glance at some of their current exhibitions and special projects. Highlights from the tour include a large mid-career retrospective by artist Nari Ward, which includes mixed-media collages, photography, assemblage, sculpture, interactive works, video, and architectural installations. Other highlights include Bik Van der Pol's aviary, entitled Speechless, which houses five parrots that are taught to mimic phrases from T.S. Elliot’s seminal 1922 poem, “The Waste Land,” comparing landscape devastated by war to the ecological devastation of today. Nari Ward: Sun Splashed will be on view until February 21, 2016 at Perez Art Museum Miami, 1103 Biscayne Blvd. photographs by Scout MacEachron

Getting Afreaky: Check Out Our Interview and Studio Tour Of The Mystical Creative Force of Nature That Is The Haas Brothers →

The Haas brothers seem like mystical ambassadors from the future. However, they are not here to portend of doom and gloom, like the current headlines may lead you to predict. Indeed, the future looks pretty bright according to Nikolai and Simon Haas – fraternal twins who make high-end sculptural objects that only the very lucky can afford, but are almost talismanic in their complexity and humorous in their intentional simplicity. The materials the brothers use mimic natural and rare phenomena in nature. This gives their work a sexual energy that takes phallic and vaginal forms, replete with folds and shafts and rounded curves that could make the prudish contingent quite sensitive. Put the work together and it looks like a combination of Maurice Sendak's menagerie of Wild Things and Dr. Seuss on too many tabs of acid. Click here to read the interview and see more pictures. 

Linda McCartney and Mary McCartney: Mother Daughter Opening @ Gagosian Gallery in New York

Exhibited together for the first time, the photographs of the late Linda McCartney and her daughter Mary explore the connective tissue of family, common experience, and a love of the photographic medium. Their images are highly instinctual, rather than analytical; as well they reveal a great ability to capture fleeting moments of intimacy. Spanning three decades, works by the photographers are organized to reveal the almost symbiotic harmony between them. The exhibition is a treasury of moments derived from relaxed interactions with family, a dazzling array of celebrities—Aretha Franklin, Jimi Hendrix, Mick Jagger, Brian Jones, Kate Moss, Rihanna—and everyday life. Evident is a shared sensibility between mother and daughter in how they establish an emotional rapport with their subjects and exact a sense of their true selves. Rather than distinguishing between works by Linda or Mary, the installation proposes their vision of the world as one. Linda McCartney and Mary McCartney: Mother Daughter will be on view until December 19, 2015 at Gagosian Gallery, 976 Madison Avenue, New York. photographs by J Grassi (Patrick McMullen Company)

Nick Zinner "601 Photographs" @ Lethal Amounts In Los Angeles

Nick Zinner, guitarist for New York based band Yeah Yeah Yeahs and the hardcore band Head Wound City, is currently exhibiting his photographic work in the Los Angeles gallery Lethal Amounts. “601 Photographs” consists of 601 images taken over the course of 15+ years on and off tours with various musical projects over 6 continents. Voyeuristic and documentarian at the same time, the images capture a wide spectrum of moments; from crowd shots and hotel beds, to intimate portraits and situational snapshots. “601 Photographs“ is a continuation of large-scale exhibitions that Nick has previously shown in New York City, Mexico City, San Francisco, and Tokyo. "601 Photographs" is on view now at Lethal Amounts, 1226 W. 7th Street, Los Angeles, CA. photographs by Lucia Ribisi

Anja Salonen "Future Bodies" @ As It Stands Gallery In Los Angeles

Anja Salonen's Future Bodies questions the limits of painting in the virtual age. While aware of their historical context, Salonen's paintings are heavily reliant on a post-analogue visual language, and explore the interaction between body and virtual. Salonen's “Avatars,” digital personas which are uniform, ambiguous, androgynous, and intangible, interrogate identity in the internet era, where the distinctions between self and mask, real and virtual, become increasingly nebulous. In control V, referencing the work of Edouard Manet, Salonen brings attention to the ways in which female bodies continue to be appropriated, fractured, revised, distorted, censored, and objectified in the digital era. Alluding to traditions of painting in which women’s bodies were used by male artists as blank slates on which to further visual representation, Salonen calls upon the viewer to question what has changed and what has remained invariably the same in depictions of women and female sexuality in the 21st century. Future Bodies is on view now at As It Stands Gallery, 2601 Pasadena Ave, Los Angeles.

