Katja Seib at dépendance
Brussels, 15 January 2021
Katja Seib, Medusa in vain (2020). Courtesy the artist and dépendence, Brussels; Sadie Coles HQ, London. Photo: Elon Schoenholz.⁠

Katja Seib's exhibition, Happy Endings Don't Bore Me—her first at dépendance, Brussels—closes this week.⁠

Seib is one of the most exciting young painters living and working in Los Angeles, where she is represented by Château Shatto. She also shows with Sadie Coles HQ in London and her work was recently included in Made in L.A. 2020: a version at the Hammer Museum in Los Angeles.⁠

Seib's paintings shift between reality and illusion, often enveloping casual everyday scenes or intimate moments with surreal imagery that transforms them into strangely psychological works. ⁠

In this painting, Medusa in vain (2020), the Greek mythological figure looks into a mirror. A tear falls off her cheek appearing to merge with the pearls of her necklace. It was said that those who gazed into her eyes, turned into stone.—[O]


More in Advisory Picks

Reggie Burrows Hodges at Karma
New York, 09 January 2021
Reggie Burrows Hodges, Community Concern (2020). Courtesy Karma.

After showing some beautiful works on paper at the online version of Art Basel Miami Beach in December, a solo show of paintings opens in New York today, complete with a fully illustrated catalogue including a text by the great Hilton Als.

Hodges begins his paintings with a black ground. Acrylic and pastel are then added over the top in scumbled warm tones, blocks of vivid colour, and sharply drawn lines.

The faces are often left as outlined forms, as are the often bare legs or arms, transforming them into silhouettes magnificently set against a richly colourful palette. In Community Concern (2020), Hodges' masterful use of colour creates a deeply atmospheric and timeless image of a dancing figure.

Born in Compton, California in 1965, Hodges now lives and works in Maine.

Julie Mehretu at Marian Goodman Gallery
New York, 08 January 2021
Julie Mehretu, Conversion (S.M. del Popolo/after C.) (2019–2020). © Julie Mehretu. Courtesy the artist.

One of the standout gallery exhibitions last year was Julie Mehretu's about the space of half an hour at Marian Goodman Gallery in New York (2 November–23 December 2020).

Mehretu will be the subject of a major mid-career survey at The Whitney Museum of American Art from 25 March to 8 August 2021.

Pictured here is Mehretu's Conversion (S.M. del Popolo/after C.) (2019–2020) from her exhibition at Marian Goodman Gallery.

In Mehretu's recent conversation with Fawz Kabra in Ocula Magazine, she charts the development of her practice:

'In my work, the language of abstraction has evolved. Painting evolves slowly. But through years of working and mark-making, how I think about space, surface, the marks, and what can happen in a painting has transformed.'

Mehretu's paintings are visceral, time-bending journeys that evoke unnerving memories and sensations from deep within our subconscious.—[O]

Paul Chan at Greene Naftali
New York, 06 January 2021
Paul Chan, neuartig (anew) (2020). Ink on paper. Paper: 126.7 x 97.5 cm; Frame: 134.9 x 105.7 x 4.4 cm. Courtesy Greene Naftali.
Paul Chan, die Galerie (gallery) (2020). Ink on paper. Paper: 126.7 x 97.5 cm; Frame: 134.9 x 105.7 x 4.4 cm. Courtesy Greene Naftali.
Paul Chan, der Quatsch, quatschig (nonsense, nonsensical) (2020). Ink on paper. Paper: 126.7 x 97.5 cm; Frame: 134.9 x 105.7 x 4.4 cm. Courtesy Greene Naftali.
Paul Chan, Spekulieren (to speculate) (2020). Ink on paper Paper: 381 x 243.8 cm each; Frames: 393.7 x 134.6 x 7.6 cm each. Courtesy Greene Naftali.

'I like drawing with my left hand because it feels as if different stakes about what matters on paper became visible to me. Maybe that's all we're ever looking for in making any work: new ways to see the stakes that matter.'

Paul Chan explains his approach to the drawings he has made in response to reading about Ludwig Wittgenstein's text book, Wörterbuch, compiled through his experience teaching children in rural Austria in 1921.⁠

As the U.K. goes back into another lockdown, we were reminded of Paul Chan's exhibition at the end of last year. Going back to basics to re-learn how to view the world, Chan's work draws interesting parallels to the Covid-19 pandemic that restricted so much of modern activity.⁠

Paul Chan's solo exhibition, Drawings for Word Book by Ludwig Wittgenstein, showed at Greene Naftali from 6 November to 19 December 2020.

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.⁠

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.
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