The Best Gallery Exhibits Of 2015

text by Adam Lehrer

Counting down your favorite gallery exhibits is much harder than putting together any other list. It’s not like your favorite music that you can hear again and again, or your favorite films and shows that in most cases you can go back to when you need to or want to, and it’s not even like a play where you most likely will have the opportunity to experience it again. A gallery show is a singular experience, and seldom do people go more than to passively glance at the work, schmooze with other high society types (note: I am not a high society type, I am a poor person that often rubs elbows with these people hoping they never get around to asking what a critic makes these days), and grab a drink. That means for the gallery exhibition to stick with you, it has to manifest as a transcendent experience. The best exhibits give you a feeling, and whether or not that feeling is the one proposed by the artist is beside the point. The art is your experience, and it belongs to you. 2015 has been, admittedly, a great year for art across almost all mediums. Bear in mind, I’m only including exhibits I’ve actually seen; thus, there will be a lot of New York-centric stuff.



1. Mark Bradford, Be Strong Boquan, Hauser & Wirth

Mark Bradford was recently featured in a T Magazine piece along with fellow artists Theaster Gates and Rick Lowe. The article celebrates the artists and their adherences to using art to a higher social calling. Bradford is not afraid to imbue his work with big concepts, as evidenced by his fall exhibition at Hauser & Wirth. In a collection of paintings and a video project, Bradford explores the early AIDS crisis and our government’s response to it, juxtaposing the horror to the jubilation of 1980s club culture. The exhibit’s most talked-about piece, Spiderman (2015), is a response to Eddie Murphy’s homophobia and misogyny in his 1980s stand-up classic Delirious. In the piece, an unseen black comedian makes jokes about Eazy-E’s battle with HIV and the black community’s encounter with AIDS, while a laugh track plays underneath. The piece implicates the viewers and their complicit laughter. Be Strong Boquan is not an easily forgotten body of work. Click here to see our full coverage.

 


2. Wolfgang Tillmans, Polymerase Chain Reaction, David Zwirner

Operating as a photographer since the early ‘90s, Wolfgang Tillmans has never felt as relevant as he does now. And that is saying something, considering he has been rightfully respected as one of the world’s foremost fine art photographers for over a decade. Tillmans is heavily featured in a stunning new issue of Arena Homme + with two full interviews and a slew of images culled from his amazing 2015 David Zwirner exhibit, PCR. Featuring 100 of Tillmans’ recent images, the installation is emblematic of Tillmans’ unique relationship to space. The exhibit itself was a considered artwork, with Tillmans using each image to create one solitary piece. It was an utterly expansive work, covering the entirety of Zwirner’s New York location’s first floor. Tillmans’ imagery of life: partying, suffering, joys, and pain; is juxtaposed by his references to time. All of this happens in a unique realm of the infinite. Click here to see our full coverage.


3. Agathe Snow, Continuum, The Journal Gallery

Agathe Snow has too often been relegated to the descriptor, “Dash Snow’s ex-wife.” The legacy that her late ex-husband left behind is one that surely shadows the fascinating body of work that Agathe has created. In Continuum, Agathe made great use of the Journal Gallery’s unique space with its 30 ft-high walls being met to the ceiling by her gigantic papier mâché sculptures. The sculptures themselves can best be described as totems, portals to a world beyond our own mortal lives. A startlingly personal show for an artist who has faced much loss in her life, Agathe was able to create an exhibition that was tactilely brilliant and emotionally resonant.


4. Mike Kelley, Kandors, Hauser & Wirth

Hauser & Wirth is my personal commercial gallery of the year, and the late Mike Kelley (my personal number one all time artist) had some of his later life work shown, specifically the Kandors. Some artists think sporadically, stacking multiple ideas into a single show. Kelley is more in-line with the obsessive artists that generate a quantity of ideas after the one. The one in this case, is Kelley’s take on Superman mythology, specifically Superman’s home city of Kandor that was shrunk to globe size by the villain Brainiac. The exhibition begins with a set of illuminated sculptures glowing in neon that all depict the various ways that Superman’s home planet was illustrated in various different series of the comics. The show culminates with Fortress of Solitude, a life-sized rendition of Superman’s secret cave with the retrieved Kandor globe where he would go to ruminate on his relationship to the Earth and his condition of being a part and apart from it all the same. It jibes with the narrative of being an artist in the contemporary world, as evidenced by the short film shown at the end of the exhibition, which uses Fortress of Solitude as a set. There will never be an artist like Mike Kelley again. Click here to see our full coverage.


