The Guardian

Rashid Johnson on broken men, the black body and why Trump is bad for art

by Nadja Sayej | 25 November 2019

‘How does the black body function in space, when it’s being witnessed, versus when it’s not?’

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Installation view, Rashid Johnson ‘The Hikers,’ Hauser & Wirth New York, 22nd Street, 2019. © Rashid Johnson. Photo: Dan Bradica


‘These Are Challenging Times’: Rashid Johnson’s New Work Is a Powerful Response to Modern Anxieties

by Dodie Kazanjian | 12 November 2019

‘At 42, he’s one of the strongest voices in contemporary art, a multi-media artist who is immersed in the world around him, and this has been a breakthrough year.’

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Rashid Johnson, Untitled Broken Men, 2019 © Rashid Johnson. Photo: Martin Parsekian


Painter Ed Clark’s First Hauser & Wirth Show Radiates Effortless Beauty. But It’s the Product of Decades of Toughing It Out

by Charles Moore | 4 October 2019

‘His first show at Hauser & Wirth certainly represents a clear statement of faith that the contemporary interest in and vitality of the 93-year-old painter’s work isn’t going away.’

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Installation view, 'Ed Clark', Hauser & Wirth New York, 2019. Photo: Daniel Bradica

Art Review Asia

This Is Not America

by Mark Rappolt | 2 October 2019

‘Los Angeles is a myth that’s lodged in our collective memory. It’s nowhere and everywhere.’

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Mark Bradford , Dancing in the Street, 2019 © Mark Bradford

Los Angeles Review of Books

Pain and Resilience: Philip Guston at the Crossroads

by Scott Timberg | 21 September 2019

‘In these wildly inventive and rudely satirical drawings, not only does he manage to skewer Nixon the man and the president, but in doing so, he plants many of the seeds of forms that are central to the paintings created during the rest of his life.’

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Philip Guston, Untitled, 1971. © The Estate of Philip Guston. Courtesy the Estate. Photo: Genevieve Hanso

The New Yorker

The Amy Sherald Effect

by Peter Schjeldahl | 16 September 2019

‘When art changes in the present, it changes in the past, too. I had a dizzy sensation at the Sherald show – which was so much better than I had expected – of ground shifting under my feet.’

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Amy Sherald, A single man in possession of a good fortune, 2019. © Amy Sherald. Courtesy the artist

Los Angeles Times

Review: If an artist sets up a homeless camp inside a blue-chip art gallery, does anyone care?

by Sharon Mizota | 18 June 2019

‘Hammons’ work exposes, indeed occupies, such gaps. Art is often a rarefied realm where quotidian experience is transformed, but Hammons’ practice also prods us to see the art in the everyday. It points out the door, toward life.’

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Installation view, ‘David Hammons’, Hauser & Wirth Los Angeles, 2019 © David Hammons. Courtesy the artist. Photo: Fredrik Nilsen Studio
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