@gladstone.gallery

Guo Fengyi has been named to The @Artsy Vanguard 2020 – thirty five artists who are integral to this moment, and defining contemporary art. Further categorized as one of twelve artists “Getting Their Due,” who has persevered for decades, yet only recently receiving the spotlight she deserves. From Artsy: “The late Guo Fengyi’s mesmerizing works were long considered those of an ‘outsider artist.’ As a self taught former chemical analyst whose drawings centered largely on spirituality and mysticism, Guo fit the bill for an art world outsider. Her colored ink drawings—which she only started making in her mid-forties as an extension of her meditative practice of qi gong—are phantasmagoric and often inscrutable. Such pieces are filled with flowing figuration and complex symbology, touching on everything from Buddhism and the I Ching to cosmology and acupuncture charts….Over the past few years, the moniker of “outsider” has proven less than apt….In the wake of recent critical reconsiderations of artists such as Hilma af Klint, Guo’s scroll’s have settled somewhere closer to the international art world’s attention….It’s a testament to Guo’s uncompromising vision that her drawings have drifted, as vivid and cloistered as ever, out of the periphery and into the slipstream of the contemporary.” This first image is of Guo’s “Full Moon on the 15th,” currently available on Artsy 🔗 link in bio for more details. The second image is from Guo’s first institutional show in the United States, “To See from a Distance,” which is currently on view at @scadmoa and was previously shown at @drawingcenter. The exhibition, open through November 29th, features more than 30 works from Guo’s brief yet prolific career, including drawings executed on the backs of book and calendar pages and on cloth, as well as small- and large-scale drawings on rice-paper scrolls. To See from a Distance provides an overview of Guo’s visionary drawings, which incorporate the diagrammatic, the mystical, and the wildly imaginative.

“Did any artist have a more productive quarantine than Amy Sillman? The New York painter poured out new work this year, and her current show at Gladstone Gallery proves how abstract art can speak to our time.” Jason Farago (@jasonfarago) profiled Amy Sillman in the New York Times on newsstands and online now. “What I found, at Gladstone, was more than just a confirmation that Ms. Sillman is at the top of her game, but a master class in how abstract art can be as alive with the inflamed spirit of 2020 as any portrait or photograph….the show is as fresh, as ardent, as masterly as a cycle of sonnets, brimming with old anxieties and new life.” On the exhibition, Sillman says: “In the past, I’ve always made these things where the figure changes. Where the figure is kind of animated. And I had this revelation, kind of dumb and flat-footed, this summer: The ground has changed.” Amy Sillman “Twice Removed,” an exhibition of new paintings and drawings is on view now through November 14th at our 24th Street gallery. 🔗 link in bio to read the full article from @nytimes @amyandomar @jasonfarago @nytimes @callakessler Photo: Calla Kessler for The New York Times

Gladstone Gallery is pleased to present “Decline & Glory,” an exhibition of new paintings by Jill Mulleady (@jillmldy) at our Brussels gallery. In the artist’s first show with the gallery, Mulleady activates the space’s existing architecture, a Neoclassical-inspired late nineteenth-century Maison Bruxelloise, and stages a sequence of paintings en enfilade, with implied narratives threading between the works and the rooms of the installation. The exhibition is open today through November 14, 2020. Still lifes of flowers mark the inexorable passage of time–in “A Thought that Never Changes Remains a Stupid Lie” the same bouquet is observed in different moments of decay. Here, a traditional motif allegorizes the seductive means by which power infiltrates our lives. If you are unable to make it to the gallery, we invite you to explore this work and others accompanied by reference images from the artist in our online viewing room by following the link in bio. “A Thought that Never Changes Remains a Stupid Lie,” 2020. Oil on linen, 35 1/2 x 35 1/2 inches (90 x 90 cm).

In 2013, @kasperbosmans started his ongoing series, “Legends,” paintings on wooden panels that bring together the different stories, motifs, and iconography that underlie his work. Painted in 2020 and seen here, “Legend: Anglo-Saxon Eagle,” references fibulae recently discovered by archaeologists in England. This particular Legend is placed in a cartouche and thus becomes part of the subterranean mural “Hoard” (image 2). This title refers to objects of value that are deliberately or unknowingly buried under the earth, and simultaneously points to the fact that the value of excavated artifacts is very subjective: it can be as benign as an apple, or as extravagant as a bronze brooch. Kasper Bosmans’ “Four” is currently on view at Gladstone 64 through October 24th. 🔗 Link in bio for our online viewing room to explore this work and others, accompanied by original text from the artist. “Legend: Anglo-Saxon Eagle,” 2020. Gouache and silver point on poplar panel, two parts: 11 x 8 1/4 inches (28 x 21 cm) each. “Mural: Hoard,” 2020. Paint on wall, dimensions variable.

