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Cirrus Gallery & Cirrus Editions Ltd. at UNTITLED Art Fair, Miami Beach

 

We are pleased to announce our much-anticipated new release by Jonas Wood in tandem with our participation in the UNTITLED art fair in Miami Beach this year. In addition to the new publication by Wood, the booth will debut a new print by LA-based artist Math Bass; the fourth published by Cirrus and a continuation of their ongoing suite titled Newz!. The booth will also present works by Brice Bischoff, David Lamelas, Charlemagne Paleastine, and Mary Weatherford.

 

 

UNTITLED, Miami Beach will take place on the beach at Ocean Drive and 12th Streets. Galleries VIP preview takes place Tuesday, December 4th for invited guests. Please be advised that the gallery will be closed on Saturday, December 1st and will reopen for normal business hours on Wednesday, December 12th. For additional information regarding the works on view, please contact info@cirrusgallery.com

 

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Peter Alexander, Craig Kauffman at Art Basel, Miami Beach

 

For the 2018 edition of Art Basel Miami Beach, Pace Gallery will present Lightness of Being — an exhibition dedicated to West Coast artists of the Light and Space and Finish Fetish movements. The presentation will showcase works by artists long represented by Pace, such as Robert Irwin and James Turrell, as well as new additions to the gallery, including Mary Corse. To capture the fluid spectrum of creative perspectives and approaches inspired by the movements over for the last 50 years, Pace’s exhibition will also feature works by seminal artists Peter Alexander, Larry Bell, Craig Kauffman, John McCracken, and Doug Wheeler. The works on view highlight the artists’ unrelenting investigations of space, light, perception, material, and subjective experience.

 

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Judy Chicago at the Institute of Contemporary Art, Miami

 

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. Representing the female voice in a male-dominated world, Chicago explores important narratives of history, form and labor. The artist deploys both iconography and working methods in order to problematize gender roles, artistic mastery and skills traditionally regarded as “female” such as needlework and embroidery, as well as stereotypical “male” skills, such as auto body painting and pyrotechnics.

 

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Vija Celmins at the San Francisco Museum of Modern Art

 

For more than five decades, Vija Celmins has been creating subtle, exquisitely detailed renderings of the physical world — including oceans, desert floors, and night skies. Distilling vast, expansive distances into mesmerizing small-scale artworks, this obsessive “redescribing” is a way to understand human consciousness in relation to lived experience. One of the few women to be recognized as a significant artist in 1960s Los Angeles, Celmins relocated to New York City in 1981, where she continues to live and work. Vija Celmins: To Fix the Image in Memory features approximately 140 artworks, including paintings, drawings, and 3-D works. A global debut, this is the first Celmins retrospective in North America in more than twenty-five years.

 

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Betye Saar at Roberts Projects, Los Angeles

 

Roberts Projects is thrilled to present Something Blue, an exhibition of selected artworks by Betye Saar from 1983 to 2018. All of the works on view feature the color blue as a means to explore such concepts as magic, voodoo, and the occult. In her new assemblages dating from 2018, Saar revisits the holistic inclusion of various religious objects, totems, talismans, and charms in the materiality and temporality of her work. This focus on the mystic shares space with her familiar motifs including derogatory black collectibles, outlines of her hand, and personal and familial objects.

 

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Bruce Nauman at the Museum of Modern Art, MoMa PS1

 

Disappearing Acts traces what Nauman has called “withdrawal as an art form”—both literal and figurative incidents of removal, deflection, and concealment. Bodies are fragmented, centers are left empty, voices emanate from hidden speakers, and the artist sculpts himself in absentia, appearing only as negative space. The retrospective charts these forms of omission and loss across media and throughout the decades, following Nauman as he circles back to earlier concerns with new urgency. Presented in two complementary parts, at The Museum of Modern Art and MoMA PS1, this is the most comprehensive exhibition of the artist’s work ever assembled.

 

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Charles White at Chicago, New York, and Los Angeles institutions

 

The consummate draftsman Charles White (1918-79) was committed to interpreting the African-American experience in paintings, murals and works on paper for more than 40 years. The left-leaning White was a lifelong activist, and these “images of dignity”, as he described them, were linked to his belief that social inequality should be addressed in art. The exhibition Charles White: a Retrospective, organised by the Art Institute of Chicago and New York’s Museum of Modern Art (MoMA), is part of Art Design Chicago, a year-long initiative supported by the Terra Foundation for American Art. The show opens in Chicago this week before traveling to MoMA in October and the Los Angeles County Museum of Art in 2019.

