Demand's painstakingly detailed and unique approach to model-making and photographing challenges how we make and absorb images, and interrogates artists', as well as society's, relationship with appropriation.
Incorporating vinyl adhesive to create tactile and curvaceous forms protruding from the canvas, Matsutani's painting expands the possibilities of surface, whilst remaining tightly bound to the colour black, except for a deliciously deep blue emerging from underneath.
A master at creating biomorphic forms whose curved lines and simplicity are so pleasurable for our eyes to trace, Arp's instantly recognisable amoeba-like shapes are equally satisfying in this smaller scale.
This recent painting by Tom Waring showing with New York gallery Downs & Ross in their viewing rooms for FIAC was an absolute highlight for us.
Painstakingly created in oil on linen and restricting himself with variations of just one or two colours, Waring constructs claustrophobic compositions that mould together forms and imagery mined from a vast array of art historical references.
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 Shades 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'.