Emphasizing the social value of art, West stated “It doesn’t matter what the art looks like but how its used.” He claimed his Passstücke (Adaptives), were only complete as artworks when the viewer experienced their “ergonomic” nature by doing silly things, they were meant to be handled.
West’s Adaptives were a major influence in encouraging contemporary artists to explore the potential of interaction between object and viewer.
His work expressed a degree of slapstick and beautiful vulnerability.
The National Museum of Women in the Arts in D.C., has given its galleries over to fashion for the first time in thirty years.
Rodarte, the design duo, known for their dreamy tulle gowns overflowing with pearls and major ruche detailing, has showcased ninety four items. Guest curator, Jill D’Alessandro, who is in charge of costume and textile arts at the Fine Arts Museums of San Francisco has fittingly organized the show with titles such as, “Magical Beautiful Horror” and “In the Garden.”
The show will be on view through February 10, 2019.
Installation view of “Rodarte” at the National Museum of Women in the Arts, D.C.
Photo: Floto+Warner.
Installation view of “Rodarte” at the National Museum of Women in the Arts, D.C.
Photo: Floto+Warner.
Installation view of “Rodarte” at the National Museum of Women in the Arts, D.C.
Photo: Floto+Warner.
Installation view of “Rodarte” at the National Museum of Women in the Arts, D.C.
Photo: Floto+Warner.
Installation view of “Rodarte” at the National Museum of Women in the Arts, D.C.
Photo: Floto+Warner.
British artist Phyllida Barlow has created sculptures and large-scale installations using a direct and intuitive process of making. She transforms humble, readily available materials through layering, accumulation, and juxtaposition, often drawing inspiration from her urban surroundings to reference construction debris, architecture, signs, fences, and discarded objects. Hauser & Wirth is pleased to present ‘tilt,’ an exhibition featuring recent large-scale works installed for the first time alongside more than a dozen smaller sculptures. Together, the works on view encourage an intimate encounter between object and viewer, continuing a career-long exploration into the ways in which sculpture can dissolve boundaries between realms of experience.
On view at Hauser and Wirth (New York, NY 22nd Street) from November 14 through December 22, 2018.
Bacon’s Women, on display from November 2, 2018 – January 11, 2019 at Ordovas, New York, will be the first exhibition in the United States to focus on Francis Bacon’s female subjects. Although historically the emphasis has been on the men in Bacon’s life, the artist was equally engaged with women, many of whom he had long-lasting relationships with, and he painted more female than male nudes. Through a selection of portraits and photographs of his closest female companions, Bacon’s Women will explore the artist’s relationship with the opposite sex and dive into this under-researched area of one of the twentieth century’s greatest painters.
November 30, 2018 - February 24, 2019
Opening in November 2018, M WOODS presents a solo exhibition by Swiss artist Nicolas Party. Working across painting, pastel, sculpture, video and installation, Party is renowned for a deep sense of site specificity and temporality in his projects, which often feature hand-painted murals that exist on gallery walls only for the duration of an exhibition. Within these painted environments sit two and three dimensional works which, through a style and colour system unique to the artist, offer a contemporary take on traditional subjects such as still life, portraiture, landscape and the sculptural bust.
Party’s exhibition at M WOODS will be his first at a non-profit institution in Asia and his largest to date, bringing together recent works with a suite of new sculptures and wallpaintings created on site at the museum.
Nicolas Party (b. 1980, Lausanne) lives and works in Brussels and New York City. He has exhibited widely, his most recent institutional solo exhibitions at the Magritte Museum, Brussels; Modern Art Oxford, Oxford; Hirschhorn Museum and Sculpture Garden, Washington DC; The Hammer Museum, Los Angeles and Palazzo Antinori, Florence.
With thanks to the artist, The Modern Institute, Glasgow and Galerie Gregor Staiger, Zurich.
AZULIK in Tulum, Mexico has launched an experiential site to support research, transformation and creation in Tulum, Mexico. The multi-faceted and flexible complex, AZULIK Un May will encompass an array of creative spaces including an innovative art space, a lab dedicated to fashion and design, an arts and crafts school, a state of the art recording studio as well as artists residences and offers a platform for creative pioneers from a diverse range of fields.
The project is inspired by the natural environment and the rich heritage of the local Mayan culture in the heart of the jungle of the Yucatan Peninsula.
Roth (Eduardo Neira) is the founder and a social entrepreneur who’s vision is reflected in his ecologically inspired resort AZULIK Tulum and the adjacent art space 1K LAB Tulum.
Ebony G. Patterson . . . while the dew is still on the roses . . . presents the work of Kingston-born artist Ebony G. Patterson (b. 1981). The most significant presentation of the artist’s work to date, the project includes examples of the artist’s work produced over the last five years, embedded within a new installation environment that references a night garden. Known for her drawings, tapestries, videos, sculptures and installations that involve surfaces layered with flowers, glitter, lace and beads, Patterson’s works investigate forms of embellishment as they relate to youth culture within disenfranchised communities. Her neo-baroque works address violence, masculinity, “bling,” visibility and invisibility within the post-colonial context of her native Jamaica and within black youth culture globally. This exhibition focuses on the role that gardens have played in her practice, referenced as spaces of both beauty and burial; environments filled with fleeting aesthetics and mourning.
The Institute of Contemporary Art, Miami presents “Judy Chicago: A Reckoning,” a major survey of works by the pioneering feminist artist. This exhibition highlights Chicago’s iconographic transition from abstraction to figuration, and explores the ways in which the artist’s strong feminist voice transforms our understanding of modernism and its traditions.
Asya Geisberg Gallery is proud to present "Soft Violence", an exhibition of sculptural paintings by Leah Guadagnoli. With a sparer touch than her prior work, the artist has presented a sort of exaggerated logo, a calling card of absurd proportions, with textured panels, upholstered shapes, and painted canvas uniting to form a streamlined rectangular result. Whereas her recent work incorporated digitally-printed patterns on fabric and eclectic juxtapositions, this series has a reined-in seriousness that belies gaudy Miami sunsets and remaining hints of "Saved by the Bell", and its heightened simplicity acts as a cohesive statement on abstraction's potential as graphic power. The images seem familiar, but they are a design for a non-existent entity - fully empty, thwarting connection.
