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.
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'.
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.'
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 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.
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.