Elisa Sighicelli at 55 Walker Street
New York, 17 December 2020
Elisa Sighicelli, Untitled (3333) (2020). Courtesy the artist, Andrew Kreps Gallery, Bortolami Gallery, and kaufmann repetto. ⁠

Elisa Sighicelli's new photographs on satin are showing in a joint exhibition hosted by Andrew Kreps Gallery, Bortolami Gallery, and kaufmann repetto in New York.

These works are heavily influenced by Carla Accardi's sicofoil paintings from the late 1960s and early 1970s. Both artists push the boundaries of their respective mediums, manipulating light and space to create abstract images that hover between the illusory and material.

The strict formal qualities of these works by Elisa Sighicelli firmly roots them within a conceptual framework, but their playfulness and startling beauty is magical.⁠

More in Advisory Picks

Modernist Sculpture Highlights at December Auctions
14 December 2020
Alexander Calder, Mariposa (1951). Sheet metal, rod and paint.⁠ Courtesy Sotheby's.
Isamu Noguchi, Light Sculpture (Lunar) (1943).⁠ Magnesite, plastic, electric components and wood.⁠ Courtesy Christie's.
Ruth Asawa, Untitled (S.045, Hanging Five-Lobed, Multilayered Continuous Form within a Form, with Spheres in the First, Second and Third Lobes) (Executed circa early 1960s).⁠ Courtesy Philips.

Sculptures by Alexander Calder, Isamu Noguchi, and Ruth Asawa all demonstrated market confidence in high-quality works. Each of these iconic artists used their own seductive visual language to play with form, surface, and the movement of light.⁠⠀

Alexander Calder, Mariposa (1951) sold for $18,188,400 at Sotheby's, Isamu Noguchi, Light Sculpture (Lunar) (1943) sold for $562,500 at Christie's, and Ruth Asawa, Untitled (S.045, Hanging Five-Lobed, Multilayered Continuous Form within a Form, with Spheres in the First, Second and Third Lobes) (Executed circa early 1960s), sold for $3,539,000 at Phillips.

Jennifer Packer at Serpentine Galleries
London, 10 December 2020
Exhibition view: Jennifer Packer: The Eye Is Not Satisfied With Seeing, Serpentine Galleries, London (5 December 2020–14 March 2021). Courtesy Serpentine Galleries. Photo: George Darrell.

At Serpentine Galleries in London, the personal as political is foregrounded in Packer's work.

'My inclination to paint bodies, especially from life, is a completely political one', the artist has said. 'We belong here. We deserve to be seen and acknowledged in real time. We deserve to be heard and to be imaged with shameless generosity and accuracy.'

Learn more about Jennifer Packer's solo show at Serpentine Galleries in Advisory Perspectives.

Dana Schutz at Art Basel OVR: Miami Beach
Miami Beach, 05 December 2020
Dana Schutz, Floating Pieta (2020). Gouache and graphite on paper. 112.08 x 77.15 cm. Courtesy the artist and David Zwirner.

One of our highlights at Art Basel OVR: Miami Beach this year is this Dana Schutz gouache and graphite on paper work showing with David Zwirner, who recently announced representation of the artist.

The bulging eyes and pained expressions of Dana Schutz's figures, together with a classically triangular arrangement, recall the Christian pietà scene from a Gothic sculpture that inspired the artist.

Schutz's creation owes more to the German Expressionist paintings of Max Beckmann, but the energetic physicality and vivid colours are typical within her oeuvre.

Faith Wilding at Art Basel OVR: Miami Beach
Miami Beach, 04 December 2020

Faith Wilding's eco-feminist art practice was born out of her MFA at the California Institute of the Arts, from where she established herself as a forerunner of the feminist art movement of Los Angeles in the 1960s.

The artist's bold colours and intricate biomorphic line drawings explore the female form and the natural world.

In Hildegard and I, showing with Anat Ebgi at Art Basel OVR: Miami Beach, suggestions of the life cycle include a figure in the foetal position, encased in a cell, surrounded by creatures that appear half animal, half human.

Main image: Faith Wilding, Hildegard and I (1986). Mixed media on paper. 55.9 x 76.2 cm. Courtesy the artist and Anat Egbi.
Lynette Yiadom-Boakye at Tate Britain
London, 02 December 2020
Lynette Yiadon-Boakye, A Passion Like No Other (2012). Collection Lonti Ebers. © Courtesy Lynette Yiadom-Boakye.