5. Elmgreen and Dragset, Past Tomorrow, Galerie Perrotin

“Norman Swann’s Family Fortune is Long Gone,’ reads the opening line of a book written by Danish artists, Elmgreen and Dragset, accompanying the duo’s exhibition of the same name at Galerie Perrotin earlier this year. The labor that goes into Elmgreen and Dragset’s work is astounding enough, but the duo must be credited for creating a whole new form of storytelling. The exhibition is literally an interpretation of the home of unseen character Norman Swann, and as you walk through it, it becomes a mystery that can be solved. It is an engaging form of art, but what is at the root of Elmgreen and Dragset’s exhibition is a rumination on inconsoloable loneliness and regret. Though Norman isn’t real, we feel for him, or for whomever he actually is. The exhibition engulfed me in a profound state of empathy.


6. Jeffrey Gibson, Jeffrey Gibson, Marc Straus Gallery

As Jeffrey Gibson has come to embrace his Native American ancestry more in his work, the other elements of his work have become more effective: politics, music, subculture, queer theory, art history, and more are all given a unique perspective. Though it shouldn’t be surprising to have a Native American take on these subjects, it is simply due to the fact that I have not ever been exposed to it. If that is my fault or the educational system’s fault I am not here to say. I can say that I am a massive fan of Gibson’s work. His use of fabrics and beads are always given a contemporary feel, and his series of punching bags that are all applied the titles of various outsider sub-cultures (Goths, punks, etc..) look like nothing else available on the art market.


7. Isa Genzken, David Zwirner

I have been fascinated by German artist, Isa Genzken’s interest in clothing and how it relates to the sculpture of the human body. On May 1, in Berlin at Galerie Bucholz, Genzken had a honest-to-goodness fashion show with models of both genders wearing clothes she created in 1998. The paint splattered and mightily distressed garments stretch the boundaries of good taste while making us ponder the fact that if perhaps some mighty atelier sewed these, we might consider them to be the highest of fashion. At her recent exhibit at Zwirner, Genzken draped life-sized mannequins in similarly distressed garments as well as other human-shaped sculptures. Along with the fashion show, it seems Genzken is now more than ever looking to address how we sculpt our own bodies in image. Some of the mannequins wear Genzken’s personal clothing, denoting a kind of self-portrait or a need to understand her own shape. Not to mention, I met Kim Gordon at the opening, so it’s hard not to look back on the exhibit with a smile. Click here to see our full coverage.


8. Justin Adian, Strangers, Skarstedt Gallery

What I love about Justin Adian’s work is its juxtaposition. He has this very design-oriented and art deco-inspired clean aesthetic derived from his unique process of stretching canvases over shaped foam that at the same time captures his youthful love of what the pretentious art world would consider “low culture:” punk rock, horror films, Black Flag. Adian said at a seminar for his recent exhibition, Strangers, that he has never moved on from something he loves or finds interesting. From hardcore to Frank Stella, he just keeps adding references to his œuvre. Much has been said of the Texan artist’s thematic similarities to Texan minimalism. They aren’t untrue either, as Adian infuses a healthy amount of humor into his singular style. What separates Adian most from Texan minimalism is that narrative has a powerful place in his work. Adian does have stories in mind when he creates, and went as far as to include a booklet of short stories to accompany this exhibition. Click here to read our coverage.


9. Scooter LaForge, How to Create a Monsterpiece, Howl! Happening

Scooter LaForge had the biggest year of his career. First, Walter Van Bierendonck elected to use LaForge’s prints for his SS 2015 collection that saw LaForge working on an installation at the London Dover Street Market location. Then, after creating one off wearable art garments for Patricia Field for some years, high fashion and streetwear retailer VFiles brought LaForge in to do the same for their clientele. Finally, he just collaborated again with Pat Field on another installation at DSM’s New York location that offers a Pat Field-curated vision of fashion. All the work in fashion has exponentially increased interest in LaForge’s art resulting in four solo exhibitions this year. His show at Howl! Happening felt like the tip of the iceberg, using the gallery’s impressive space to show off all the work that he has accomplished in creating these past few years. His paintings, sculptures, and garments were all shown as a single body of work with identifiable imagery and characters. It also marked LaForge as the first contemporary artist to show at the gallery, putting him in the lineage of important downtown New York artists. Howl! Happening had a very first impressive year, with major shows by Lydia Lunch, Arturo Vega, Clayton Patterson, and Tim Clifford. The spirit of New York lives in this organization.


