Sir John Lavery (1856-1941), La Belle Mère, a 1.28m by 90cm oil on canvas that is signed, inscribed and dated 1911.
STANSTED MOUNTFITCHET.-Sworders is selling an intimate work by Irish artist Sir John Lavery (1856-1941) on March 4. La Belle Mère – a portrait of the artist’s wife Hazel and his daughter Eileen - is among the highlights of a single owner collection titled: Better by Design | The Principal Contents of Boden Hall to be held in Stansted Mountfitchet. Last on the market more than three decades ago, it is estimated at £180,000-250,000. La Belle Mère, a 1.28m by 90cm oil on canvas that is signed, inscribed and dated 1911 brings together two of his two favourite models for a family double portrait. Lady Hazel Lavery (1880-1935), born Hazel Martyn in boomtown Chicago to a wealthy industrialist of Irish ancestry, was considered ‘the most beautiful girl in the Mid-West’. After a long courtship, opposed by her mother, she married Lavery, 24 years her senior, ... More
Installation view of Linder: Danger Came Smiling. She/She, (1981). Photo: Mark Blower. Courtesy the artist and the Hayward Gallery.
LONDON.- The Hayward Gallery will present the first London retrospective of acclaimed British artist Linder (b. 1954, Liverpool, UK) from 11 February to 5 May 2025. This solo exhibition will offer an illuminating overview of the past 50 years of this iconic artist's career, exploring the full range of Linder’s thought-provoking work, and underscoring the experimental and feminist impulses of her practice. This exhibition will display a selection of Linder's trailblazing photomontages as well as previously unseen works and new commissions. Linder first gained prominence in the late 1970s, emerging as a prominent figure within the dynamic landscapes of punk and post-punk music. While she made significant contributions across various artistic media, she gained widespread recognition for her groundbreaking album covers for the punk band Buzzcocks and the album covers of Linder’s post-punk band Ludus. Linder's distinct style is characterised by ingeniously blending mundane or everyday imag ... More
PARIS.- Marian Goodman Gallery is presenting the third exhibition of work by James Welling in Paris. An artist widely acclaimed for his unclassifiable approach to photography, Welling has worked with the materiality of the medium since 1975. After using a wide array of analog photographic processes, Welling turned to digital technologies in 1998. His Thought Objects, 2023-24, whose title is borrowed from Barbara Ess and Glenn Branca’s anthology of photographs published in 1987, embodies his evolving quest for discovery. New Thought Objects photographs made recently in Italy are presented at 79 rue du Temple, and at 66 rue du Temple, three Thought Objects from 2023 are hung with his 2009 series devoted to the Maison de verre, an iconic glass and steel domestic building built by architect Pierre Chareau in Paris in the late 1920s. On the ground floor of the gallery, Welling’s new photographs, made in the spring ... More
Henri Matisse, The Maintenon Viaduct, 1918. Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland. BMA 1950.232.
BALTIMORE, MD.- The Baltimore Museum of Art opened a focus exhibition that explores the relationship between burning fossil fuels and the development of European modernist styles. Air Quality: The Influence of Smog on European Modernism presents a selection of paintings and works on paper by Henri Matisse, Claude Monet, James McNeill Whistler, and others to consider the ways that their artistic practices were impacted, in part, by widespread pollution in London and Paris. The exhibition includes data from climate scientists about the amount of fine particulate matter in the air at the time several works were created. Air Quality will be on view at the BMA in two installations from February 9-August 3, 2025, and August 13, 2025–February 22, 2026. It is presented as part of the museum’s ongoing Turn Again to the Earth initiative, which explores environmental and sustainability issues. “Air Quality offers an intriguing look at the significant influence of environment ... More
Lucia Laguna, Pequenos formatos nº 134, 2025. Acrylic on canvas, 90 x 70 cm [35.4 x 27.5 in].
