Fiona Banner in 'PUSH THE LIMITS 2: culture strips to reveal war' →

Fiona Banner
October 27 - February 1, 2025 | The Fondazione Merz, Turin

Fiona Banner, Pranayama Organ, 2021

The Fondazione Merz in Turin presents the second edition of PUSH THE LIMITS, an exhibition project that deepens its ongoing exploration of contemporary language and creativity. Bringing together artists from diverse generations and backgrounds, the exhibition highlights those who make the challenge and transformation of imposed or perceived boundaries central to their artistic practice.

PUSH THE LIMITS 2 culture strips to reveal war, offers an encounter with the practices, languages, and research of 19 artists – Heba Y. Amin, Maja Bajević, Mirna Bamieh, Fiona Banner aka The Vanity Press, Rossella Biscotti, Monica Bonvicini, Latifa Echakhch, yasmine eid-sabbagh/Rozenn Quéré, Cécile B. Evans, Dominique Gonzalez-Foerster, Mona Hatoum, Emily Jacir, Jasleen Kaur, Katerina Kovaleva, Teresa Margolles, Helina Metaferia, Janis Rafa, Zineb Sedira, Nora Turato. They will be presenting new works, others already created or recontextualized specifically for the spaces of the Fondazione.

Curated by Claudia Gioia and Beatrice Merz, open from 27 October to 1 February, 2025, the project stems from the idea of art as regeneration and the ability to formulate thoughts and words where the urgency issues of the present seem instead to push toward repetition and resignation to immobility.

The title, PUSH THE LIMITS 2 culture strips to reveal war, seeks to underline the attitude of art to push itself constantly to the limit in order to shift the axis of thinking, perception, and discourse, to introduce new solutions and interpretations of our time. In this second edition, the exhibition deepens its role in the face of official narratives, which attempt to normalise the devastating consequences of conflict and destruction, and the silence of politics. “Means and ends are intertwined, and the result is that we no longer understand what the ends are,” explain the curators.

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FullCircle Presents Diana Thater: ArtCenter’s 2024 Lifetime Achievement Award Winner (A special conversation with the artist) →

Diana Thater
Saturday, October 4, 2–3 p.m. | ArtCenter, Pasadena

Portrait of Diana Thater with Sudan, the last male northern white rhino, 2016 (Kenya). Photo by T. Kelly Mason.

Diana Thater (MFA ‘90 Fine Arts/Painting) has been at the forefront of her medium since her graduation from ArtCenter in 1990. Her work in film, video and installation has been internationally recognized. In her 35-year career, she has been the subject of 92 solo exhibitions and has participated in over 200 group exhibitions. She has produced eight monographs and has received numerous fellowships, grants and awards including her most recent award - The Trellis Art Prize - announced in July of this year. Thater has just returned from a shoot at Claude Monet’s garden in Giverny. The film and video shot on location will become a large-scale permanent outdoor installation commissioned for the new LACMA campus. Tonight she will preview this new project, as well as some of her recent work, and will discuss her wide range of interests and inspirations. Her presentation will be followed by a Q&A.

*A private reception will precede the presentation from 1–2 p.m. in the Faculty Dining Room, Hillside Campus (ArtCenter FullCircle Members Only)

ArtCenter College of Design, Hillside Campus, 1700 Lida Street, Pasadena, CA 91103

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What Was the Pictures Generation? →

Jack Goldstein | ArtNews

Artist Jessica Stockholder poses for a photo in her installation, The Squared Circle: Ringing at the Museum of Contemporary Art in Toronto, on April 17. Courtesy Galit Rodan/The Globe and Mail

by Howard Halle

In the United States, the 1970s were known as the malaise decade, nowhere more so than in New York City, where the white middle class had fled the Five Boroughs along with manufacturing and shipping, leaving a tax base that slipped into a death spiral even as the cost of services and social programs increased. But of all the years during that benighted era, 1977 marked a nadir in the city’s fortunes: On the night of July 13–14, a blackout plunged New York into darkness, precipitating a widespread outbreak of looting and vandalism; the following month, David Berkowitz, aka the Son of Sam, was arrested for a 12-month killing spree that left eight people dead; and during coverage of the World Series that October, a helicopter camera brought us the spectacle of a block being consumed by fire next to Yankee Stadium in the Bronx, where landlords had been burning down abandoned buildings to collect insurance money.