Norman Reedus Photography Exhibition @ Voila! Gallery in Los Angeles

Norman Reedus is showing his photographs at Voila! Gallery in Los Angeles. The images consist of dark captures of Reedus' macabre world and dark sense of humor - obviously inspired by his role in the Walking Dead. Using costars and Russian prostitutes as models, the photographs have an almost tableu vivant quality reminiscent of Joel Peter Witkin.  The exhibition will be on view until December 31, 2015 at Voila! Gallery in Los Angeles. photographs by Oliver Maxwell Kupper. Follow Autre on Instagram: @AUTREMAGAZINE

Josh Jefferson "Head Into The Trees" @ Gallery 16 in San Francisco

Gallery 16 presents their first exhibition with Boston-based artist Josh Jefferson. Jefferson’s painting and works on paper balance on a line between figureation and abstraction. His work is a celebration of abandon and control. It retains a palpable sense of the joy in it’s making and the struggling to maintain order. Jefferson’s choice of materials often reinforce the sense of playfulness in his work. The artist uses crayons, colored pencils and common acrylic paint, often upon the pages of art history books. It is not uncommon to turn over a Jefferson drawing to find the image of a famous work by Modigliani or Titian. Josh Jefferson "Head Into The Trees" will be on view until December 31, 2015 at Gallery 16, 501 Third Street San Francisco, California. photographs by Bradley Golden. 

In Xavier Cha’s "Feedback" The Audience Are The Performers @ 47 Canal in New York

When I entered 47 Canal, I immediately assumed that the metal bleachers in the otherwise empty gallery were an open invitation to take a seat, only to be gently ushered to the opposing wall by a smirking gallery staff. After a while a group of young people entered the gallery from a side door and started taking their seat on the bleachers, lightly chatting and exchanging cordial glances only to fall completely silent on the hour. The silence spread into the audience, the focused stares of the performers all gathering on the digital clock behind us. Out of nowhere, the performers erupted in cheerful screams and started hugging each other in ecstasy similarly as a crowd cheering on an iconic band or during a charismatic speaker. The laughs and screams ricochet off the empty walls and filled the entire room, sweeping the audience up in the excitement. The performers continued to change their reactions every 30 seconds, going from happy, to outraged over to embarrassed and completely stunned. Each emotion filled up the entire room, washing over the audience with such intensity that at times it felt as though the 18 people were actually laughing at us. With that sense of paranoia it became harder and harder to sit and watch the performed reactions, each laugh became accusatory and each open mouth became a judgment.  It is this that truly characterizes Xavier Cha’s work, the ability to channel unseen energies through an almost banal scene that makes her audience reflect on indivisible stimuli we face everyday. The work is a meditation on our own self-centeredness and shows how quickly we take other peoples reactions personally. Xavier Cha's "Feedback" was on view from November 11 to November 15 at 47 Canal in New York. Images and text by Adriana Pauly

Jim Shaw's 'The End is Near' @ New Museum in New York

he New Museum presents the first New York survey exhibition of the work of Jim Shaw. Over the past thirty years, Shaw has become one of the United States’ most influential and visionary artists, moving between painting, sculpture, and drawing, and building connections between his own psyche and America’s larger political, social, and spiritual histories. Shaw mines his imagery from the cultural refuse of the twentieth century, using comic books, record covers, conspiracy magazines, and obscure religious iconography to produce a portrait of the nation’s subconscious. Although a recognized icon of the Los Angeles art scene since the 1970s, Shaw has never had a comprehensive museum show in New York. This exhibition, which encompasses three floors of the New Museum, reveals the breadth and inventiveness of his art. A comprehensive selection of his works is presented alongside objects from his collections of vernacular art and religious didactic materials. Jim Shaw's 'The End is Near' will be on view until January 10, 2016 at the New Museum in New York. photographs by Adriana Pauly