“Amy Sillman values words. Her essays are literary incitements, they’re exciting, and felt…. In a Sillman essay, words have their own weight, which is inestimable.” —Lynne Tillman in her foreword for ’s new collection of writings and drawings, “Amy Sillman: Faux Pas” (@after.8.books).  This book aims at revealing the coherence and originality of Sillman’s reflection, as she addresses the possibilities of art today, favoring excess over good taste, wrestling over dandyism, forms over symbols, with as much critical sense as humor. In Faux Pas, art – as personal as it is political – is a practice that responds to today’s struggles. “Faux Pas” is available for purchase on our site at the link in bio. Amy Sillman “Twice Removed,” an exhibition of new paintings and drawings is on view now through November 14th at our 24th Street gallery.

Our second online viewing room for “Drawing 2020” is now live! ✨ Selections from Release 2/5, seen here, are available at the link in bio today through October 19th only. Concurrent with “Drawing 2020,” now on view at our 21st Street gallery, we are pleased to present a special series of online viewing rooms with five releases throughout the run of the physical show. Each week we will be highlighting works from the current release. __ Jonas Wood, “Frimkess Still Life with Red-Leafed Plant,” 2020. Gouache, ink and colored pencil on paper, 13 7/8 x 12 inches (32.5 x 30.5 cm). © Jonas Wood. Photographer: Martin Elder. Amy Sillman, “GPTL1,” 2020. Acrylic and ink on paper, 40 x 26 inches (101.6 x 66 cm). Ed Ruscha, “OTHER PEOPLE,” 2020. Dry pigment and acrylic on paper, 15 x 22 1/4 inches (38.1 x 56.5 cm). © Ed Ruscha. Courtesy of the artist and Gagosian. Alex Katz, “Purple Tulips 2,” 2020. Charcoal and red chalk on paper, 66 x 48 inches (167.6 x 121.9 cm). Cheyenne Julien, “Untitled,” 2020. Graphite on newsprint, 17 x 14 inches (43.2 x 35.6 cm). Courtesy of the artist and Chapter NY, New York. Mel Bochner, “Do I Have To Draw You A Picture ?” 2020. Oil on prepared paper, 22 x 30 inches (55.9 x 76.2 cm). © Mel Bochner. Courtesy the artist. Kye Christensen-Knowles, “I, Empty,” 2020. Ink, graphite and colored pencil on canvas, 24 x 24 inches (61 x 16 cm). Courtesy the artist.

Kai Althoff’s first institutional show in Great Britain opens tomorrow @whitechapelgallery, London. “Kai Althoff goes with Bernard Leach” is on view through January 10, 2021. Presented in three galleries, Althoff shows paintings, works on paper, ephemera, and sculptural work, using many materials, notably fabric, clay, cardboard, and found objects. As the title suggests, Althoff has a deep admiration for the work of Bernard Leach, whose work is presented alongside Althoff’s in the exhibition. To learn more about the show, visit the link in bio. Installation Views “Kai Althoff goes with Bernard Leach,” 7 October 2020 – 10 January 2021 Whitechapel Gallery Photo: Polly Eltes

RG @moca: Elizabeth Peyton (@meicost_ettal) speaks with MOCA Director Klaus Biesenbach (@klausbiesenbach) for a virtual studio visit as a way to connect in this moment and examine the artist’s expansive career. In this clip, the artists discusses her love for and his music, a childhood hero and the subject of this work: “It was one of the first things that made me feel very free, and like there would be space for me in the world.” To watch the entire conversation, visit the link in bio.

Claudia Comte and Ugo Rondinone are included in Country SALTS: “This Morning, in the Sweet Torpor of the Great Forest, is Like Every Morning in the World,” a group show curated by Samuel Leuenberger and Claudia Comte in Baselland, Switzerland. Spanning various media - including painting, sculpture, graphic design, and landscape/architecture - the artworks in the exhibition highlight the ways in which artists today, during a time of immense social and environmental upheaval, identify with nature and the often romanticised pastoral scene. The exhibition challenges the concept of countryside as peripheral space, always outside the citified centre, and reflects on the regenerative force with which nature persists in the realm of art history until today. — Ugo Rondinone, “vierterdezemberzweitausendundneunzehn,” 2019. Watercolour on canvas, artist’s frame, plexiglass plaque with caption, 202 x 302 cm. Courtesy the artist and Galerie Eva Presenhuber, Zurich / New York. Claudia Comte & Adeline Mollard, “Pietro Sarto (interview wall paintings),” 2007/20. Acrylic wall painting, dimensions determined space. Courtesy the artist and König Gallery, Berlin / London & Gladstone Gallery, New York / Brussels.

