2022

ArtReview

The Subversive Power of Quilts: Legacy Russell on ‘The New Bend’

by Clarity Haynes | 15 February 2022

‘The idea of being a weaver or artisan lives separately from this idea of being an artist. To allow those traditions to live in the same space and time is an important political act. And it is deeply reparative inside of histories that have done real harm work by forcing these categories to live separately without acknowledgment.’

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Installation view, ‘The New Bend,’ Hauser & Wirth New York 22nd Street, 2022. 3 February – 2 April 2022, © Hauser & Wirth, Courtesy Hauser & Wirth, Photo: Thomas Barratt

WWD

Legacy Russell Curates ‘The New Bend’ for Hauser & Wirth

by Kristen Tauer | 9 February 2022

‘The work on view at Hauser & Wirth challenges assumptions toward textile-based work, which has historically been confined by gendered, classed and raced narratives.’

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Installation view, ‘The New Bend,’ Hauser & Wirth New York 22nd Street, 2022. 3 February – 2 April 2022, © Hauser & Wirth, Courtesy Hauser & Wirth, Photo: Thomas Barratt

The Guardian

Sex, stitches, and psychic wounds – Louise Bourgeois: The Woven Child Review

by Adrian Searle | 8 February 2022

‘These sewn-together body parts – dangling from the ceiling, hung out on stands or having sex in vitrines – were created in the final decades of the artist’s long career. They are provocative, scary and marvellous.’

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Louise Bourgeois THE GOOD MOTHER (detail), 2003 Fabric, thread, stainless steel, wood and glass 109.2x 45.7 x 38.1cm © The Easton Foundation/Licensed by VAGA at (ARS), NY, Photo: Christopher Burke

NZZ am Sonntag

Meisterwerk entdeckt

by Gerhard Mack | 6 February 2022

‘Man meint Figuren zu erkennen, die vielleicht in der Sonne liegen, dann wieder einzelne Gliedmassen oder Augen. Die Formen sind offen. Auf die dunklen Begrenzungslinien früherer Werkphasen hat Gorky verzichtet. Die Farben überdecken die bisweilen durchscheinenden Linien von Unterzeichnungen. Ein Ozean aus Assoziationen, die bald aufscheinen dürfen, bald wieder verborgen werden. Die ebenso leichte wie flüchtige Bewegung ist von feinster malerischer Delikatesse, schnell und sicher ausgeführt und doch aufs Sorgfältigste vorbereitet, wie die Zeichnungen deutlich machen, die bisher auf ein Gemälde hingewiesen haben, das jetzt entdeckt wurde.’

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Installation view, ‘Arshile Gorky. Beyond The Limit’ at Hauser & Wirth Zurich, Bahnhofstrasse 1, 4 Feb - 19 Mar 2022. © The Arshile Gorky Foundation / Artists Rights Society. Courtesy the Arshile Gorky Foundation and Hauser & Wirth. Photo: Jon Etter

Document Journal

Max Bill and Georges Vantongerloo embody the spirit of artistic collaboration

by Morgan Becker | 1 February 2022

‘What we can take from ‘crossover,’ is the notion that art is only deepened by partnership and human connection. The art that stays with us is the art that was created far from competition—driven by some revolutionary idea, over all else.’

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Installation View, ‘max bill & georges vantongerloo. crossover’, Hauser & Wirth, New York NY. January 27 - March 26, 2022 Photo: Thomas Barratt ©2022 ProLitteris, Zurich / Artist Rights Society (ARS), New York. Courtesy the max bill georges vantongerloo foundation and Hauser & Wirth. Collection Angela Thomas Schmid, Zumikon
2021

The New York Times

Best Art Books of 2021 – ‘Erna Rosenstein: Once Upon a Time’

by Roberta Smith | 9 December 2021

‘Especially impressive is the museum-caliber show introducing the multifaceted Polish artist Erna Rosenstein (1913-2004), organized by the intrepid Alison M. Gingeras at Hauser & Wirth (through Dec. 23). More than 40 works range from 1946 to 2001, stretching Surrealism, realism, assemblage and even fairy tales into new shapes.’

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Erna Rosenstein: Once Upon a Time, 2021, Photo: Ed Park, Courtesy Hauser & Wirth Publishers

The New York Times

Best Art Books of 2021 – ‘Marcel Duchamp’

by Jason Farago | 9 December 2021

‘He first declared a bicycle wheel to be a work of art in 1913, but it took nearly half a century — with the 1959 publication of Robert Lebel’s catalogue raisonné of his early painting, his ready-mades and his cryptic notes — for the New York art world to crown the discreet and debonair Duchamp as King Marcel. Long out of print, it’s now been re-editioned and bundled with a supplement that maps the influence of Lebel’s book over the decades, all housed in a handsome slipcase.’

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‘Marcel Duchamp’, Artwork by Marcel Duchamp © AssociationMarcel Duchamp / ProLitteris, Zurich, 2021. Courtesy Hauser & Wirth Publishers

The New York Times

Best Art Exhibitions of 2021

by Roberta Smith and Holland Cotter | 7 December 2021

‘Especially impressive is the museum-caliber show introducing the multifaceted Polish artist Erna Rosenstein (1913-2004), organized by the intrepid Alison M. Gingeras at Hauser & Wirth (through Dec. 23). More than 40 works range from 1946 to 2001, stretching Surrealism, realism, assemblage and even fairy tales into new shapes.’

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Erna Rosenstein, Poświata (Afterglow), 1968, Oil on canvas, 58 x 66 cm / 22 7/8 x 26 in © The Estate of Erna Rosenstein / Adam Sandauer, Courtesy of Hauser & Wirth and Foksal Gallery Foundation, Photo: Marek Gardulski
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