Yossi Milo Gallery
River and Sky is L.A.-based artist Matthew Brandt’s third solo exhibition at Yossi Milo Gallery. Before the exhibition opens on November 3rd, our editor Osman Can Yerebakan talked with Brandt about his process-heavy photography practice and his upcoming exhibition.
Lehmann Maupin
Chinese artist Liu Wei emerged in his country’s then-bourgeoning art scene in the mid-90s.
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Elizabeth Dee Gallery
In its new uptown location, the gallery presents Every Future Has a Price: 30 Years After Infotainment, reenacting a thirty-year-old exhibition conceptualized at East Village’s Nature Morte gallery in 1982, but never shown in the city.
“The fact that I have a vagina allows me to paint it however I want, because it’s mine. I’m highlighting it through abstraction.”
"In Iran, we didn’t have any experiences except memories, and from time to time, instances of time and reality to make sure the rest is all memories.”
“I exhume to consume. My body is the reactor in a huge rubbish-recycling-experiment of leaden world and intoxicated images.”
Swiss artist’s immersive hallucinatory video installations, often times projected at grand scales to cover entire interiors, gloriously blend technological means and phantasmagoric fluxes of color.
Met Breuer
While African American experience, with its social, political, and cultural implications, remains the core of Marshall’s stunning body of work, the portrait of human condition on global scale is what the painter seeks to address.
MoMA PS1
Turner Prize winner Mark Leckey emerged during the YBAs boom of the ‘90s when Damien Hirst, Tracey Emin, and Chapman Brothers took the scene by storm— and while digital technology was making its entry into artist studios.
Mounds, protagonists in most of Hancock’s stories depicting the never-ending battle between the good and the bad, frequently reappear in his persistent depiction of the human condition.
“A lot of my pieces have the word 'ruins' in their titles because I think that tells you this object has been through a lot and survived—that’s the idea behind the sculptures […] it’s like, 'Here I am; I’m still here!' ”
PPOW and Galerie LeLong
"I’m interested in sensuous pleasure and the power of the naked body as an active image rather than the same old, pacified, immobilized, historicized body.”
“Graffiti was a way of painting about the people who lived on the estate without painting them directly. The marks they left behind seemed to me an appropriate way of suggesting the human side of these buildings.”
Museum of Art and Design
Rather than a typical retrospective chronicling her decades-spanning career, Grossen here instead mines the Museum of Art and Design’s vast archive, pairing some of her monumental rope pieces with works from the museum collection.
Leslie Lohman Museum of Gay Art
Queer anthology, either pages from vintage porn magazines or personal ephemera kept hidden under beds, offer in the exhibition vast source material.
