Advisory Picks

Advisory Picks presents artworks by artists who have captured the attention of our advisory team.

Stanley Whitney at Matthew Marks Gallery
Los Angeles, 25 February 2021
Stanley Whitney, Twenty twenty (2020). Oil on linen. Courtesy Matthew Marks Gallery.

'The only system I have really is top, middle, and bottom. Even if I wanted to make a red painting, I couldn't do it. I have to let the colour take me wherever it takes me.'—Stanley Whitney

Stanley Whitney's gorgeous grids of colour are on view in How Black is That Blue at the Los Angeles space of Matthew Marks Gallery, but they are also a joy to absorb online, such is the power of this sublime colourist's compositions.

Robert Rauschenberg at Thaddaeus Ropac
London, 24 February 2021
Robert Rauschenberg, Florida Reservoir (Phantom) (1991) (detail). Silkscreen ink on anodised mirrored aluminium. 127.7 x 307 cm. © Robert Rauschenberg Foundation/Licensed by Adagp, Paris, 2020. Photo: Glenn Steigemann.
Robert Rauschenberg, Florida Reservoir (Phantom) (1991). Silkscreen ink on anodised mirrored aluminium. 127.7 x 307 cm. © Robert Rauschenberg Foundation/Licensed by Adagp, Paris, 2020. Photo: Glenn Steigemann.
Robert Rauschenberg, Portal (Night Shade) (1991). Tarnish and silkscreen ink on brushed aluminium. 104.1 x 124.5 cm. © Robert Rauschenberg Foundation/Licensed by Adagp, Paris, 2020. Photo: Glenn Steigemann.

Two series of Robert Rauschenberg's works produced in the early 1990s are on show in the exhibition Night Shade and Phantoms at Thaddaeus Ropac in London, which will open after the current lockdown restrictions are lifted.

Where his focus on the materiality of paint in 1950s New York alongside Jasper Johns became the precursor for Pop Art, these works from the early 1990s were revolutionary for his ability to assemble painting, photography, and sculpture into a single frame.

On this approach to art-making, the artist David Salle wrote, 'Rauschenberg knew how to let forms and masses invade and affect each other, energising the surface to build a sense of pictorial consequence, itself part of something larger, deeper'.

Jessie Homer French at Massimo De Carlo
London, 23 February 2021
Jessie Homer French, Pine Forest Fire (2019) (detail). Ex. Unique, oil on plywood. 30.5 x 44.5 cm. Courtesy the artist and Massimo De Carlo. Photo: Damian Griffiths.
Jessie Homer French, Pine Forest Fire (2019). Ex. Unique, oil on plywood. 30.5 x 44.5 cm. Courtesy the artist and Massimo De Carlo. Photo: Damian Griffiths.

West Coast is the magical self-taught artist Jessie Homer French's debut exhibition at Massimo De Carlo in their London space.

Homer French's paintings are often naïve in style with unusual details and large areas of flatness, but a sensitivity and softness nearly always pervades.

Henri Rousseau seems an obvious influence, along with Ed Ruscha and his famous painting, The Los Angeles County Museum on Fire (1965–1968).

Charline von Heyl at Corbett vs. Dempsey
Chicago, 20 February 2021
Charline von Heyl, The August Complex (2020). Acrylic on linen. 208.28 x 198.12 cm. Courtesy the artist and Corbett vs. Dempsey, Chicago. Photo: Tom Van Eynde.

If anyone can be attributed with keeping painting progressive and shifting its parameters—without resorting to the re-hashing of past tropes—it must surely be Charline von Heyl.

This incredible recent painting, showing at Corbett vs. Dempsey until 13 March, perfectly encapsulates her relentless desire to create startlingly unique images through the medium of paint.

Her use of jarring colours and motifs interplay with a crisp flatness that jolts us into clutching at why we feel a certain sensation from absorbing these enigmatic compositions.

A unique visionary within the realm of contemporary image making.

Lubna Chowdhary at Jhaveri Contemporary
Mumbai, 20 February 2021
Lubna Chowdhary, Code 4 (2020). Gouache and acrylic on gessoed board. 29 x 23 cm. Courtesy Jhaveri Contemporary.

Ocula Editor Stephanie Bailey, on Lubna Chowdhary in Ocula Magazine:

'There is an undeniable dynamism in the charged currents of movements, fusions, and disjunctions that are contained within Chowdhary's formal arrangements, wherein a restrained minimalism is offset by the weight of matter, the fluidity of memory, and above all, an enigmatic use of colour.'

Read the full article here.

