September 2018

Taking a contemporary perspective, the Whitney is looking back through their collection, reviewing how programming has evolved in modern and contemporary art. Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 begins with early conceptual works from artists like Sol LeWitt, Josef Albers, and Donald Judd, who used rules and instructions to guide their creative practices. By creating and working within these parameters, these early conceptual artists of the 1960s insisted that the idea behind the work was just as important as the work itself.

Phillips New Now auction proved itself to be a staple of the auction calendar this week, mixing work by emerging and established artists in a successful sale. With over 250 lots offered, the auction expected to realize over $5 million, and made $6.4 million.
A group exhibition showcasing contemporary female artists based in Austria and the United States, Women.Now. explores women’s changing roles through a variety of media, including paintings, pottery, textiles, drawing, mixed media projects and video.
Fifty years after their last show, the Art Institute of Chicago presents the first major survey of the Hairy Who, a group of six Chicago Imagists. Similar to New York Pop Art in their use of imagery from advertising, Chicago Imagists differed from Pop artists in their creation intensely personal work.
Sotheby’s Yellow Ball Auction, presenting the extraordinary art collection of Frank and Lorna Dunphy, realized $13.3 million today, with 92% of lots sold, and participants from 43 countries. Known for managing Damien Hirst, Frank and his wife, Lorna, collected an impressive array of art.
Rembrandt van Rijn, widely regarded as one of history’s best painters, also made about 350 exquisite prints lavish with painterly qualities. To commemorate next year’s 350th anniversary of the Dutch artist’s death, the Denver Art Museum (DAM) is exhibiting Rembrandt: Painter as Printmaker September 16, 2018, to January 6, 2019.
Petah Coyne’s first New York solo exhibition in nearly a decade, Having Gone I Will Return is now at Galerie Lelong & Co, showcasing new and recent work: the gorgeous baroque installations she is known for.
Through her iconic casts of domestic objects and spaces, Rachel Whiteread has created a language of her own, one that subtly tells stories about the quiet moments of our lives and the places they are lived out. Through the more than 100 objects on display in her survey at the National Gallery of Art, it is clear that throughout her 30-year career, Whiteread has honed this voice, and used it to tap into our intimate memories and feelings related to home.
Pittsburgh-based visual and performance artist Vanessa German, known for her activism as well sculptures incorporating found objects and female figurines, considers the experience of a vulnerable, underserved, and criminalized segment of America in the exhibition, Things Are Not Always What They Seem: A Phenomenology of Black Girlhood.