Aura Rosenberg "Who Am I?, What Am I?, Where Am I?" @ Meliksetian Briggs In Los Angeles

Meliksetian Briggs presents Who Am I?, What Am I?, Where Am I?, a series of photo works by New York/Berlin based artist, Aura Rosenberg. Who Am I? What Am I? Where Am I? is an ongoing, series of collaborative portraits of children. Currently, over eighty artists have taken part. From these, Rosenberg selected five images, from collaborations with John Baldessari, Mike Kelley, Sam Lewitt, Laurie Simmons, and Christopher Williams, to print as large-scale works. Who Am I?, What Am I? will be on view until January 9, 2016 at Meliksetian Briggs, 313 N Fairfax Ave, Los Angeles, CA

Aaron Curry "STARFUKER" @ David Kordansky Gallery In Los Angeles

David Kordansky Gallery presents STARFUKER, an exhibition of new work by Aaron Curry. Spanning both of the gallery’s exhibition spaces, STARFUKER will feature the debut of two new major bodies of work. One room will contain two large-scale aluminum and steel sculptures, and the other a group of paintings on shaped canvases. The formal advances in the sculptures and paintings on view represent some of Curry’s most ambitious and risk-taking ideas to date, paralleling an evolution in his approach to the cultural themes always present both on the surface and within the DNA of his art. STARFUKER will be on view until January 16, 2016 at David Kordansky Gallery, 5130 W. Edgewood Place, Los Angeles, CA

Adel Abdessemed "From Here to Eternity" @ Venus Over Los Angeles

Venus Over Los Angeles presents From Here to Eternity, an exhibition of new work by Adel Abdessemed. The exhibition is his first major show in Los Angeles and features a series of nearly 100 black stone drawings on paper and military tarpaulin. Adel Abdessemed’s new series is named for the famous 1953 film best known for the scene in which Burt Lancaster and Deborah Kerr kiss passionately on the beach as waves crash over them. As a child in Algeria, Abdessemed viewed such western films under the edit and strict censorship of the Algerian government, who cut out any scene that portrayed physical contact between the sexes. Abdessemed is known for embracing themes of history, religion, and politics in his artworks. Though perhaps best known for his video, sculptural, and conceptual art, Abdessemed has chosen to distinguish his Los Angeles debut show by exclusively exhibiting drawings on paper and military tarpaulin. From Here to Eternity will be on view until December 20th, 2015 at Venus Over Los Angeles, 601 South Anderson Street, Los Angeles, CA

Tadanori Yokoo: 49 Years Later at Albertz Benda Gallery In New York

49 Years Later is the title of the solo exhibition of Japanese artist Tadanori Yokoo at Albertz Benda. The newly opened Chelsea gallery exhibits the artist’s never-before-seen paintings that focus on two major themes, the swimmer, an ongoing investigation of the artist, and the dancing couple, borrowed from old Hollywood.  The artist builds on his early iconography; he started his investigation of the swimmers in 1966, and becomes a plagiarist of himself. The crossing figures reappear in different color pallets, with different backgrounds and in different themes, their mouths aggressively distorted in the action. The position of the swimmers can be seen as a natural predecessor to the dancing couple. Similarly to the swimmers the dancing couple gets further lost in abstraction with each painting. The swimmers faces melt into each other while the dancers are covered in different patterned blankets.  49 Years Later will be on view until December 19, 2015 at Albertz Benda Gallery, 515 W 26th St, New York, NY. photographs by Adriana Pauly

David Benjamin Sherry's "Paradise Fire" at Moran Bondaroff Gallery in Los Angeles

“My interest lays in the changing American landscape, and this new series of pictures reflects my unease. Our land is a direct reflection of human existence – our past, our contemporary lives, and ultimately our impact. I explored, with empathy, these facets of society and the environment, looking to capture surreal moments, in order to better understand the complexities of our existence.” – David Benjamin Sherry. Paradise Fire will be on view until December 12 at Moran Bondaroff Gallery, 937 N. La Cienega Boulevard Los Angeles, CA