Gagosian presents an exhibition of recent and new work by Jeff Koons. Making use of conceptual constructs including the ancient, the everyday, and the sublime, Koons creates luxurious icons and elaborate tableaux, which, beneath their captivating exteriors, engage the viewer in a metaphysical dialogue with cultural history. The exhibition will be on view until August 18, 2017 at Gagosian Beverly Hills. photographs by Bianca Vázquez
David Zwirner is presents an exhibition of new work by Raymond Pettibon, on view at 519 West 19th Street in New York. The artist's tenth solo show at gallery TH’ EXPLOSIYV SHOYRT T follows his collaborative presentations with Marcel Dzama at the gallery in both London and New York last year. Raymond Pettibon "TH' EXPLOSIYV SHOYRT T" will be on view until June 24, 2017. photographs by Oliver Maxwell Kupper
The Costume Institute's spring 2017 exhibition will examine the work of Japanese fashion designer Rei Kawakubo, known for her avant-garde designs and ability to challenge conventional notions of beauty, good taste, and fashionability. The thematic show will feature approximately 150 examples of Kawakubo's womenswear for Comme des Garçons dating from the early 1980s to her most recent collection. The galleries will illustrate the designer's revolutionary experiments in "in-betweenness"—the space between boundaries. Objects will be organized into eight aesthetic expressions of interstitiality in Kawakubo's work: Fashion/Anti-Fashion, Design/Not Design, Model/Multiple, Then/Now, High/Low, Self/Other, Object/Subject, and Clothes/Not Clothes. Kawakubo breaks down the imaginary walls between these dualisms, exposing their artificiality and arbitrariness. On view from May 4 to September 4, 2017 at The Metropolitan Museum Of Art in New York. photographs by Oliver Maxwell Kupper
photograph by Oliver Maxwell Kupper
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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
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.
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Rene Ricard, "So, Who Left Who," will be on view until April 26, 2017 at Half Gallery in New York. photographs by Adam Lehrer
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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