 

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Roland Reiss at Diane Rosenstein Gallery, Los Angeles

 

Diane Rosenstein Gallery is pleased to present Unrepentant Flowers and New Miniature Tableaux, a solo exhibition of sculpture and paintings by Roland Reiss. In this exhibition, Reiss presents two different series of floral paintings, Unrepentant Flowersand American Still Lifes; and a series of six new wall-mounted Miniatures that expand his Morality Play series (begun in 1980).  This is Roland Reiss’ fourth exhibition with the gallery and presents his first new sculpture in nearly thirty years. 

 

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Charles Christopher Hill at Leslie Sacks Gallery, Los Angeles

 

Leslie Sacks Gallery is pleased to present Charles Christopher Hill Origin Story. The exhibition will feature the Los Angeles based artist’s iconic stitch-works from the mid-1970s to early-1980s. Eight of these vintage and historical works will be on view—some never before exhibited. The stitch pieces are a seminal body of work for Charles Christopher Hill and have informed his evolving oeuvre over the last nearly five decades.

 

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Peter Alexander at Brian Gross Fine Art, San Francisco

 

Brian Gross Fine Art is pleased to announce the opening of COLOR, an exhibition of new works by veteran Los Angeles artist Peter Alexander. On view will be his signature cast urethane sculptures along with recent gouache drawings. Throughout his use of diverse media, Alexander creates experiential encounters with color. He is associated with the Light and Space movement in Los Angeles from the late 1960s to the present and he has gained an international reputation for his paintings, sculptures, and installations concerning the properties of light and color.

 

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John Baldessari at Marian Goodman Gallery, New York

 

Marian Goodman Gallery New York is pleased to announce an exhibition of John Baldessari’s new body of work All Z’s (Picabia/Mondrian), 2017, opening on Friday, May 4th and on view through Saturday, June 22nd, 2018. Building on Baldessari’s homages to the art historical canon, which have centered on subjects from Giotto to Miro to Pollock/Benton, the new exhibition pairs two icons of art, Picabia and Mondrian.

 

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Matthew Brannon at Casey Kaplan Gallery, New York

 

Casey Kaplan is pleased to announce Matthew Brannon: Concerning Vietnam, the artist’s second solo exhibition rooted in an ongoing, research-based exploration of the Vietnam/American War.

Six large-scale, unique works on paper, punctuated by a new series of ephemera-sourced paintings, chronicle the political and cultural narratives of a complex history. Brannon’s graphic style lends itself to a visual deconstruction of decisions made and fallouts endured between the years of 1954 and 1973. With traditional silkscreen printing techniques as well as hand-painting, the artist layers hundreds of screens in an intricate network of overlapping and boldly colored objects. Image and language intersect in evocations of dual meanings and underlying narrative. The exhibition is on view from May 1st through June 16th, 2018.

 

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Math Bass at Mary Boone Gallery, New York

 

On 26 April 2018, Mary Boone Gallery will open at its Fifth Avenue location My Dear Dear Letter, an exhibition curated by Piper Marshall of new paintings by Math Bass. My Dear Dear Letter presents a recent entry to Math Bass’s ongoing “Newz!” paintings, adding to the artist’s evolving formal vocabulary. Bass’s entries emerge through a process of excision. A contour traced from a pre-existing shape is then abstracted away. In this case, nothing is ripped or destroyed, rather the form yields another through its re orientation, comparable to how N when rotated can appear as
Z, and E could be flipped to read as W. Similarly, Bass’s work explores the contour of a shape through repetition, often within one composition. What follows is a sequence whose legibility asks to be read as mutable, or as toward multiple.

 

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Ed Moses at albertz benda, New York

 

albertz benda is honored to present Ed Moses: Diamond Jim focusing on the artist’s work on canvas of the past three decades.  This exhibit follows Moses’s first ever East Coast survey, Painting as Process 1951-1999, at albertz benda, New York (2016) and California Dreaming: Ed Moses, Billy Al Bengston, & Ed Ruscha curated by Thomas Krens for the New Britain Museum of American Art, CT (2017). Diamond Jim comprises key series from this period including Whiplines, Crackle, Scrapers, and Magma. The exhibition will be on view from April 30th through June 16th, 2018.