SÃO PAULO.- Fortes D’Aloia & Gabriel inaugurates its 2025 program in São Paulo with a solo exhibition by Lucia Laguna, A Propósito de Duas Janelas [Regarding Two Windows], her fourth show with the gallery. Since she began painting, the window has functioned as Laguna’s point of view and as a guide for her compositional decisions: it operates both as a system for ordering the surface into squares and rectangles, destabilizing scale and creating new vistas within the frame. These works, produced between this year and throughout 2024 and 2023, stand for a transitional moment in the artist’s investigations: Laguna has recently moved to a new studio, leaving the space where she worked and lived for over 40 years. This physical displacement also led to a formal and thematic transformation in her works, leading to the “two windows” in the show’s title. In paintings such as Paisagem nº 157 (2024), monochrome blocks and bands in neon shades of green, yellow, ... More
Brígida Baltar, América, 2010, pó de tijolo sobre papel ed 11/30, 29 x 21 cm.
SAO PAULO.- Nara Roesler São Paulo is presenting cosmos - other cartographies, a group exhibition curated by artist Laura Vinci in collaboration with Nara Roesler’s curatorial project. The exhibition brings together around 30 works by 22 artists who, despite their distinct poetic approaches, converge on the theme of cartography. Cartography, a field of knowledge that produces graphic representations of a given space, has historically engaged deeply with art, religion, and various systems of belief and mythology. By looking at maps as ideas of world representation, but also as tools widely used for the control and exploitation of colonized territories, the exhibition aims to gather works that rethink and subvert these representations. Among the historically significant names in the show are works by Anna Bella Geiger, Nelson Leirner, and Paulo Bruscky, which approach graphic representation from a poetic perspective, addressing national issues ... More
ZURICH.- What is the price to pay for the logic of growth? Striving for more is deeply embedded within us. The accumulation of material goods continues to be equated in many societies with progress, prosperity and social advancement. At the same time, awareness of the consequences of unlimited growth is growing – for individuals, communities and the planet. Excessive consumption intensifies the climate crisis, deepens social inequalities and stabilises (post-)colonial power relations. The exhibition, Accumulation examines accumulation as a defining phenomenon of our time in two sequences. Works from the Migros Museum für Gegenwartskunst collection, along with loans and specially produced works explore, among other things, the dark sides of over-consumption and excess in different geographical contexts. In this way, visitors are invited to engage with these ... More
SARASOTA, FLA.- Marie Selby Botanical Gardens presents George Harrison: A Gardener’s Life as the ninth installment of its annual Jean & Alfred Goldstein Exhibition Series, which examines the work of major artists through the lens of their connection to nature. The exhibition, which is on view February 9 through June 29, 2025, at Selby Gardens’ Downtown Sarasota campus, explores the deep and meaningful connection between musician George Harrison – best known as the lead guitarist of the legendary rock band The Beatles – and the pastime of gardening, which became his greatest passion. George’s love of gardening was an integral part of his identity. In an interview in Rolling Stone magazine in 1979, the renowned singer-songwriter described himself as “just a gardener.” His strong association with gardening was further illustrated in his 1980 autobiography, I Me Mine, dedicated “to gardeners everywhere.” In 1970, not long after The Beatles disbanded, the then 2 ... More
Exhibition view of "Silent Spaces" by Axel Hütte at the Arp Museum. Photo: Mick Vincenz.
REMAGEN.- With his seemingly painterly works, the artist Axel Hütte (*1951), who lives in Düsseldorf and Berlin, is one of the internationally important photographers of the present day. In Remagen-Rolandseck, his large-format photographs are on display in the exhibition "Axel Hütte. Silent Spaces". As a former student of Bernd and Hilla Becher, Axel Hütte is an important representative of the Düsseldorf School of Photography. The exhibition focuses on his large-scale photographs of mountains, glaciers and water which the artist himself describes as imagined landscapes. For his photographs, Axel Hütte travels to all continents. He waits patiently at carefully chosen locations before capturing an image with his plate camera. His unpopulated works lack any narratives. In some works, water surfaces, reflections, or fog transform into abstract structures that oscillate between sharpness and blur, inviting the viewer to meditative contemplation. ... More
Shelley Niro, Portrait of a Living Room - Angel, 1990. Oil on canvas, 123.2 x 93.3 cm, 48.5in x 36.75 in. Photography by JSP Art Photography.