'Across Yiadom-Boakye's work, resistance and rebellion are central—an approach to painting that resonates profoundly at a time when the Western art historical canon is being necessarily upended, revised, and challenged.'

Jareh Das discusses Lynette Yiadom-Boakye's approach to portraiture in Ocula Magazine, on the eve of her solo show at Tate Britain opening (2 December 2020–9 May 2021).

Eleonore Koch at Modern Art and Mendes Wood DM
London, 28 November 2020

Modern Art and Mendes Wood DM have teamed up to produce two concurrent exhibitions by German-Brazilian artist, Eleonore Koch.

Koch studied under Alfredo Volpi in São Paulo but moved to London in 1968, the year this work was painted.

Disenchanted with the strictly abstract style of her Brazilian Constructive contemporaries, Koch found solace in the similarly pared-back figurative work of British artists, such as Patrick Caulfield and David Hockney.

Her paintings are warm, atmospheric spaces that generously allow small detailed objects—or figurative elements—the room to be transformed into strange stand-alone forms floating mysteriously within pools of rich colour.

Magically poetic and eerily dreamlike, these works seem to exist in another time or place.

Main image: Eleonore Koch, Untitled (1968). Tempera on canvas. 59.5 x 82 cm. Courtesy Mendes Wood DM and Modern Art.
Liu Ye at David Zwirner
New York, 26 November 2020

'Many of Liu's works are rooted in his understanding of art history, which he recreates to make an imaginary world.'

Ocula Advisory interviewed Leo Xu about Chinese painter Liu Ye on the eve of the artist's first solo show in New York, Liu Ye: The Book and the Flower, which opened at David Zwirner on October 29 and runs through to 19 December 2020.

Main image: Liu Ye, Banned Book No. 5 (Balthus Variation) (2019–2020). Acrylic on canvas mounted on wooden panel. 80 x 100 cm. © Liu Ye. Courtesy the artist and David Zwirner.
Henni Alftan at OVR: Miami Beach
Miami, 25 November 2020

Henni Alftan is a favourite painter of ours and showing this sublime new painting with Karma OVR: Miami Beach.

Born in Helsinki, Finland, Alftan is now based in Paris. Her pared-back paintings are figurative but restrained, and often feature close-ups or cropped compositions reminiscent of photographs.

Areas of flat warm colour and her playful but delicate treatment of light and texture make these images so seductive. She possesses many of the best qualities of an abstract painter, whilst simultaneously teasing us with fragments from her lived experience.

Images: Henni Alftan, Midnight (2020). Oil on canvas. 146 x 114 cm. Courtesy Karma.
Matthew Barney at Sadie Coles HQ
London, 24 November 2020

This exquisite graphite and gouache work on paper is one of 20 works in a series from Matthew Barney's solo exhibition Cosmic Hunt at Sadie Coles HQ.

A response to the 2018 film Redoubt, these detailed works depict the wild landscape of the Sawtooth Mountain region of Idaho, where the film is set, and nearby to the artist's hometown.

Each graphite work intricately depicts characters and imagery from the film, which sees a reinterpretation of the ancient myth of Dian and Actaeon. Rendered in a range of hues—magenta, ochre, blue, and orange—the colours evoke the sky, fires, and wilderness of the mountains seen in the winter months.

Cosmic Hunt is showing at Sadie Coles HQ in London at 1 Davies Street from 17 November 2020 to 16 January 2021.

Main image: Matthew Barney, Omega Net (2020). Graphite and gouache on paper in high-density polyethylene frame. 33 x 38.1 x 3.2 cm. © Matthew Barney. Courtesy Sadie Coles HQ, London. Photo: Robert Glowacki.
Sotheby's Contemporary Art Day Auction
New York, 20 November 2020
Ken Price, Vulcan Island (2003). Acrylic and ink on paper. 31.2 x 24.5 cm. Courtesy Sotheby's.
Keith Haring, Untitled (1988). Sumi ink on paper. 76.2 x 101.6 cm. Courtesy Sotheby's.
Alexander Calder, Big Boulder, Filled Spiral (1970). Gouache and ink on paper. 109.2 x 74.3 cm. Courtesy Sotheby's.

Ocula Advisory selects three highlights from Sotheby's Contemporary Art Day Auction: Online on 18 November 2020.

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