Unnoticed amidst this civic unraveling was a group exhibition titled “Pictures,” which opened in September of 1977 at Artists Space, one of several nonprofit galleries that had sprung up to cultivate emerging talent. Featuring just five artists (Troy Brauntuch, Jack Goldstein, Sherrie Levine, Robert Longo, and Philip Smith) working variously in painting, sculpture, drawing, photography, and film, the exhibit focused on how mass media and popular culture had transformed the general understanding of imagery through its transmission by photographs, movies, and television. While “Pictures” attracted the attention of only a slice of an art world that was small and localized compared with now, the show, and a generation of artists attached to its name, proved to be an inflection point for art through the rest of the century and into our own.

Read more here.

Ana Prvacki in Gabriele Münter Prize Exhibition →

Ana Prvacki
September 27 - November 16, 2025 | Museum Gunzenhauser, Chemnitz

Ana Prvacki, Bunny Ears, 2022

The Gabriele Münter Prize is the only art prize in Europe that is awarded exclusively to female visual artists over the age of forty. The prize, endowed with 20,000 euros, was created because female artists in this age group are significantly underrepresented in important awards. The Gabriele Münter Prize offers an effective opportunity at national level to highlight, promote and honour the outstanding achievements of contemporary female visual artists living in Germany. The prize is named after the painter Gabriele Münter (1877-1962) – one of the most important female artists of modernism. Her example is still an encouragement for female artists today.

The 2025 Gabriele Münter Prize was awarded to Iranian-German artist Parastou Forouhar. An accompanying exhibition at the Museum Gunzenhauser in Chemnitz displayed Forouhar’s works, together with the works of the five other finalists Esra Ersen, Else Gabriel, Ana Prvački, Annegret Soltau and Hoda Tawakol.

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Petra Cortright: NOBLEcurve →

Petra Cortright
September 27 - November 1, 2025 | Interval, London

‍Cortright’s rich and beautifully formed artworks from her solo show at Interval, London, the inaugural exhibition at the space, were created in response to a series consigned works for the show from Interval’s old master gallery collaborators Rafael Valls and Sam Fogg, featuring 17th and 18th century Dutch and Spanish floral still life paintings by Gaspar Pieter Verbruggen II, Jan Van Os, José de Arrelano, alongside the 15th century manuscript pages: A kneeling patron before the Virgin and Child, from the Elmhirst-Courtanvaux Hours, The Annunciation to the Virgin from a Book of Hours and a leaf by The Master of the Budapest Antiphoner.

“In considering who to launch Interval with, and working in line with our mission to connect contemporary artists with historic artworks in the project space, Petra Cortright was a perfect choice. We had both relished collaborating with Petra on her beautiful digital art commissions for Daata and The Bass Museum back in 2018 — with my curation, and Jacob creating the sound for her videos. Interestingly, those video artworks also sourced historic floral paintings. Our next goal was to find the most fitting historic artworks to present alongside Petra’s work, and happily, Rafael Valls and Sam Fogg were delighted to work with us! And here we are now…” – David Gryn

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ArtCenter Chair Diana Thater Honored Amidst Loss and Renewal →

Diana Thater | Pasadena Now

ArtCenter College of Design will present its 2024 Lifetime Achievement Award to Diana Thater on Saturday, September 27 in Pasadena, honoring a career defined by vision and resilience.

Thater, chair of ArtCenter’s Art Department since 2024 and a faculty member since 1995, experienced profound upheaval when the Eaton Fire devastated her home, studio, and three decades of creative work in Altadena last January.

“I have no concept of home. I sort of lost it, and I haven’t refound it yet. I don’t know where I’m going to be living. I don’t know. I don’t know a lot of things. So everything’s kind of up in the air for me right now,” Thater said, reflecting on the loss. “We lost everything, including our studio and all of our work.”

Read More Here.

Diana Thater: Peonies at ArtCenter College of Design, Pasadena →

Diana Thater
September 20 - November 9, 2025 | ArtCenter College of Design, Pasadena

Diana Thater, Peony (2020); Installation: 4 flat monitors, media player; Edition of 1 + 1AP (video still)

A special presentation of acclaimed artist, educator, writer, curator and alumna Diana Thater's work Peonies will be on view in the College's Mullin Transportation Design Center. The work, presented on one large video monitor, is a still life of a bouquet of flowers filmed over the course of 12 hours and presented in one minute.

