Ray Johnson at David Zwirner
New York, 10 April 2021
Ray Johnson, Untitled (Max Ern with Elephants and Swans) (1982/1994). © Ray Johnson Estate. Courtesy the Ray Johnson Estate ⁠⁠
Ray Johnson, Untitled (Cupid with Ad Reinhardt) (1974). © Ray Johnson Estate. Courtesy the Ray Johnson Estate.
Ray Johnson, David Bourdon (1971). © Ray Johnson Estate. Courtesy the Ray Johnson Estate.

Timeless and wonderfully wry, Ray Johnson's Neo-Dada collages are the subject of WHAT A DUMP, a solo exhibition running until 22 May at David Zwirner's West 19th Street location. ⁠⁠

Immersed in the artistic community of 1950s New York, Johnson's collages, or 'moticos', of magazines, photography, and doodles are saturated with gay icons of the 20th century.

These collages reflect the ethos of his New York Correspondence School, which gave rise to the Fluxus movement of the 1960s. ⁠⁠


More in Advisory Picks

Lenz Geerk at EXPO CHGO ONLINE
Online, 09 April 2021
Lenz Geerk, 'Photograph Series' (2020). Acrylic on canvas. Six canvases; dimensions variable. Courtesy the artist and Roberts Projects, Los Angeles, California.
Lenz Geerk, 'Photograph Series' (2020). Acrylic on canvas. Six canvases; dimensions variable. Courtesy the artist and Roberts Projects, Los Angeles, California.
Lenz Geerk, 'Photograph Series' (2020). Acrylic on canvas. Six canvases; dimensions variable. Courtesy the artist and Roberts Projects, Los Angeles, California.
Lenz Geerk, 'Photograph Series' (2020). Acrylic on canvas. Six canvases; dimensions variable. Courtesy the artist and Roberts Projects, Los Angeles, California.
Lenz Geerk, 'Photograph Series' (2020). Acrylic on canvas. Six canvases; dimensions variable. Courtesy the artist and Roberts Projects, Los Angeles, California.
Lenz Geerk, 'Photograph Series' (2020). Acrylic on canvas. Six canvases; dimensions variable. Courtesy the artist and Roberts Projects, Los Angeles, California.

We love Lenz Geerk's black and white acrylic on canvas works from EXPO CHGO ONLINE, which ran between 8 and 12 April 2021.

Roberts Projects presented these works alongside several other new paintings by Evan Nesbit, and Brenna Youngblood. ⁠⁠

Rebecca Warren at Matthew Marks Gallery
New York, 09 April 2021
Rebecca Warren, The Territory 2020. Hand-painted bronze on painted MDF pedestal. Courtesy Matthew Marks Gallery.

Rebecca Warren is an artist much loved by Ocula Advisor Rory Mitchell, and her latest exhibition at Matthew Marks Gallery is sublime. Among nine hand-painted bronze sculptures is this standout two-part work titled The Territory (2020).

Despite having the appearance of MDF and plywood, the lower arrangements have actually been cast in bronze and meticulously painted to replicate the original pieces of wood from her studio. Each part looks absurdly identical to the other, but on closer inspection, there are subtle differences.

This doubling has been a recurring theme throughout much of Warren's career, although the flag-like figures with richly painted symbols contain an otherworldly feel that is refreshingly new within her oeuvre, and in stark contrast to the seemingly everyday studio materials on which they rest.

Rebecca Warren is also represented by Maureen Paley in London and Galerie Max Hetzler in Berlin and Paris.

Asuka Anastacia Ogawa at Blum & Poe
Los Angeles, 07 April 2021
Asuka Anastacia Ogawa, Home (2021). Acrylic on canvas. 215.9 x 241.3 x 4.4 cm. © Asuka Anastacia Ogawa, Courtesy the artist and Blum & Poe, Los Angeles/NewYork/Tokyo⁠⁠.
Asuka Anastacia Ogawa, Home (2021) (detail). Acrylic on canvas. 215.9 x 241.3 x 4.4 cm. © Asuka Anastacia Ogawa, Courtesy the artist and Blum & Poe, Los Angeles/NewYork/Tokyo⁠⁠.
Asuka Anastacia Ogawa, Home (2021) (detail). Acrylic on canvas. 215.9 x 241.3 x 4.4 cm. © Asuka Anastacia Ogawa, Courtesy the artist and Blum & Poe, Los Angeles/NewYork/Tokyo⁠⁠.