Ljiljana Blazevska at 15 Orient
New York, 19 February 2021
Ljiljana Blazevska, Untitled (Slika) (c. 1975–1985) (detail). Oil on canvas. 130 x 150 cm. Courtesy Orient 15.
Ljiljana Blazevska, Untitled (Slika) (c. 1975–1985). Oil on canvas. 130 x 150 cm. Courtesy Orient 15.

The paintings of late Macedonian artist Ljiljana Blazevska are a stunning new discovery for us, thanks to the painter's beautiful exhibition at 15 Orient in Brooklyn, running until 14 March.

This fantastical scene is unashamedly painterly and gorgeously rendered in vivid colours. Deliciously unexpected treats for the eyes emerge all across the canvas.

Jonathan Gardner at Casey Kaplan
New York, 16 February 2021
Jonathan Gardner, The Bathhouse (2020). Graphite on paper. Paper size: 51.12 x 46.04 cm; Framed: 55.88 x 50.8 cm. Courtesy Casey Kaplan.
Jonathan Gardner, Reader in the Mirror (2020). Graphite on paper. Paper size: 43.82 x 40.64 cm; Framed: 48.26 x 45.09 cm. Courtesy Casey Kaplan.
Jonathan Gardner, Grand Hotel (2020). Graphite on paper. Paper size: 53.50 x 45.09cm; Framed: 57.78 x 49.21 cm. Courtesy Casey Kaplan.

New York-based Jonathan Gardner's simplified forms and illusory framing devices recall Modernist masters, whilst his depiction of everyday scenes playfully root them in the contemporary.

His refined use of tone and shade assures these drawings pack the same punch and compositional clarity as his much sought-after paintings, though this is exquisitely softened by tactile and surreal details.

Casey Kaplan are showing these works online until 6 March 2021.

Thomas Demand at Sprueth Magers
Online, 13 February 2021
Thomas Demand, Pond (2020). C-print/Diasec. 200 x 399 cm. Courtesy Sprüth Magers. Photo: © Thomas Demand, VG Bild-Kunst, Bonn, 2021.
Thomas Demand, Pond (2020) (detail). C-print/Diasec. 200 x 399 cm. Courtesy Sprüth Magers. Photo: © Thomas Demand, VG Bild-Kunst, Bonn, 2021.
Thomas Demand, Pond (2020) (detail). C-print/Diasec. 200 x 399 cm. Courtesy Sprüth Magers. Photo: © Thomas Demand, VG Bild-Kunst, Bonn, 2021.

Thomas Demand recreates sourced images in detailed scale models and then photographs them to produce large-format images compelling us to question both how photography functions as a medium and our own relationship with images.

As the artist once said, 'Models provide us with a focus on our world, as its complexity would place an inconceivable load on our apprehension without such filter'.

This incredible image of water lilies is a highlight from his online exhibition showing at Sprueth Magers until 30 April.

The exquisite depiction of natural light and reflection moving across the surface envelops the image with drama and an uncanny illusion of depth.

Mark Rothko and Frederic Edwin Church at Mnuchin Gallery
Online, 12 February 2021
Mark Rothko, Untitled (1960). Oil on canvas. 235 x 205 cm. Courtesy Mnuchin Gallery, New York. Photo: Tom Powel Imaging.

'The whole of man's experience becomes his model, and in that sense it can be said that all of art is a portrait of the idea'—Mark Rothko.

Sublime, available via Mnuchin Gallery's OVR, brings together the works of Mark Rothko and the 19th-century American landscape painter, Frederic Edwin Church.

Glauco Rodrigues at Bergamin & Gomide
São Paulo, 11 February 2021
Glauco Rodrigues, A Nave do Destino (1969). Acrylic on canvas on hardboard. 64 x 76 cm. Courtesy Bergamin & Gomide.
Glauco Rodrigues, Maçã Azul (1969). Acrylic on canvas on hardboard. 44 x 44 cm. Courtesy Bergamin & Gomide.

Bergamin & Gomide recently opened an exhibition of the late Brazilian artist Glauco Rodrigues (1929–2004). Acontece que somos canibais [We happen to be cannibals] is on view until 13 March 2021.

These still-life works painted with acrylic on canvas are from the late 1960s after Rodrigues had returned from a few years living in Europe, where he took influence from the Pop Art movement.

The vivid yellow and blue colours used to depict the fruit playfully remove them from the real world, whilst imbuing them with sociopolitical connotations due to their obvious ties to the national flag and Brazilian culture at large.

His use of white as a background and framing device envelops the images with another layer of symbolism referencing Brazil's relationship with colonialism.

Rodrigues excavates objects and symbols associated with Brazilian identity, transforming them into satirical critiques of the foundations these ideals are based on.

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