William Kentridge at Marian Goodman Gallery
New York, 20 March 2021
William Kentridge, Lekkerbreek (2013). Linocut on Universal Technological Dictionary (or Familiar Explanation of the Terms) used in all Arts and Sciences by George Crabb. 182.9 x 121.3 x 5.1 cm (framed). © the artist. Courtesy the artist and Marian Goodman Gallery.
William Kentridge, Mantegna (2016). Edition of 12 plus 4 artist's proofs. Woodcut printed from 12 woodblocks onto 21 sheets of various sizes of Somerset Soft. 215.6 x 213.4 x 7 cm (framed). © the artist. Courtesy the artist and Marian Goodman Gallery.

William Kentridge's show of prints at Marian Goodman Gallery in New York is nothing short of a spectacle.

Lekkerbreek reveals Kentridge's long-standing fascination with trees as a subject, which he paints and prints over dictionary paper.

Lekkerbreek trees are indigenous to Southern Africa, and through placing them within the context of words, they recall a series of associations relating back to Kentridge's childhood.

Touching on themes of procession, history, and memory, the woodcut print Mantegna reimagines Andrea Mantegna's painting Triumphs of Caesar (1484–192), as a means of expressing the weight of one's history.

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Isabella Ducrot at Capitain Petzel
Berlin, 19 March 2021
Isabella Ducrot, Eros III (2000). Signed and dated recto, colour and china ink on paper. 170.5 x 131 cm (framed). © the artist. Courtesy Capitain Petzel, Berlin. Photo: Jens Ziehe.

Isabella Ducrot's works on view at Capitain Petzel in Berlin fuse fabrics and drawings that she collected in China, India, and Tibet.

The Rome-based artist, who collected these materials on travels to Asia with her friend and fellow painter Cy Twombly, explores themes of sensuality through the depiction of touch and human emotion.

The artist's solo exhibition runs until 17 April 2021.

Chung Chang-Sup at Axel Vervoordt
Hong Kong, 14 March 2021
Chung Chang-Sup, Meditation (1991). Mulberry fibre, burlap canvas. 130 x 162 cm. Courtesy Axel Vervoordt Gallery, Hong Kong.⁠

Chung Chang-Sup's solo show at Axel Vervoordt, Hong Kong, presents his exploration into 'tak', a natural material from Korea's indigenous mulberry tree.

Through this material, Chung contemplates Korean identity, having grown up in Korea in the years following the Japanese occupation. The artist played a key role in the Dansaekhwa movement of 1970s South Korea.⁠

Louise Bonnet at Galerie Max Hetzler
Online, 12 March 2021
Louise Bonnet, Untitled (2021). Coloured pencil on paper. 64 x 76.8 cm (framed). Courtesy Galerie Max Hetzler, Berlin | Paris | London. Photo: def image © Louise Bonnet.

We loved this brilliantly strange coloured pencil on paper work from Louise Bonnet's OVR with Galerie Max Hetzler, echoing the accentuated Surrealist forms of Man Ray and Dorothea Tanning.

Thomas Demand at FIAC
Online, 09 March 2021
Thomas Demand, Canopy (2020) C-print/Diasec. 180 × 144 cm. © Thomas Demand, VG Bild-Kunst, Bonn, 2021. Courtesy Sprüth Magers.

A highlight from last week's FIAC OVR. Thomas Demand's recent show at Sprüth Magers is exceptional.

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.

Cindy Sherman at FIAC
Online, 06 March 2021
Cindy Sherman, Untitled (1989). Chromogenic color print. 96.5 x 69.9 cm. Edition of 6, AP 1/1. Courtesy Metro Pictures.

One of Cindy Sherman's 'History Portraits' from the late 1980s featured in Metro Pictures' FIAC OVR last week.

Sherman humorously plays with Old Master portraiture tropes, whilst alluding to the male gaze and more specifically, the objectification of women.

Takesada Matsutani at FIAC
Online, 05 March 2021
Takesada Matsutani, Point de Contact 65-12 (1986). Vinyl adhesive, acrylic and graphite on paper mounted on canvas. 162 x 130 cm. © Takesada Matsutani. Courtesy the artist and Hauser & Wirth. Photo: Thomas Barratt.

This beautiful 1986 painting by Takesada Matsutani, a Japanese artist from the Gutai group, featured in Hauser & Wirth's FIAC OVR.

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.

Hans Arp at FIAC
Online, 04 March 2021
Hans Arp, Die Puppe der Demeter / La poupée de Déméter (Demeter''s Doll) (1961, cast 1974). Bronze, Ed. 3/5 + 2 AP, 41 x 15 x 15 cm. © Stiftung Arp e.V., Berlin/Rolandswerth / 2021 ProLitteris, Zürich, ARS, New York, and DACS, London. Courtesy Stiftung Arp e.V., Berlin/Rolandswerth and Hauser & Wirth.

Hauser & Wirth featured this small but mighty Hans Arp bronze in their FIAC OVR presentation.

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.

Tom Waring at FIAC
Online, 03 March 2021
Tom Waring, Plutch Jarv (2020) (detail). Oil on linen. 180 x 140 cm. © the artist. Courtesy Downs & Ross, New York.
Tom Waring, Plutch Jarv (2020) (detail). Oil on linen. 180 x 140 cm. © the artist. Courtesy Downs & Ross, New York.
Tom Waring, Plutch Jarv (2020). Oil on linen. 180 x 140 cm. © the artist. Courtesy Downs & Ross, New York.

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.

Maja Ruznic at Hales Gallery
London, 02 March 2021
Maja Ruznic, Invocation (2019). Oil on canvas. 213.36 x 187.96 cm. Courtesy the artist and Karma, New York.

Maja Ruznic's ethereal works are formed through her experience recalling memories from her diasporic childhood.

Softly rendered washes of oil paint shimmer and fade across the canvas, revealing forms and figures from her past.

Maja Ruznic is represented by Karma, in addition to Hales Gallery, where she recently held her first solo show in their London space towards the end of last year.

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.

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