Tag Archives: Gladstone Gallery



This week, Paris, LA will be bringing you an exclusive look inside Art Basel, the world’s largest international art fair, which began today in Miami Beach and lasts until Sunday. In addition to the primary Art Basel fair, featuring 250 galleries from 31 countries as well as lecture and film series, more than ten independent art fairs take over the tropical beaches of South Florida and the museum spaces of metropolitan Miami.


The week began with a press conference hosted by Director Marc Spiegler and Miami Beach Mayor Philip Levine. The two introduced the fair’s sponsor, UBS Financial Services, and announced a number of revitalization initiatives in Miami, including the construction of a new convention center next year (to house future Art Basels) and the unveiling of a new Institute for Contemporary Art Miami, a controversial breakaway museum from Miami’s preexisting Museum of Contemporary Art.


After the press conference, Paris, LA headed to the W Hotel South Beach for a private preview of a photographic series by Peter Lindberg, in conjunction with IWC Schaffhausen’s new watch collection. It wouldn’t be a major art fair without the inextricable collaboration of fine art, commercial advertising, and fashion. As the atmosphere and activity of Art Basel reveals, art is a commodity par excellence.


At 11am, Art Basel Miami Beach officially threw open its doors to select collectors. The stalls were almost instantly swarming with eager collectors, though most fairgoers perused without significant scrutiny.


Fondation Beyeler presented a collaborative performance by Marina Abramovic, part of the 14 Rooms series, which involved sleeping participants listening to soothing soundtracks while bundled on cots in a gallery. P.P.O.W. of New York presented a moving David Wonjarowicz retrospective, which displayed the artist’s multimedia sculptures and paintings next to his videos and photographs of the artist by friends Peter Hujar and Nan Goldin.



Tornabuoni Art, Milan exhibited the light yellow drinking-straw wall sculptures of Francesca Pasquali next to deep blue and black paintings by iconic Italian artist Lucio Fontana. The booth was notably minimal in its primary color palette and white furniture to match its carpet and walls. Nearby, São Paolo’s Galeria Raquel Arnaud showed work by Carlos Zilio, influenced by quantum mechanics and metaphysical diagrams.




Gladstone Gallery of New York and Brussels presented Cyprien Gaillard’s Cuban Wren, a massive steel excavator claw strung across with a bar of banded calcite, its iridescent mineral veins shining against the rusted machinery. The work recalled Gaillard’s work completed during his residency at the Hammer Museum in Los Angeles last year, in which he used steel parts from Caterpillar excavators to mimic ancient sabertooths and refer to the constant construction in the Hammer’s neighborhood of Westwood. Gaillard’s was not the only work from the Hammer, as Los Angeles gallery Regen Projects exhibited site-specific work by Gabriel Kuri, sculptures that mimic the marble flooring of the museum’s second-floor smoking patio.




Many galleries were awash with “blue chip” pieces. Marian Goodman Gallery of New York showed an impressive array: recent work by Jeff Wall, drawings and a video by William Kentridge, and mineral photographs by Tacita Dean. Next door, New York’s Cheim and Read showed a fleshy, pink Lynda Benglis wall sculpture and an unusually colorful Jenny Holzer ticker. London’s White Cube showed installations by Haim Steinbach, a lightbox by Alfredo Jaar, and documentation photographs of an early Marina Abramovic performance.




After several hours of art viewing (tomorrow’s post will cover other Basel highlights), Paris, LA continued down Ocean Avenue to Untitled., the independent art far in a gleaming white tent on Miami Beach’s soft sandy shores. The crowd was much more casual and congenial. Several booths offered giveaway posters and tabloids, including Alfredo Jaar’s ingenious For Sale, Not For Sale (2014), a perfect addition to such a commercial setting.





Zürcher Gallery of New York displayed calculators by Brian Belott that looked as if they had washed ashore, coated in barnacles and sandy pebbles. SIC, or Helsinki’s Initiatives for Individuality, displayed the detritus of a Monday night performance by Anastasia Ax: giant blocks of shredded paper, splattered with black paint, crumbling across the gallery floor. Ax has created “refugee camps” out of plaster and destroyed them in fits of rage, synced to live-performed noise music.



