Tag Archives: Sprüth Magers

ERIC FISCHL AND STEPHEN SHORE IN CONVERSATION

On the occasion of Eric Fischl’s first local gallery exhibition of new paintings in twenty-five years and Stephen Shore’s first Los Angeles show in nearly fifteen, Sprüth Magers presents the artists in conversation with LACMA curator Britt Salvesen.

Fischl’s COMPLICATIONS FROM AN ALREADY UNFULFILLED LIFE and Shore’s eponymous show are both on view at the gallery through the end of August.

ERIC FISCHL, STEPHEN SHORE, and BRITT SALVESEN in conversation

Wednesday, June 19, at 7 pm.

Sprüth Magers

5900 Wilshire Boulevard, Los Angeles.

From top: Stephen Shore (2), Los Angeles, California, February 4, 1969, silver gelatin print, and New York, New York, March 11, 2018, printed 2019, pigment print; Eric Fischl (2), Untitled, 2018, and The Artist’s Assistant, 2018; Stephen Shore (2), Los Angeles, California, February 4, 1969, silver gelatin print, and Granite, Oklahoma, July 1972, printed 2012, chromogenic color print; Eric Fischl (2), The Exchange, 2018, and Promise of More to Come, 2019. Shore images © Stephen Shore, courtesy 303 Gallery, New York, and Sprüth Magers. Fischl images © Eric Fischl, courtesy Sprüth Magers.

BRIDGET RILEY — PAINTING NOW

“Painting Now” is the title and subject of a 1996 lecture by Bridget Riley advocating the continued—indeed, increasing—capacity and relevance of painting through all its evolutions.

A new retrospective exhibition of Riley’s work from the last sixty years borrows that title and is now on view.

 

BRIDGET RILEY—PAINTING NOW

Through January 26.

Sprüth Magers, 5900 Wilshire Boulevard, Los Angeles.

Michael Bracewell on Riley.

Above: Bridget Riley.

Below: Riley artwork courtesy the artist and Sprüth Magers.

KAARI UPSON AT THE NEW MUSEUM

Kaari Upson’s recent domestic scenes—upended sofas and despoiled rolls of paper towels at the 2017 Whitney Biennial, and now the GOOD THING YOU ARE NOT ALONE show on the third floor of the New Museum—depict America as a big-box store gone to seed.  Curated by New Museum associate curator Margot Norton, viewers are herded through tight spaces and uneasy confrontations.

“There’s no beginning, middle, or end in the work. It could be the end of something that I’m not even recognizing the line of, but then the beginning of something else that I don’t even know is about to happen.” — Kaari Upson*

KAARI UPSON: GOOD THING YOU ARE NOT ALONE, through September 10.

NEW MUSEUM, 235 Bowery, New York City

newmuseum.org/exhibitions/view/kaari-upson

*Helen Stoilas, “Kaari Upson: Unfinished Artist,” The Art Newspaper, May 2, 2017:

theartnewspaper.com/reports/kaari-upson-unfinished-artist/

Kaari Upson, Untitled (1000 cans), 2015. Aluminum, 1,000 parts, each 5 × 2 1/4 in (12.7 × 5.7 cm). © Kaari Upson. Courtesy Kaari Upson, Massimo De Carlo, and Sprüth Magers. Photograph by Fredrik Nilsen Studio

Kaari Upson, Untitled (1000 cans), 2015. Aluminum, 1,000 parts, each 5 × 2 1/4 in (12.7 × 5.7 cm). From the My Mother Drinks Pepsi series.
© Kaari Upson. Courtesy Kaari Upson, Massimo De Carlo, and Sprüth Magers. Photograph by Fredrik Nilsen Studio