NEW YORK, NY.- Hales is presenting Portrait of a Living Room, a solo exhibition by Shelley Niro (Six Nations Reserve, Bay of Quinte Mohawk, Turtle Clan). Niro’s first solo show at the gallery features a complete series of intimate portrait paintings from 1990—exhibited for the first time in twenty years and debuting in the US. Niro’s first major retrospective Shelley Niro: 500 Year Itch is currently touring the US and Canada, most recently on view at the Vancouver Art Gallery. Niro is a multidisciplinary artist who, in a celebrated oeuvre spanning four decades, has developed an influential and visionary practice that foregrounds the representation of Indigenous Peoples, their history, and present-day experience. Her explorations draw upon the timeless cultural knowledge and generational histories of her Haudenosaunee community, Iroquoian- speaking confederacy of First Nations peoples in ... More
Birgit Megerle, Larve, 2024. Oil on canvas, 65 × 58 cm. Photo: Kunst-Dokumentation.com
VIENNA.- In her third solo exhibition at Layr, Birgit Megerle presents eight new paintings, as well as drawings from the 2000s. The subjects expand the thematic constellation of previous exhibitions, mostly portraits and (flower) still lifes - a framework already employed in The Painted Veil (Kunsthaus Glarus, 2017) and Soft Power (Galerie Neu, 2018). Megerle’s works were primarily approached through portraits of well-known, befriended artists or public figures, or by exploring the (painterly) relationship with them. The focus centers primarily on questions of how portraits as a genre can be re-approached, the regimes of gaze, and the representational value of portraiture. The subjects of the current works range from photographs staged with models (Centre, 2024; Profile, 2024) to found imagery (Checkpoint, 2025; Bow, 2024) and reworked floral motifs (Stars, 2025; Scrub, 2024). Interestingly, for the current portraits, neither resemblance nor psychologizing plays a central ... More
Atiéna R. Kilfa, Landfall at Sunrise; Video Still, 2025.
ST. GALLEN.- Kunstmuseum St. Gallen presents Wonder Lust, the first solo exhibition in Switzerland by the French-born, Berlin-based artist Atiéna R. Kilfa (b. 1990). The installation revolves around a new video commission for Kunstmuseum St. Gallen’s industrial exhibition venue, the LOK. Constructed between 1903 and 1911, this pioneering former railway building recalls the peak of Eastern Switzerland’s textile industry. It is from within this icon of a grand past that Kilfa’s new work reflects on the romanticization of imperialist conventions. Projected against a wall that follows the Lokremise’s rotational design, the video Landfall stages a panoramic view over what appears to be a vast landscape at sunrise or sunset, as perceived through the eyes of an enigmatic men in a nondescript uniform, a “Rückenfigur.” This trope, which consists of a figure, seen from the back, contemplating an evocative and often dramatic landscape, recurs throughout the history of painting an ... More
Richard Mosse, "Slaughterhouse, Rondônia," 2021, archival pigment print, courtesy the artist and Jack Shainman Gallery.