Los Angeles had a definitive presence in the small fair. Culver City gallery Luis de Jesus showed Margie Livingston’s amusing (and ironically titled) Body of Work (2014) and a pair of beautiful digital prints by Kate Bonner. Veteran L.A. crafts artist Joel Otterson had a whimsical candelabra and ceramic vase exhibted in Maloney Fine Art’s booth.




Stay tuned for Day 2 of Paris, LA’s trip to Art Basel Miami Beach.



Richard Aldrich, installation view, Gladstone Gallery Brussels, (image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels
(image http://www.gladstonegallery.com)


Gladstone Gallery, Brussels

Exhibition on view until June 7, 2014

Gladstone Gallery is pleased to present a solo exhibition by Richard Aldrich at our Brussels location. The exhibition is being presented in collaboration with dépendance, which will host a concurrent exhibition on view April 24 through May 24. The two exhibitions feature paintings, drawings, and sculptures created over the course of the past decade that highlight Aldrich’s interest in the way in which objects can be used to explore the impact of time on our understanding of ourselves and the world around us. Through each work, many of which were created over the course of multiple years, or returned to after a duration of time, Aldrich provides a rich visual representation of the evolution of objects — how, as we age and change, our conception of the things close to us is altered as well. This notion is reflected in his works, which, even when finished, evince a sense of continuous becoming, suggesting the possibility of future growth and change.

Eschewing a particular art-historical definition of or vantage point from which to view his art, Aldrich sees his artistic practice as a constantly evolving force. Taken as a whole, his work defies a singular style, and in his drawings, paintings, and sculptures, Aldrich is able to move effortlessly between figuration, abstraction, and representation – often combining imagery variously inspired by people and places close to him, visual artists, writers, and musicians whom he finds interesting, and experiences drawn from his everyday life. Using a variety of techniques, such as thick and thin painting, removing portions of canvas from his work, and multi-media assemblage, Aldrich has developed an artistic style that turns away from the canonical understanding of art historically, in favor of exploring new conceptual processes through which to view the contemporary world as he sees it.

The works on view represent the broad spectrum of Aldrich’s practice and, when taken together, read as a microcosm that encapsulates a series of moments caught in time. Among the works on view are Reality Painting #6 (A Wall in My Bedroom) part of Aldrich’s ‘Reality Painting Series,’ a body of work that playfully adopts the art-historical idea of a series as a way to organize ideas, and which depicts scenes from Aldrich’s everyday life. Also on view is Stacks, a sculpture that brings together four elements of previously exhibited sculptures to create a new complete work. This piece reflects Aldrich’s interest in using re-contextualization to explore new ways in which objects can be engaged with and understood, an idea that is further expanded upon by virtue of the fact that this work was shown in his recent show at Bortolami Gallery in New York, and is now being revisited and approached anew. Among the works on view at dépendance are Untitled, a painting that is composed of a trilogy of novels from the Cyberpunk role-playing game universe Shadowrun, suspended from the canvas in mid-air, and the drawing One Kind of Sleight of Hand, which features the transparency that was used to create the painting Two bodies as One that was shown at dépendance in 2009.

Aldrich was born in Hampton, Virginia, and currently lives and works in New York. He has been the subject of solo exhibitions at: San Francisco Museum of Modern Art, San Francisco, and the Contemporary Art Museum, St. Louis, St. Louis, Missouri. He has also been included in group exhibitions at notable institutions including: Contemporary Arts Museum, Houston, Texas; Tokyo City Opera, Tokyo; Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain; and Whitney Museum of American Art, New York.

Richard Aldrich, installation view, Gladstone Gallery Brussels (image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels
(image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels (image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels
(image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels (image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels
(image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels (image http://www.gladstonegallery.com)

Richard Aldrich, installation view, Gladstone Gallery Brussels
(image http://www.gladstonegallery.com)