La Petite Mort: Read Our Interview With Artist Natalie Krim On The Female Orgasm, Her Work And Current Show In Los Angeles →

The first thing you notice when you meet Natalie Krim is her voice. She has the dialect and pitch of 1940s movie star and the demeanor too. It’s a cool glamour, a poised glamour that is as sharp as a razor blade. Perhaps the Hollywood lineage isn’t too far off – her grandfather was a Hollywood portrait photographer who shot everyone from ---- to ---. Her grandfather is also most likely where she gets her creative gene. Krim’s illustrations, which are highly erotic in nature in all manner of repose, self-pleasuring, orgiastic and mellifluously sensual, are feminine and delicate, like she is, but hint at darker overtones. They are a world all her own, alter-egos, characters from the unconscious, coquettish nymphs, desirous, wanting and wanton – they recall a world created by Henry Darger or the illustrations of Gustav Klimt. Before her current show on view now at Little Big Man Gallery, we got a chance to ask her a few questions about her work, sexuality and secrets. Click here to read more. 

Oliver Clegg "Life Is A Gasssss" @ Erin Cluley Gallery In Dallas, Texas

Exploring themes of change and resilience, Life Is a Gasssss will depict 20th century pop icons as an allusion to how the information overload of the 21st century has impacted visual culture. The cross-media selection of works will reflect the breadth of the artist’s practice. Click here to read our interview with the artist. Life Is a Gasssss will be on view until May 7, 2016 at Erin Cluley Gallery, 414 Fabrication Street, Dallas Texas

Paola Pivi "Ma'am" @ The Dallas Contemporary in Dallas, Texas

Paola Pivi’s first museum solo exhibition in the United States addresses the viewer as “ma’am.” Women, men, and children are greeted with this term of reverence and kindness along with its common, unintentional undertones of comedy and pretension. Ma’am brings together iconic past works with new commissions. Pivi’s feather-covered polar bears occupy the gallery in the company of an inverted Fiat G-91 fighter jet. Canvases of cascading real pearls converse with photographs of zebras on a snowy mountaintop. Spinning, feather-dressed wheels evoke dream catchers, while a giant inflatable ladder elicts wonder and aspiration. photographs by Oliver Maxwell Kupper

Dan Colen "Oil Painting" @ Dallas Contemporary in Dallas, Texas

Dan Colen "Oil Painting" provides an unprecedented opportunity to track the major developments in the artist’s practice, beginning with his earliest works and continuing through his most recent. For the first time, viewers will be offered new insights into those developments through never-before exhibited preparatory drawings, source material, studies, and experimental paintings from the artist’s studio. The exhibition includes several pieces from 2001, the year Colen graduated from the Rhode Island School of Design and began working toward his first gallery exhibition. Photographs and graphite-on-velum pieces from that year reveal Colen’s longstanding interest in and mastery of traditional painting—a practice that is explored, exploded, and returned to throughout the works that follow. This is particularly evident in several examples of his well-known “Candle Paintings”, which are paired with a suite of drawings that map the artist’s process, laying bare Colen’s attention to detail and composition. Additional paintings in the exhibition represent several of Colen’s major series, including Confetti, Trash, and Miracle paintings. Four large-scale Trash paintings, all made in 2016, show Colen’s newest painterly intervention into the pictorial plane—using detritus discovered on New York City streets as sculptural painting materials. Dan Colen "Oil Painting" will be on view until August 21, 2016 at Dallas Contemporary, 161 Glass Street Dallas, Texas  

Home Improvements Group Show, Curated by John Waters @ FraenkelLAB in San Francisco

FraenkelLAB presents its first exhibition, Home Improvements, curated by John Waters. This eclectic group exhibition will encompass works in a wide range of media by Martin Creed, Moyra Davey, Vincent Fecteau, Paul Gabrielli, gelitin, Paul Lee, Tony Matelli, Doug Padgett, Karin Sander, Gedi Sibony, Lily van der Stokker, and George Stoll. John Waters describes the exhibition as “a celebration of the low-tech concept of ‘remodeling’. These twelve artists’ humble but surprisingly imperious paintings, sculptures, photographs and drawings will hopefully make any serious property owner want to throw caution to the wind, pack up their living space, and start over.” Home Improvements will be on view until May 16, 2016 @ FraenkelLAB, 1632 Market Street, San Francisco, CA. photographs by Bradley Golden

One Work from Catherine Fairbanks' New Solo Exhibition @ Wilding Cran Gallery In Los Angeles

Wilding Cran Gallery presents Two Chimneys, Catherine Fairbanks’s first solo show in Los Angeles. The exhibition will feature new sculptures and works on paper. The exhibition is structured around two large chimney sculptures that reflect on the ruins of domestic buildings across the West. Originally constructed according to a particular purpose, over time abandoned chimneys gradually assume the function of a monument. Like these chimneys, Fairbanks often makes use of forms and materials which first appear in culture one way, only to reappear later in another way, transformed. Catherine Fairbanks "Two Chimneys" will be on view until May 28, 2016 at Wilding Cran Gallery, 939 South Santa Fe Avenue, Los Angeles CA

Moon Ribas "Waiting For Earthquakes" @ The Chimney In New York

Last night the Catalan artist Moon Ribas performed Waiting for Earthquakes at the Chimney NYC in Bushwick. The one-night performance curated by Adriana Pauly was held in front of the backdrop of Kiran Chandra’s video installation Mother of Intentions. Ribas whose practice investigates the intersectionality of nature, technology and humanity, moved behind the thin curtains of Chandra’s exhibition. The hanging curtains and dancing shadows of the opposing projections mimic the shadow play of Plato’s Allegory Of The Cave, further underlined by the invisible power that determined Ribas’ movements. Ribas physically experiences the vibrations of earthquakes around the world in real time through a sensor implanted in her elbow, giving her an additional sense she calls the seismic sense. She becomes further removed from humanity than the prisoners of Plato’s cave yet more connected to the earth its powerful interplay. photographs by Andres Burgos

Adam Green "Aladdin" @ The Hole Gallery In New York

The Hole presents an exhibition of “Adam Green’s Aladdin”, a feature-length movie that is a “total artwork”. Immersive painted sets replete with complex painted papier-mache sculptures will be on view in the main space, while Gallery 3 will feature a ticketed screening of the movie every night at 7PM. Adam Green "Aladdin" will be on view until April 14, 2016 at The Hole, 312 Bowery, New York. photographs by Adam Lehrer

Life's A Gasssss: Oliver Clegg Talks About His First Solo Exhibition In the US, Making Art For Sigmund Freud's Desk and The Information Age →

Click here to read the full interview. 

Read Our Exclusive Interview With The Legendary Artist and Sculptor Allen Jones From Autre's LOVE Issue Out Now →

Allen Jones is a living legend. To this day, his iconic furniture sculptures literally stand, kneel and hunch over, as life-like remnants of not only the pop art movement, but also the sexual revolution of the 1960s. When Jones’ trademark fornophillic work, Hatstand, Table and Chair was unveiled in 1970, it was met with both praise and militant protest. Indeed, the work is combustible and tears down some of the tallest walls we have built around our understanding of figurative art. But if you ask Jones if he is a rebel, as we did in the following interview, he will tell you that he is only carrying the torch that many artists have carried before him and not using the torch to burn down the institution. If you’ve seen Stanley Kubrick’s film adaptation of the novel A Clockwork Orange, you’ve seen interpretations of Jones’ oeuvre in the famous Korova Milk Bar. Kubrick asked Jones if he would recreate some of his furniture sculptures for the film, but the artist politely declined. Click here to read more.