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Paul Klee

Ungeheuer in Bereitschaft (Monsters in readiness) . 1939

Ungeheuer in Bereitschaft (Monsters in readiness) . 1939

+ David Zwirner

Toward the end of 1933, in response to the suppression of avant-garde art practices by the newly empowered Nazi party, Klee left Germany, where he had primarily lived since 1906, and returned to his native city of Bern, Switzerland, residing there for the remainder of his life. From 1935 until he passed away, in 1940, Klee continually struggled with illness, which at times impacted his ability to work. Yet, in 1939, against the backdrop of immense sociopolitical turmoil and the outbreak of war, Klee worked with a vigor and inventiveness that rivaled even the most productive periods from his youth. Continue reading Paul Klee

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Sean Donnola

Untitled (2010) . 2019

Untitled (2010) . 2019

+ Charles Moffett

Through his carefully calculated compositions, Donnola beckons us to slow down. He views his choice of 35mm film as his preferred medium the same way a painter chooses oil instead of acrylic, its texture and palette being the most useful in transmitting what he sees and feels into fixed form. It is perhaps a subtle choice, but it is a deliberate one. Continue reading Sean Donnola

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James Nares

Lafayette VI . 2019

01 James Nares . Lafayette VI . 2019

+ Kasmin Gallery

New York City’s oldest surviving downtown sidewalks were made almost 200 years ago by immigrant masons who lined the streets with giant paving stones of solid granite. These monolithic slabs they then chiseled with improvised marks and designs, to prevent pedestrians from slipping. These carvings have withstood the erosion of time and foot traffic, leaving a record of free thought and personal markings from the hands and minds of long-forgotten workmen. Continue reading James Nares

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Lee Ufan

Relatum (formerly Iron Field) . 1969/2019

Relatum (formerly Iron Field) . 1969/2019

Photos: Bill Jacobson . + Dia:Beacon

Lee Ufan positions himself as a mediator of materials rather than a maker of objects. He brings familiar ready-made and found materials together with an extraordinary economy of means to present situations of both physical and perceptual suspense. Continue reading Lee Ufan