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Thomas Demand

Nursery . 2020

Nursery . 2020

+ Sprüth Magers

I have always been interested in working models–more so than in the neatly finished models that the architect shows to the client, because there the design is already more or less fixed and the focus is on the formal elements. I like more the rough, working instrument that’s been handled.… Continue reading Thomas Demand

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Juan Suárez

NSEO-I . 2021

NSEO-I . 2021

+ Galería Helga de Alvear

Nada es grande ni pequeño [Nothing Is Big nor Small] presents Suárez’s latest pieces. The Geometric spirit that is ever-present in his work and his perpetual curiosity lead him to incorporate materials from a very wide range of sources; composing some pieces with superimposed planes where abstraction is a key actor. His background in architecture and his constant demand for excellence profoundly shape his work. However, evocation and chance feed his exploration. Continue reading Juan Suárez

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Rachel Eulena Williams

Starline . 2021

Starline . 2021

+ The Modern Institute

Titled in relation to the recent snowstorms in the US, the works were conceived in the winter, apparent in the cool hues of blue and lilac that are interrupted by warm fluorescent oranges. Williams describes snow as a metaphor for this series: a middle ground of water, neither aqueous nor frozen yet possessing a transformational, near spiritual quality. Continue reading Rachel Eulena Williams

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Georg Baselitz

Mano II (gold) . 2019

Mano II (gold) . 2019

+ Cristea Roberts Gallery

Baselitz is a prolific printmaker and printmaking is as essential a part of his artistic practice as painting, drawing and sculpture. He uses a variety of intaglio techniques to realise these new works; having initially drawn and proofed the plates on his own etching press at his studio on the Ammersee, outside Munich, he then works with a master printer who pulls the final editions. Continue reading Georg Baselitz

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Giuseppe Penone

Leaves of Grass . 2013

Giuseppe Penone . Leaves of Grass . 2013 afasia (1)

+ Marian Goodman Gallery

Initially inspired by images from the natural world, Penone found himself drawn to the verdant cover of Whitman’s first edition, which was printed, bound and set in type by the young poet in 1855 and has been in contact with Whitman’s hands. Penone finds meaning in the correlation of a leaf to a fingerprint; a fingerprint to the surface of a book; and the hue of the book to nature, perceiving green as an equilibrium between light and shadow. Continue reading Giuseppe Penone