NEW PALTZ, NY.- The Samuel Dorsky Museum of Art at SUNY New Paltz opened "Landmines," an exhibition of camera-based work by artists exploring the role landscape plays in burying or exhuming social history. “Landmines” coincides with the bicentennial of Hudson River School founder Thomas Cole’s first trip up the Hudson River. The trip is often recounted as the origination of an art movement lauded for pastorals that were inflected with Protestant ideals. Yet what this exhibition commemorates is a confluence of events that compel us to think critically about the relationship between land, representation, and history. 200 years ago was also when the earliest existing landscape photographs were taken and when large populations of Native people from New York were forcibly relocated to Wisconsin. Through photographs, videos, and installations that shed light on sites of exploitation, Landmines ... More
Quote Abstract art? Made by the untalented, sold by the unprincipled to the utterly bewildered. Al Capp
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Lyman Allyn Art Museum presents work by Indigenous Canadian artists NEW LONDON, CONN.- Lyman Allyn Art Museum announces the opening of Northern Lights: Inuit Prints, Drawings, & Carvings, 1950-1990. This exhibition presents the work of celebrated indigenous Canadian artists working at a time of transformative change for Inuit art making. The exhibition is on view from Feb. 8 through May 4, 2025. More than 50 prints, drawings, and carvings, highlight the vision, artistry, resilience, and cultural perspectives of some of the most accomplished Inuit artists to rise to prominence since the 1950s, with art by Kenojuak Ashevak (1927–2013), Lucy Qinnuayuak (1915–1992), Pudlo Pudlat (1916–1992), and Kananginak Pootoogook (1930–2010), among others. These elders of the Inuit art world have inspired generations of artists and viewers, both in the Canadian Arctic and across the globe. In the 1950s, many ... More
CRAC Alsace presents A meal without mushrooms is like a day without rain ALTKIRCH.- CRAC Alsace is a large body. Like articulated arms, two hallways open onto the former high school classrooms. This building, which we care for on a daily basis, is like a member of the art center’s team. The notion of inhabiting has emerged from this affective relationship. —As a living being, the CRAC is home to other organisms: artists, visitors and members of the team who are continuously transforming it. It’s a living place, where the artworks and ideas that emerge from these encounters mushroom from within, promising a renewal that’s yet to come. —This power of organic transmutation is comparable to that of the mushroom, a species that is both plant and animal and renews its environment thanks to its collective intelligence. It is kept alive by a network of living filaments that circulate nutrients along the fungal body: the mycelium ... More
Tracing complexity at Kunsthalle Zurich: Vijay Masharani's explorations of perception and abstraction ZURICH.- Vijay Masharani (b. 1995, lives in New York and Belmont, USA) works with video and drawing. His works test the connections between small gestures and complex systems, asking what forces are at play, and what escapes our perception if we focus solely on details or only see the whole. With patterns that are in a constant state of transmutation, Masharani attempts to analyse this interplay, highlighting the role of the contingent throughout his compositions: across the duration of a video or throughout the production period of a series of drawings. His videos are not the result of fixed planning, but rather emerge as montages of recorded, hand-drawn and digitally rendered material he collects on an ongoing basis. Emphasizing post-production as a significant moment of intervention, he regards each media fragment as one ... More
From Mozambique to Maisons-Alfort: Euridice Zaituna Kala's multilingual journey lights up La Criée RENNES.- What does the river tell us when we listen to it? What does the city reveal to us if we look at it from a different angle? To create the exhibition Daylighting, but it’s water that speaks* at La Criée, Euridice Zaituna Kala travelled around Rennes and entered into a dialogue with some of the elements that make up the city: its river, its glass and stone architecture, its people and forgotten plants, its transparencies and its reflections. It is a dialogue of interiorities and exteriorities, objective and subjective elements, stories and images. In a dynamic installation that unfolds throughout the art centre, using both industrial and blown glass, transparent images, coloured lights, ancient seeds and multilingual stories, Euridice Zaituna Kala gives a voice to the voiceless, the unheard or the forgotten: the partially enclosed river, endemic species discarded, ... More
