On View

Jim Dine at the Pace Gallery

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Jim Dine, The Cerebral Theme, 2011

Jim Dine has jettisoned icons. Apart from the occasional yellow or gray lemon, his new paintings at Pace, some of them in intensely saturated circus colors and some in black and white, are stripped of nearly all form, edge, restraint and reference to expose the simple force of mark-making and the sheer carnal pulse of the paint. On canvases textured with sand, bursts of orange, yellow, lavender and blue jostle and overlap, at first seeming to cover what remains an implicitly present ground—as in a thousand-year dropcloth painting or a Jackson Pollock—but then quickly coming to dissolve such perspectival distinctions completely. Read More


Supersize Chelsea!: In New York’s Main Art District, It’s Go Big or Go Home


“Be careful where you step,” shouted Maureen Bray over a percussion of power tools as she maneuvered past the electricians, sheetrockers and HVAC crew members who have two months to transform a 22,000-square-foot construction zone into the new home of Sean Kelly Gallery, which is about to triple in size. “Obviously this giant hole won’t be here,” said Ms. Bray, a director at the gallery, pointing to what will become a stairwell leading to a black-box theater—just one of three exhibition spaces, alongside expanded offices, a “canyon”-sized library and two private viewing rooms (“back where those toilets are now”).

In the early 1990s, most real-estate-seeking New Yorkers overlooked the gray smudge on Manhattan’s West Side known as Chelsea, then still a wasteland of deserted freight tracks, turpentine fumes and auto-body garages. But for the throngs of art galleries being swiftly priced out of Soho by fashion boutiques and Dean & Delucas, it offered cavernous, column-free architecture at bargain-basement prices.

Matthew Marks pioneered the migration on an abandoned stretch of West 22nd Street. Soon after, Barbara Gladstone, Metro Pictures, Sean Kelly and hundreds of other galleries followed, and a “new Soho” was born in Chelsea.

Twenty years, two Gagosian Galleries and a Comme des Garçons later, Chelsea art dealers are fretting that the legacy of Soho has come back to haunt them. About a third of the neighborhood’s galleries have been shuttered in the last five years as High Line-inflated real estate prices and an influx of deep-pocketed fashion and design firms have forced out many of the smaller dealers. At its height, Chelsea was home to more than 350 galleries; today only 204 remain, according to Rice & Associates real estate adviser Earl Bateman.

But it would be premature to pronounce the world’s premier gallery district dead. Read More


Pace Gallery Extends Robert Irwin Show

No install shots: go see the show.

Let’s say you’re a New Yorker in Europe right now. You’ve hit Manifesta and Documenta, plus made the requisite trips to Zurich and Basel. You’re thinking about hanging around for another week or so to relax after all that art viewing. But wait, you realize in horror: you’re going to miss seeing Robert Irwin’s show at Pace’s East 57th Street location, which ends its run on June 23!

No, you’re not. Read More


Pace/MacGill and Pace Announce New Representation of Lee Friedlander, Plan Fall Exhibition

Lee Friedlander, 'Nude,' 1979. © Lee Friedlander. (Courtesy Fraenkel Gallery, San Francisco)

Lee Friedlander is now represented in New York by Pace/MacGill and Pace, it has just been announced. The American photographer known for his black and white urban social landscapes taken with a hand-held 35-mm camera as well as for his nudes, in particular his nude photographs of a young Madonna (see left) taken in 1978 for Playboy, will kick off his representation by Pace/MacGill and Pace with a two-venue exhibition this fall. Read More


8 Things to Do in New York’s Art World Before April 30

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WEDNESDAY | Lecture: Lorraine O’Grady "Portrait of the Artist" presented by the Performa


Screening: Bjarne Melgaard Interviews Leo Bersani, at the Kitchen
The indefatigable Norwegian painter Bjarne Melgaard recorded this interview about homosexuality and politics with cultural critic Leo Bersani for his appearance at the 2011 Venice Biennale. What starts out as a “Charlie Rose–like encounter”—to borrow John Kelsey’s description of the piece in Artforum—involves “Melgaard… making digital cocks sprout out of his and Bersani’s on-screen bodies, splattering the video with lewd, orgasmic cybergraffiti, and interrupting the conversation with lowbrow bursts of dated MTV…” And that’s just the start of it. This is the film’s U.S. debut. —Andrew Russeth
The Kitchen, 512 West 19th Street, New York, 7 p.m. Read More


Transcendental Sublimation: ‘Anne Truitt: Drawings’ at Matthew Marks and ‘Happenings’ at the Pace Gallery

"17 Nov '62" (1962) by Anne Truit. (Courtesy Matthew Marks Gallery)

The late Anne Truitt, whose work is often associated with Minimalism, is best known for her freestanding, assertively self-effacing, brightly painted wooden pillars. Confronting and repossessing the history of sculpture and the nature of artistic ambition at a 90-degree angle, formally simple but psychologically complex to the point of opacity, they’re documents of a kind of transcendental sublimation. But the same quality illuminates the best of the several dozen drawings—pale graphite grids, saturated color fields, minimally figurative angles and lines—currently on view at Matthew Marks Gallery. Read More


Yoshitomo Nara Moves to Pace Gallery in New York


The Observer has learned that Japanese artist Yoshitomo Nara is now represented in New York by the Pace Gallery. Mr. Nara, 52, emerged in the 1990s in a wave of Pop art coming out of Japan; his paintings and sculptures, often depicting children, are influenced by comics and punk rock music. His work was the subject of a major exhibition at New York’s Asia Society Museum last year.

“He has great interest in the classical contemporary painters like de Kooning and Rothko,” Pace’s president, Marc Glimcher, told The Observer; Pace works with the estates of both artists. “I think he wants more of a connection to that.” Mr. Nara’s work has performed solidly at auction; in June a 1999 painting made $1.5 million at Christie’s, London. Read More