10. Jose Parla, Surface Body/Action Space, Mary Boone Gallery and Bryce Wolkowitz Gallery

Jose Parla’s paintings are marked by decay, history, and emotion. The massive body of work that is Surface Body/Action Space that needed two galleries to host the large body of canvases tells a story that is both personal to Parla and to the viewer. It can be any story, and you can attribute what you need to it for your own purposes. Parla is able to make rust and decay look beautiful, or perhaps make you realize that deterioration is beautiful. He has exponentially matured artistically, but the essence of freedom within the work remains the same.

[ART REVIEW] Wolfgang Tillmans "PCR" At David Zwirner In New York

text by Adam Lehrer

Multi-disciplinary artist and photographer Wolfgang Tillmans got signed to David Zwirner and has been living in New York for a month up until his current exhibition. By all accounts, he seems to be having a fucking blast. He’s been out at clubs, DJing Fire Island parties, and making a ton of art, according to a David Zwirner employee. But judging from his massive new David Zwirner exhibit, PCR (aka polymerase chain reaction), Joie de Vivre is a quality propelling the essence that makes Tillmans’s work fantastic. To him, people going out to dance, party, and express themselves is the ultimate form of protest.

“What I love about music more than anything is that by all measures, music is useless,” he says at a press preview of the exhibit. “This exhibition has an insistence on clubbing and playing. Take Glastonbury Festival for example, in some sense it’s very political, and in another sense it’s five days of absolute nonsense and fun. That is connected. “

Fun and politics need not be separate within Tillmans’s visual language. On the contrary, the two concepts are parallel to one another, a notion exemplified in the work displayed at PCR. The exhibit reads as a comprehensive look into the major themes that define his work: political progress, the exuberance of the nightclub, the power of music, and universal progress.

Numerous photographs line the walls of Zwirner depicting various artists and activists. The surroundings they exist within are different but their message is inherently similar. There are familiar faces from American pop culture like Patti Smith and MC Ride of Death Grips, artists that use their massive platforms to unleash their messages of revolution unto the world. But there are also activists that don’t have the platform that a media figure has, but nevertheless engage in protest whether they believe they are or not. The nightclub, to Tillmans, is a “sanctuary of free expression.” “Many of the photographs depict men having fun at gay clubs in Russia,” says Tillmans. “There are only two gay clubs in Moscow, and these places are the only places that these people can go and fully express themselves.

Despite Tillman’s exuberant outlook on life, he is a diligent curator, and was involved with every aspect in the development of this show. “He’s extremely thorough,” says David Zwirner Special Projects coordinator and artist Young Sun Han. “When he first came to Zwirner he gave us a presentation with a rundown of his entire career.”

Tillmans has always engaged with the curatorial aspect of his exhibitions as another form of expression, and not a burden. Within the PCR exhibit, every angle at which the work is displayed is meticulously thought out, even with some of the photographs that hang 15 feet in the air above the normal line of sight. “My mother always gets angry,” says Tillmans with a grin, “Why do you need to put it all the way up there?”

A table installation in the gallery’s back room, TSC (Time Mirrored), combines photographs of architecture and telescopes with statements considering the massiveness of time, and a sculpture, I Refuse to be Your Enemy, consists of black paper laid out along several tables. These structures act as a kind of element to focus the attention on, as a reprieve from the visual stimuli. These structures allow the viewer to consider the messages relayed from the content within the imagery.

The final item of the gallery is a brand new video piece, entitled Instrument. In the video, you see human figures dancing in the shadow in the right screen, while a man gyrating needlessly appears with his back to the screen on the left. While the video seems to be message-less, In Tillmans’s view there is never any expression that is left devoid of subtext. “The politics are never far out,” says Tillmans. There is sexuality in Tillmans’s work, but it is not racy or even sexual. It’s more about freedom. “I always want to show sexuality but never show sex or any one idea of sexual identity,” he says. “I just want people to achieve comfort with their bodies.”

PCR appears to emphasize living as the ultimate means of expression. Not just the idea of breathing and having a pulse, but to live life to the fullest of your own definition of the term. We as a people can set an example for generations to come by living how we wanted to live. That is how society will continue its journey forward.

See more photos from the opening here. Wolfgang Tillmans "Polymerase Chain Reaction" will be on view until October 24, 2015, at David Zwirner gallery, 525 and 533 West 19th Street in New York.

