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Morning Links: More Adorable Cat Art Edition

Works in "Another Cat Show" at 356 Mission Gallery in Los Angeles. (Courtesy 356 Mission)

Roberta Smith writes 1400 words about the tiny El Greco show at The Frick—just two canvases!— including these seven: “The show is, simply put, a stunner.” [NYT]

Gagosian Gallery’s outpost in Rome will haul some works a few blocks down the street to the Galleria d’arte Moderna, which is building an extension to exclusively Read More

Art Startups

Will Alexandra Chemla’s iPad App Change the Art Dealing Business?

Alexandra Chemla (Photo by Aaron Adler for The New York Observer)

Last June, at a dinner following a talk between Matthew Barney and Tina Brown at Kunstmuseum Basel, during that city’s annual art fair, Alexandra Chemla found herself seated with several fellow graduates of her alma mater Brown University.

“My rugby team at Harvard used to go down to the Brown campus to meet girls,” said Marc Glimcher, the president of Pace Gallery, one of the few members of the table who did not matriculate at Providence (the Observer was another). “I could sell my whole booth and it wouldn’t be as good as winning a rugby game.”

As small talk ensued, conversation centered on ArtBinder, Ms. Chemla’s startup that she founded as a 24-year-old gallery assistant at Gavin Brown’s Enterprise, after years of slaving over massive physical binders full of printouts of art. Read More

artists

‘I Don’t Want to Talk About Where the Rastas Came From': Richard Prince’s ‘Canal Zone’ Press Release Is Spot-On

(Courtesy Gagosian)

Early next month Gagosian will once again show Richard Prince’s “Canal Zone” paintings. The show marks a victory lap for the artist and the gallery, which have spent the years since the works’ 2008 debut defending them in a copyright lawsuit from photographer Patrick Cariou, whose ethnographic photography served as an element in some of these collage pieces. Read More

On View

Urs Fischer at Gagosian Gallery and the Lever House Art Collection

Installation view of 'Urs Fischer: mermaid / pig / bro w/ hat,' at Gagosian's temporary gallery at 104 Delancey Street. © Urs Fischer. (Photo by Robert McKeever, courtesy the artist and Gagosian Gallery)

The 40-year-old Urs Fischer may end up being the greatest sculptor of his generation, but he’s not exactly rushing to secure that title. When he is in the zone, throwing himself at his discipline with gleeful extravagance, he’s unstoppable. But he is also a profligate producer, almost proudly inconsistent. I’ve been rooting for him, so it’s disappointing to see him stuck in a holding pattern in three concurrent New York shows. Read More

On View

‘Willem de Kooning: Ten Paintings, 1983–1985′ at Gagosian Gallery

Willem de Kooning with no title, 1984. (© 2013 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York)

Whatever Larry Gagosian is paying former MoMA Chief Curator John Elderfield to consult for him, it is not enough. The second show that Mr. Elderfield has organized for Gagosian is another tour de force. In his 2011 Willem de Kooning (1904–97) retrospective, Mr. Elderfield included a handful of the artist’s paintings from the first half of the 1980s. This 10-painting show at Gagosian expands the story of that late period, and for anyone who wasn’t around to see the works when they were first shown at the Fourcade Gallery, it is a revelation. Read More

On View

‘Jeff Koons: New Paintings and Sculpture’ at Gagosian Gallery and ‘Jeff Koons: Gazing Ball’ at David Zwirner

'Metallic Venus,' 2010–12. (© Jeff Koons/Gagosian Gallery)

Jeff Koons’s two-gallery blowout, his first large-scale appearance in commercial galleries in the city in 10 years and the unrivaled event of the spring art season (barring, perhaps, the Frieze Art Fair), is a roaring success, filled with feats of engineering and artistic choices that are as gleefully peculiar and perverse as any he has ever made. Mr. Koons strives to please, and he delivers. Read More

On View

‘Anselm Kiefer: Morgenthau Plan’ at Gagosian Gallery

Kiefer's 'der Morgenthau-Plan,' 2012. (© Anselm Kiefer, courtesy Gagosian Gallery, photograph by Charles Duprat)

“The Morgenthau Plan” was an American proposal, first mooted in 1944, to partition and deindustrialize Germany after the war. It was never enacted precisely as planned, of course, but while the war was still going on, Joseph Goebbels was able to use news of the idea to rally resistance along the Western Front. “The Morgenthau Plan” is also the title of an installation that Anselm Kiefer showed at Gagosian’s new space in Le Bourget, Paris, last year, of his current show at Gagosian in Chelsea, and of several of the massive, oil-and-acrylic-on-photo-on-canvas tableaux in the show. Read More

On View

‘Jean-Michel Basquiat’ at Gagosian Gallery

Jean-Michel Basquiat, 'Cassius Clay,' 1982. (Courtesy Gagosian Gallery)

A quarter-century after he died of a drug overdose at the age of 27 in downtown Manhattan, Jean-Michel Basquiat needs no introduction. The fame that he pursued relentlessly and recklessly throughout his brief career seems secure, buoyed by museum retrospectives, films, books, sympathetic critics and a bounty of supremely wealthy collectors, who now buy major works by him for $20 million or more. For anyone who needed proof that this last part isn’t just the result of market hype, there is Gagosian Gallery’s current exhibition of more than 50 works. Read More