Blum & Poe are showing captivating paintings by Asuka Anastacia Ogawa at their Los Angeles space.

Marking a year since being taken on by the gallery, these works showcase Ogawa's use of flat planes of colour and muted tones that seem to enhance her figures' piercing eyes, unnervingly gazing out towards us.

In Ocula Magazine Associate Editor Tessa Moldan delved further into ⁠Ogawa's dream-like settings, remarking that Ogawa's paintings are 'rooted in a sense of wonderment and the unknown.'

Rudolf Stingel at Sadie Coles HQ
London, 03 April 2021
Rudolf Stingel, Kirchner Wald im Winter 1925 (2021). Exhibition view: Sadie Coles HQ, 8 Bury Street, London (2021). © Rudolf Stingel. Courtesy Sadie Coles HQ, London. Photo: Robert Glowacki⁠.

Fostering his sublime photorealist mountainscapes, Rudolf Stingel's conceptual approach to art-making is brilliantly exemplified in this replica of the German Expressionist Ernst Ludwig Kirchner's 1925 work Wald im Winter, on view at Sadie Coles HQ. ⁠

While the vibrant pink undertones and thick gestural strokes perfectly mirror the original, on closer inspection, Stingel's characteristic interrogation of a painting's authenticity shines through.⁠

Mimosa Echard at Galerie Chantal Crousel
Paris, 02 April 2021
Mimosa Echard, Numbs (Narcisse) (2021). Aluminium frame, analogue photographic print, glass beads, plastic beads, mirrors, elastics, bracelets, synthetic hair, flower pistils, silk rope, fake flower pistils, electric cables, capsules, glass bulbs, sequin thread, pearl beads, organza, acrylic medium, acrylic lacquer, gloss. 260 x 120 x 6 cm. Courtesy the artist and Galerie Chantal Crousel, Paris. Photo: Aurélien Mole. 
Mimosa Echard, Numbs (Narcisse) (2021) (detail). Aluminium frame, analogue photographic print, glass beads, plastic beads, mirrors, elastics, bracelets, synthetic hair, flower pistils, silk rope, fake flower pistils, electric cables, capsules, glass bulbs, sequin thread, pearl beads, organza, acrylic medium, acrylic lacquer, gloss. 260 x 120 x 6 cm. Courtesy the artist and Galerie Chantal Crousel, Paris. Photo: Aurélien Mole. 

A recent discovery by Ocula Advisor Simon Fisher was this wonderfully atmospheric work by Mimosa Echard from her inaugural exhibition Numbs at Galerie Chantal Crousel.

Living and working in Paris, Echard's work looks to reexamine the binary between nature and technology by intermixing organic and manufactured materials through collage; a technique which closely aligns her practice with the appropriated reality and assemblage works of artists of the Nouveau Réalisme movement in 1960s Paris.⁠⁠

Park Seo-Bo at White Cube
London, 30 March 2021

The spectacular Park Seo-Bo exhibition at White Cube's Bermondsey space will open to the public on 13 April.

Seo-Bo is one of the most celebrated Korean contemporary artists and a leading figure from the Dansaekhwa movement, which included internationally renowned abstract painters Yun Hyong-keun, Kim Tschang-yeul, Chung Sang-Hwa, and Lee Ufan.

Since 1962, Seo-Bo has incorporated Korean hanji paper into his works. As he has explained in Ocula Magazine, 'hanji absorbs colour and becomes one with the paint. The Eastern view on nature disagrees with the idea of revealing oneself. Hanji absorbs everything because as a paper medium, it is rooted in this Eastern perspective.'

Images: Exhibition view: Park Seo-Bo, White Cube, London (17 March–1 May 2021). Photo: Eva Fuchs, Ocula.
Arshile Gorky at Sotheby's
Online, 27 March 2021

This stunning Arshile Gorky painting, Garden in Sochi (1941) was a highlight for us from the Sotheby's cross-category sale on 25 March 2021 and sold for well over the estimate, fetching GBP 8,585,700 (including buyer's premium).

Main image: Arshile Gorky, Garden in Sochi (ca. 1940–1941). Courtesy Sotheby's.
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.

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.⁠

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