Adam Lehrer is a writer, journalist, and art and fashion critic based in New York City. On top of being Autre’s fashion and art correspondent, he is also a regular contributor to Forbes Magazine. His unique interests in punk, hip hop, skateboarding and subculture have given him a distinctive, discerning eye and voice in the world of culture, et al. Oh, and he also loves The Sopranos. Follow him on Instagram: @adam102287

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Five Of The Most Interesting Pieces from the David Zwirner/Paddle 8 Benefit Auction Organized by Marcel Dzama for 826NYC

Digital auctioneer Paddle 8, an agency that combines the high-octane excitement of an auction house with today’s most advanced technology, offered a dizzying selection of pieces last night at David Zwirner. Offering pieces by some of our favorite artists including Richard Prince, Chris Ofili, Oscar Murillo, Raymond Pettibon, Dustin Yellin, Dave Eggers, Enoc Perez, Suzan Frecon, and many more, A Benefit Auction for 826NYC drew a crowd of both powerful collectors looking to build on their collections as well as art students and lovers just looking for a reason to see a vast array of beautiful work.

Proceeds of the auction will benefit 826NYC; a non-profit organization that works to ensure that students aged six to 18 get a strong education in creative writing. Having been bestowed with a love of reading and writing by some amazing teachers myself, the philanthropy behind the auction is one that resonates with me more than most.

Winnipeg-based artist Marcel Dzama organized the event, having been a long supporter of 826NYC; his watercolor and ink paintings portray whimsical worlds each of which tells its own story. Dzama credits the power of storytelling with informing his career in the art: “When I was a kid, my parents bought me a Fisher-Price Camera for Christmas,” he said in an interview with Paddle8, “I made films to entertain my sister.”

You didn’t need to bid on anything to get the most out of the show, however. It was presented as a group exhibition, but with names so big in the art world that it’d be hard imagining getting these artists together in any other setting. Here are five of the most interesting pieces shown at A Benefit Auction for 826NYC. But believe, there are many more that would make your jaw drop.

Mamma Andersson, ‘Abstint’ (current bid $3,500)

Using triptych and paper, Swedish artist Mamma Andersson’s ‘Abstint’ was an example of the artist’s ability to portray landscapes that amount more to a feeling and mood than any specific location. Andersson is interested in Sweden’s clash of beautiful nature and industrialization, exploring how the two exist together. In ‘Abstint,’ we see rather bourgeois homes looking familiar, but in a world isolated from all that is outside of it. Bid here. 

Sue De Beer ‘Untitled’ (current bid $2,450)

New York-based artist Sue De Beer’s ‘Untitled” has previously been seen on the cover of fashion and culture magazine Flaunt and exhibited by Marianne Boesky Gallery. De Beer often uses photography, video, installation, and sculpture to explore the idea of time and memory, but in ‘Untitled’ we see a beautiful woman with her eyed blacked out surrounded by infrared light. The piece seems to suggest blocked self-perception. It is a striking image. Bid here.

Marcel Dzama and Spike Jonze ‘It is Time to Dance Again’ (current bid $2,800)

Marcel Dzama seems to be a favorite amongst prestige filmmakers: Gus Van Zandt, Bennet Miller, and none other than Spike Jonze are amongst his major collectors. Jonze interviewed Dzama for his book ‘Even the Ghost of the Past,’ and the two remained friends. Now, they are making art together. The pairing makes sense: within Dzama’s art and Jonze’s films exist an irreverent quality that offsets the human truths that exist within the work. In ‘It is Time to Dance Again,’ we see two costumed men lift a plainly dressed woman up cheerleader-style, while two creatures dance by both sides. Bid here. 

Oscar Murillo ‘game play #1’ (current bid $15,000)

London-based Columbian painter Oscar Murillo was the subject of a not positive New York Magazine piece last year, arguing that he has been a victim of the hype-driven contemporary art machine. He has also been called a “modern day Basquiat.” With so much contextualizing surrounding the artist, it’s easy to forget just how freaking talented Murillo actually is. His work, often made with broomsticks and haphazard found materials, breathes magnetic force into otherwise mundane imagery. ‘game play #1’ is an example of his singular technique. Piling various colors of oil onto newsprint and pasted onto paper, the work doesn’t look like much at first glance. But when you are breaths away, you see patterns and forming that is utterly fascinating. Murillo’s success is warranted. He’s one of the modern day greats. Bid here. 

Enoc Perez ‘Untitled’ (current bid $4,000)

New York-based Puerto Rican artist (and good friend of Autre) Enoc Perez has a choice piece at the auction. The untitled piece deconstructs a sexually charged portrait of a beautiful woman’s face with splashes of brown and orange color. Perez has an uncanny ability to transport lowbrow images of erotica to a new arena of highbrow aesthetics. And he always does it with a wink and a smirk. Bid here. 

The exhibition and auction will run until July 31, 2015 at David Zwirner Gallery in New York and you can bid online here. text by Adam Lehrer. Follow Autre on Instagram: @AUTREMAGAZINE