 

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Roger Herman at Richard Telles Fine Art, Los Angeles

 

Richard Telles presents an exhibition of new ceramics and paintings by Roger Herman. Drawing from a variety of art historical tropes, Herman embraces an eclectic palette of imagery and methods laden with references to comic strips, the Enlightenment, Paleolithic cave drawings, and erotica. The high and the low are treated with equal deference, simultaneously exalted and exhausted by a studied hand uninterested in purity of form, but more so in the constant rediscovery of process. The exhibition will be on view from March 3rd through April 7th, 2018.

 

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Tate Modern acqures set of 10 David Austen lithographs

 

The Tate Modern has recently acquired a set of untitled lithographs produced at Cirrus between 1990 and 1991. The artist was inspired to embark on printmaking in the famous print workshop during his solo exhibitions at the affiliated Cirrus Gallery in 1989 and 1991. The designs began as studies Austen made of plants in the gallery garden before being transferred to lithographic plates. The portfolio was printed at the Cirrus Editions workshop by Francesco Siquerios, assisted by Robert Dansby in an edition of thirty.

 

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Peter Alexander at Galerie Thomas Zander, Cologne

 

Galerie Thomas Zander is delighted to mount its first exhibition of luminous urethane objects, the most recent work by Peter Alexander. Alexander (born in Los Angeles in 1939, lives and works in Santa Monica) is associated with the Light and Space movement that emerged as an important, innovative, and distinctly West Coast approach to art. Trained as an architect, his oeuvre includes paintings, drawings and sculptures. Today he works in sculptural forms reminiscent of his earliest work from 1965-1972, when he had developed a technique for casting resin. The exhibition opens on February 24th and runs through May 19th, 2018.

 

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Bruce Nauman at Casa Luis Barragán, Mexico City

 

Casa Luis Barragán is pleased to present Parameters, the first solo exhibition by Bruce Nauman in Mexico. This exhibition has assembled five video works—four produced in 1968-1969, which are displayed on monitors in various locations throughout the house, as well as a projection of Setting a Good Corner (1999) in the studio. Presenting Nauman’s video installations in this iconic landmark allows the examination and demonstration of the architectonic and spatial traits found in his work since the beginning. For the exhibition, Estancia FEMSA – Casa Luis Barragán invited independent curator/writer Michael Auping to collaborate on the accompanying catalogue, offering insights on Nauman’s work. The exhibition will be on view from February 3rd through April 15th, 2018.

 

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Ed Ruscha at Joslyn Art Museum, Omaha NE

 

Word/Play is the first major exhibition to feature internationally-renowned artist Ed Ruscha in his home state of Nebraska. Born in Omaha in 1937, Ruscha lived in the city for several years before his family moved to Oklahoma City. In 1956, he relocated to Los Angeles to study commercial art at the Chouinard Art Institute (now called CalArts), and quickly became a fixture in the highly energized West Coast art scene. An important early figure in Conceptual Art, Ruscha demonstrated a talent for deftly combining imagery and text during his student years. At turns poignant, provocative, and confounding, Ruscha’s use of the written word has remained a signature element of his work throughout his career. The exhibition opens on February 3rd and will be on view through May 6th, 2018.

 

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David Austen at TOTAH, New York

 

TOTAH presents the stars above the ocean the ocean beneath the stars, an exhibition of paintings and films by David Austen, on view February 15th through April 22nd, 2018. The exhibition features selections from David Austen’s career-long engagement with painting and watercolors along with two films. This will be the London-based artist’s first New York solo exhibition, offering a view into to a fertile imagination that transitions effortlessly between the formal demands of different media.

 

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Mark Bradford at Hauser & Wirth, Los Angeles

 

Following recent major solo presentations at the US Pavilion, 57th Venice Biennale and the Hirshhorn Museum and Sculpture Garden, LA-based artist Mark Bradford will present new works in the his first solo exhibition with the gallery in Los Angeles. The exhibition will be on view from February 17th through May 20th, 2018.

 

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Craig Kauffman at Sprüth Magers, London

 

Crossroads: Kauffman, Judd and Morris, is Sprüth Magers’ second curated exhibition of Craig Kauffman’s work, displayed alongside his influences and contemporaries. The show presents six works from Kauffman’s fertile period of 1966—1971, when he addressed the issues of structure and form in painting, the use of industrial materials, painting’s relationship to the wall, and dematerialisation. The exhibition also features work by Donald Judd and Robert Morris and will be on view from January 19th through March 31st, 2018.