Selections from our online viewing room, Drawing 2020 Release 1/5 ✨ Concurrent with “Drawing 2020,” now on view at our 21st Street gallery, we are pleased to present a special series of online viewing rooms with five releases throughout the run of the physical show. Each week we will be highlighting works from the current release. Tap the link in bio to learn more about the show and to view all the works from Release 1/5, which closes Monday, October 5th. __ Elizabeth Peyton, “Frederick Douglass, 1850,” 2020. Colored pencil and pastel on paper, 11 5/8 x 9.02 x 1.5 inches (29.7 x 22.9 x 3.8 cm), 19 1/8 x 15 7/8 x 1 1/2 inches (48.6 x 40.3 x 3.8 cm) framed. Deborah Roberts, “Born in Chicago,” 2020. Mixed media collage on paper, 53 x 38 inches (134.6 x 96.5 cm). © Deborah Roberts. Courtesy the artist and Stephen Friedman Gallery, London. George Condo, “Out of Time and In Space,” 2020. Aquarelle pencil and wash and ink on paper, 26 x 40 inches (66 x 101.6 cm). Courtesy the artist and Hauser & Wirth. Ian Cheng, “Life After BOB–production drawing,” 2019. Ink on paper, 11 x 8/1 inches (27.9 x 21.6 cm). Alvaro Barrington, “Bullets Don’t Spin - Maurice ’83-91,” 2020. Mixed media on burlap paper in custom frames, five parts: 11 x 14 inches (27.9 x 35.6 cm) each. © Alvaro Barrington. Courtesy the artist. Cecily Brown, “Untitled (After Franz Snyders),” 2020. Gouache and watercolor on paper, 12 1/4 x 16 inches (31.1 x 40.6 cm) 19 5/8 x 23 1/2 x 1 1/2 inches (49.8 x 59.7 x 3.8 cm) framed. Courtesy of the artist. Billy Sullivan, “Double Self-Portrait in Lockdown, 1968/2020,” 2020. Pastel on paper, two parts: 30 1/4 x 43 3/4 inches (76.8 x 111.1 cm) overall, 30 1/4 x 21 1/4 inches (76.8 x 54 cm) each, 35 1/2 x 25 5/8 x 1 1/2 inches (90.2 x 65.1 x 3.8 cm). Courtesy of the artist and kaufmann repetto, New York. Photo credit: Paul Kennedy.

Richard Aldrich closes at our Brussels gallery this Saturday, October 3rd. If you can’t make it to the gallery, we invite you to explore this work, “Night of the Assassin / Lucy in the Sky,” and others, accompanied by original text from the artist in our online viewing room available at link in bio. On this work, Aldrich says: “When I first did this, it was everything but the black enamel, and it immediately struck me as some sort of 60s psychedelic drawing which made me think, as a joke, of the Beatles song ‘Lucy in the Sky with Diamonds.’ When I painted the matte black enamel, it seemed a little less playful, with the floating figure seeming to be more sinister. Then, also as a joke, I thought to use as a title the song by Japanese band Les Raillez de Nudes ‘Night of the Assassin.’” Richard Aldrich, Night of the Assassin / Lucy in the Sky, 2019. Oil, wax and enamel on linen, 82 x 53 inches (208.3 x 134.6 cm) © Richard Aldrich

RG @moca: Friday, join MOCA Director Klaus Biesenbach (@klausbiesenbach) as he connects with artists around the world in that document both the moment with the artist and a unique survey of their work. This weekend, we will share a conversation that took place on May 30, 2020 between Klaus in Los Angeles and painter from an improvised home studio while in lockdown on the East Coast. . Peyton contextualizes a number of her paintings, many of which are portraits, offering insights into how the subjects inspired her and how she went about reimagining iconic images throughout art history and pop culture. Her painting Love (1) (Jonas Kaufmann and Kristine Opolais; Manon Lescaut) , seen in the clip above, depicts two opera singers, Jonas Kaufmann and Kristine Opolais in an emotional embrace. Peyton discusses the influence opera has had on her artwork, calling it "a safe place to feel some very, very strong emotions." . The full video of this studio visit with Peyton will be available to watch on MOCA's YouTube channel this Friday, October 2.