Taka Ishii Gallery New York is tucked neatly away on the third floor of an Upper East Side townhouse. The elevator opens directly into the spare gallery entry where, currently, you will be confronted by a two-foot oil and acrylic monochrome on paper that looks to be made of molten lead. The work is by 78-year old Japanese painter, Tomoharu Murakami, and it is one of ten works comprising what seems to be his second solo presentation to date in New York.
If you are a fan of the Irish painter Francis Bacon, you are in for a serious joy ride (if such a term can be applied to Bacon’s work). Earlier this year his estate released a painstakingly researched and compiled Catalog Raisonné of his work. That’s right – every single Bacon painting known has been searched for, discovered, photographed, described and put into this five-volume cloth bound colossus, distributed in the US by D.A.P.
A deceptively simple show of 46 prints by the photographer Sally Mann are tucked off Madison Avenue in Gagosian’s ground floor galleries and together they present a visually and intellectually sumptuous offering. To read recent commentary on this exhibit before seeing it in person, as I did, would lead one to expect an elegiac, sad, somewhat depressing affair given that the photographs present the Lexington, Virginia studio space of Cy Twobly (a longtime, local friend of Mann’s parents) in the years leading up to his death and also given that one of Mann’s adult-aged children’s unexpectedly died during the preparation of the final prints. Consequently, I went in steeled to a degree.
Facility of DECLINE at Gladstone Gallery reunites installations, sculptures, videos and drawings from Matthew Barney’s 1991 New York debut from when the gallery was on Greene Street in SoHo for the first time in twenty-five years.
Last week we celebrated StyleZeitgeist’s tenth anniversary at Flash Factory in New York City with a live concert by Cold Cave and music by .thejass., Black Asteroid, and Joseph Quartana. In lieu of the usual party shots, we invited the brilliant photographer Dusan Reljin to take some portraits. Wesley Eisold, Eugene Rabkin, Amy Lee Wesley…
Taka Ishii Gallery New York published “Land and Sea 1970” to accompany an exhibition by Tatuso Kawaguchi in September 2015. Since that time his book has consistently stood out from the other gallery publications and art books on my bookshelf as being an exceptionally good one. It manages to function not only as documentation of a specific show but, in a sense, is practically a work in its own right. In that regard, we could refer to it as an artist’s book though it was not intended as such.
The director Gus Van Sant is one of those creators synonymous with the youth culture of the 90s, when the fringes hit the mainstream. The Drugstore Cowboy (ok, it came out in ‘89, but you know what I mean) and especially My Own Private Idaho (’91) made him more than an instant cult figure. And if his later releases like Gerry, Last Days, and Paranoid Park, did not seem as impactful, perhaps it’s because the youth culture that changed and not the man.
Last week we again visited the studio of the artist Barry X Ball, whose engrossing, unsettling sculptures are at the top of our art list. See our photo essay below and read our extensive profile on the artist.
It is hard to believe that that the perennially young Japanese label UNDERCOVER turned 25 last year. As part of the anniversary, the publisher Rizzoli is releasing a 256-page book on the brand ($65). It is the first comprehensive overview of UNDERCOVER’s body of work and the first book on the brand available in the West (if you can find it, hunt down the fantastic “The Shepherd,” which documented UNDERCOVER’s first Parisian shows.)
Aaaah, the Smiths! As a late convert I cannot claim allegiance to the good old formative days when meat was murder and the queen was dead. But, the more I listen to the Smiths as of late the more their music overtakes my consciousness.