 

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Ed Moses, ‘Cool School’ painter who helped forge L.A.’s art scene, dies at 91

 

Gallerist William Turner, who represented Moses, described the artist as “a living link to the inception of the contemporary art scene in Los Angeles from the late ’50s to the present.”

“He was a striking presence and force of nature to be reckoned with, especially in his later years. If anything, he went guns a-blazing into his old age and seemed to speed up instead of slow down. He loved painting, for him to be alive was to paint, it’s how he marked his existence.”

 

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Karen Carson at DENK Gallery, Los Angeles

 

DENK gallery is pleased to announce Shift, a painting exhibition featuring new works by Los Angeles-based artists Karen Carson, Kim Dingle, Iva Gueorguieva, and Elisa Johns. Each of these four painters is unique in her simultaneous exploration of both abstract and representational genres. This show will present new and recent pieces by each of the four painters, focusing on the often ambiguous transitions in their works and practices from the referential to the abstract. The exhibition opens on January 20th and will be on view through February 17th, 2018.

 

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Judy Fiskin at Richard Telles Fine Art, Los Angeles

 

Richard Telles presents Judy Fiskin’s new film, I Was an iPhone Addict, in her second exhibition with the gallery. The film will screen for the remainder of the exhibition while selected older films by the artist will be viewable in the gallery’s main space after opening day. In her aptly titled new film, Fiskin serves as protagonist and narrator. She muses on the paradoxes of smart phone photography and accompanies them with images she’s captured on her daily walks over a productive six-month period. The exhibition will be on view from January 13th through February 7th, 2018.

 

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John Mason at Albertz Benda Gallery, New York

 

John Mason: Sculpture presents a survey of typologies: figures, spears, crosses, torques, and orbs – large-scale powerful works rendered from his latest experiments and research into form, structure, and color.  With roots in his earliest forays into the expressive potential of clay, these latest series reflect Mason’s enduring interest in mathematics, science, computer applications, and aesthetics but present entirely new and distilled forms. The exhibition will open on November 30th, 2017 and run through January 13th, 2018.

 

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Math Bass in ‘Abstract/Not Abstract’ at Art Basel, Miami Beach

 

Math Bass will be featured alongside other notable artists such as Tauba Auerbach, Urs Fischer, Sterling Ruby, Seth Price, and Christopher Wool in ‘Abstract/Not Abstract’. The exhibition was curated by Larry Gagosian and Jeffery Deitch and will be on view at Art Basel, Miami Beach in the Moore Building opening on December 6th. The works in the exhibition feature artists who “show work on the boundary between abstraction and representation.”

 

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Tony DeLap at Parrasch Heijnen Gallery, Los Angeles

 

Tony DeLap: A Career Survey, 1963—2017 presents iconic examples of sculpture, drawing, and painting from various periods throughout Tony DeLap’s six-decade practice. In its New York space, Franklin Parrasch Gallery will include early mixed media sculpture and related drawings from the 1960s, formed paintings from the 1970s and 1980s, and shaped paintings from the 1990s to the present. Parrasch Heijnen will present a similar range of works in Los Angeles, as well as an architectural intervention not exhibited since DeLap’s 1972 solo exhibition at Nicholas Wilder Gallery. 

 

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Mark Bradford at the Hirshorn Museum

 

Mark Bradford’s Pickett’s Charge, a site-specific commission for the circular third-floor gallery at the Hirshhorn Museum in Washington D.C., will doubtless be taken by some as an engagement, post-Charlottesville, in the national discussion about Civil War monuments and their place in the public sphere. His installation will continue at the museum through November 12th, 2018.

 

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Mary Corse at the Whitney Museum

 

The Whitney Museum of American Art in New York is planning to open the artist’s first museum survey in June 2018. Meanwhile, Dia:Beacon in New York’s Hudson Valley will unveil a new gallery dedicated to Corse, featuring four newly acquired paintings, in May 2018. The Whitney show will bring together her most important works, from early shaped canvases to her monochromatic “White Light Paintings,” which incorporate glass microspheres, the reflective glass beads used to paint highway markers. The reflective quality of Corse’s work is a marvel to behold—the surface shifts before your eyes as you move across the room.

 

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