Harnessing history's horror: Isabelle Andriessen's 'Vermin' unmasks violent rituals at Kunsthal Gent GENT.- Through her solo exhibition Vermin artist Isabelle Andriessen aims to address the violent rites and dehumanization that preceded the Beeldenstorm of 1566, a period marked by poverty, religious conflict and uprisings against heretics in The Low Countries (currently Belgium and the Netherlands.) Her mechanical, moving sculptures, developed for Kunsthal Gent, confront the viewer with violence and subjugation. Next to these new sculptures, presented in the Old House, Andriessen also installs the work Ivory Dampers (2019) in the garden near the Old House, as an addition to the Endless Exhibition. During the 16th century in reformed France and the Low Countries, people with different beliefs were called heretics, and even vermin. ‘Vermin’ derives from the Latin vermis (worm) and was originally used for worm-like larvae of certain insects ... More
Georgia Russell's sculpted canvases slice through surface in 'The Pattern of Surface' PARIS.- Galerie Karsten Greve is presenting The Pattern of Surface, Georgia Russell’s new solo exhibition, on view from January 18 to April 5, 2025. The exhibition unveils a series of previously unseen works, through which the artist continues her exploration of the painted surface and its narrative potential. Using a scalpel as a paintbrush, Georgia Russell questions the very notion of surface, which she describes as a space of interrogation between the visible and the invisible. Her canvases invite the viewer to “look through”, playing on the tension between what is perceived and what is concealed. “My work is the result of accumulations of cut-outs. Repetition creates emptiness and matter. These repetitive marks create a three-dimensional surface and object.” explains the artist. A meticulous, surgical creative act, exploring the boundaries between ... More
Constanza Camila Kramer Garfias challenges colonial myths at Kendra Jayne Patrick BERN.- Kendra Jayne Patrick is presenting Constanza Camila Kramer Garfias’ first solo exhibition with the gallery, afier joining the program in 2024. In backwards along the river, Kramer Garfias critically examines the colonial historiography of Patagonia and its visual representations. She begins with Ferdinand Magellan’s expedition report from 1520, in which he described the indigenous peoples of Patagonia as “giants” due to their unfamiliar appearance. His spurious tall tales morphed into mythology and then solidified into European cultural truth, ultimately justifying the horror show that was the European conquest of the ‘Americas.’ Based on historical records and engravings, Kramer Garfias has created a series of large-scale jacquard and raffia works appropriating the visual conventions of colonial- era travelogues. In them, she playfully ... More
Charles Pétillon redefines reality with balloons and imperfect architecture at Danysz Gallery PARIS.- For this new exhibition at the Danysz Gallery, Charles Pétillon takes a significant step forward in his artistic and photographic approach. Known for his monumental and spectacular balloon installations, the artist proposes a major evolution here: he blends different universes by combining photography, installation, and reconstructed settings. These settings take the form of reinterpreted and intentionally ‘imperfect’ architectures, in which the materials, purposefully left visible, contribute to the expressive power of the work. Far from hiding the traces of construction, Charles Pétillon embraces and highlights the imperfections of the reconstructed decor created for the occasion: exposed wooden structures, incomplete finishes... Every detail, carefully considered, helps to reveal a poetry of reality where authenticity takes precedence over ... More
Alfonso Ossorio's "Search for the Beloved": Psychoanalytic inspiration explored in new exhibition NEW YORK, NY.- Michael Rosenfeld Gallery is presenting Alfonso Ossorio & Nandor Fodor: The Search for the Beloved, a first-of-its-kind exhibition exploring the impact of the theories of Hungarian psychoanalyst Nandor Fodor on the art of Alfonso Ossorio (1916–1990). Fodor’s 1949 book, The Search for the Beloved: A Clinical Investigation of the Trauma of Birth and Pre-Natal Conditioning (New York: Hermitage Press, Inc, 1949) was an early contribution to the field of prenatal psychology, and while many of his theories have lost their currency, the provocative language, vivid imagery, and theories put forth in the book provided Ossorio with, in his own words, “a springboard from which to take off.”[1] From his early surrealist drawings to his celebrated mixed-media assemblages known as Congregations, the works presented in Alfonso Ossorio ... More
The Museum as Muse Featuring Artist Sarah Sze
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Flashback
On a day like today, French illustrator and painter Honoré Daumier died
February 10, 1879. Honoré-Victorin Daumier (February 26, 1808 - February 10 or 11, 1879) was a French painter, sculptor, and printmaker, whose many works offer commentary on the social and political life in France, from the Revolution of 1830 to the fall of the Second French Empire in 1870. In this image: Rue Transnonain, April 15, 1834 (1834), lithograph, 29 x 44.5 cm., Bibliothèque nationale de France, Paris.
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