Selected Press

Financial Times

Claire Wrathall

4 April 2024

Mark Bradford’s art of glass

'Bradford cares 'deeply about the project and what happens to it.' But a far deeper impression has been left by 'the people I’ve come to know.'

Mark Bradford working on his Borsa edition for Process Collettivo © Keith Lubow. Courtesy of the artist and Hauser & Wirth.

The Brooklyn Rail

Pepe Karmel

1 April 2024

In conversation: Pat Steir with Pepe Karmel

‘I don’t have to have one style. I don’t have one hairdo in my whole life. I don’t have one jacket. Why should I have one style to identify myself? My groups of paintings are like bodies of work. They can last for a year or ten years. But they’re all research for me.’

The Art Newspaper

Gabriella Angeleti

28 March 2024

Glenn Ligon: 'The idea of coal dust being elevated into the space of art was something that interested me'

‘Baldwin talks about how the place of the 'disesteemed' is where you learn the most about how a society functions. The idea of coal dust, a waste product, elevated into the space of art was something that interested me.’

Glenn Ligon with part of the Stranger series, which spotlights an essay by the writer James Baldwin © Glenn Ligon; courtesy the artist and Hauser & Wirth

Contemporary Art Review LA

Jessica Simmons-Reid

28 March 2024

Pat Steir at Hauser & Wirth

‘Steir’s paintings appear to revel solely in the pigment’s optical and physical properties as a haptic material. And because color is primarily a matter of light, her specific focus on the color blue makes light itself an integral ingredient in the work’s visual dynamism. As such, these paintings also nod to the ineffable subjectivity of perception.’

Pat Steir, Painted Rain (installation view) (2024). Hauser & Wirth, West Hollywood, 2024. Image courtesy of the artist and Hauser & Wirth. Photo: Jeff McLane.

Artforum

Annabel Osberg

25 March 2024

Critic's Picks: 'Implicit Explicit'

‘The show is rife with tensions between old and new, banality and wonder; and puts a thematic emphasis on materiality, feminism, and environmental destruction… exhibitions like this underscore how materials and techniques traditionally associated with functional or folk art can amplify meaning and symbolism.’

Sabrina Gschwandtner, Guy-Blaché Serpentine Dance Square, 2021, 35 mm black-and-white polyester film, polyester thread, LEDs, 10 1/2 × 10 1/2". Photo: Ian Byers-Gamber.

T: The New York Times Style Magazine

Kate Guadagnino

22 March 2024

Is 2,000 Bags Too Many?

‘I’m drawn to anything you put something in and close. For me, they’re all containers, and they’re all stories.’

Pipilotti Rist. Photo: Joël Hunn für NZZ.

Artforum

Vojin Saša Vukadinović

22 March 2024

Critic's Picks: Gerhard Richter

'In the exhibition, however, the scenes can speak for themselves. The coolly understated photographs reveal Richter’s quiet, private appreciation of the environment.'