Thater will receive the College’s 2024 Lifetime Achievement Award at the 2025 ArtCenter Awards ceremony on Saturday, September 27, 2025.

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Angela Bulloch in Die Linie at Heidi Horten Collection, Vienna →

Angela Bulloch
September 19 - March 8, 2026 | Heidi Horten Collection, Vienna

The exhibition Die Linie explores the line as a fundamental element of the visual arts. Moving between subjective gesture and constructive precision, it takes on countless roles: it structures surfaces and defines form, traces contours and boundaries, separates and connects. It documents time and space, describes reality, creates illusion, and captures the imaginary. In the infinite variety of its concepts, functions, and material forms, the line has much to reveal—about its time, its artists, and their concerns.

Starting from the classical medium of drawing, the exhibition examines the line’s potential to create artistic worlds and to respond, through art, to the world we live in. The focus lies on contemporary positions that transcend traditional genre boundaries, expanding the line into space and presenting it as a medium for reflecting on social and political realities.

Angela Bulloch is featured alongside Pierre Alechinsky, Karel Appel, Kader Attia, Jean-Michel Basquiat, Pierre Bismuth, Rosemarie Castoro, Christo und Jeanne-Claude, Marie Cool Fabio Balducci, Carola Dertnig, Marcel Duchamp, Fred Eerdekens, Amy Feldman, Dan Flavin, Lucio Fontana, Günther Förg, Lucian Freud, Gego (Gertrud Goldschmidt), Antony Gormley, Keith Haring, Alexej Jawlensky, Donald Judd, Birgit Jürgenssen, Reena Saini Kallat, Wassily Kandinsky, Žilvinas Kempinas, Kiluanji Kia Henda, Paul Klee, Gustav Klimt, Edgar Knoop, Joseph Kosuth, Brigitte Kowanz, Edward Krasiński, Alfred Kubin, Roy Lichtenstein, Constantin Luser, Piero Manzoni, Agnes Martin, Henri Matisse, Vera Molnár, François Morellet, Nick Oberthaler, Helga Philipp, Pablo Picasso, Giulia Piscitelli, Sigmar Polke, Jackson Pollock, Dieter Roth, Fred Sandback, Sonia Sanoja, Egon Schiele, Chiharu Shiota, Cy Twombly, Franz West, Andy Warhol.

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Rirkrit Tiravanija to be included in the 2025 edition of the Singapore Biennale →

Rirkrit Tiravanija
September 15 | Singapore Biennale, Singapore Art Museum

Singapore Art Museum at Tanjong Pagar Distripark. Photo: Singapore Art Museum.

Singapore Biennale 2025: pure intention presents contemporary art in multiple venues and public spaces, inviting audiences of all walks of life to experience Singapore’s many layers built by all of those who have been a part of its history, collectively creating a city that is as planned as it is full of discovery, surprises and interesting juxtaposition. Curated by Duncan Bass, Hsu Fang-Tze, Ong Puay Khim, and Selene Yap, the Biennale offers Singaporeans an opportunity to reflect on the nation’s historic milestones and shared aspirations while imagining possible collective futures. The Biennale will engage with spaces ranging from pre-colonial and colonial landmarks transformed into public, green areas repurposed for recreation, residential neighbourhoods and lived spaces, to shopping centres that have evolved into social spaces for Singapore’s diverse communities.

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Judy Ledgerwood: Twilight in the Wilderness at Gray Gallery, New York →

Judy Ledgerwood
September 10 - November 1, 2025 | Gray Gallery, New York

Twilight in the Wilderness debuts four large-scale canvases that continue Ledgerwood’s career-long exploration of radiant color and architectural scale through a feminist reworking of the painterly grid. 

For over forty years, Judy Ledgerwood has pushed the boundaries of abstraction. Her chromatic language subverts and reimagines historically male-dominated traditions of Color Field painting and Minimalism, transforming visual pleasure into a critical investigation of beauty and representation. Her large scale paintings often appear like textiles, pinned from the top and painted edge-to-edge, and feature repeating quatrefoil patterns rendered with intentional irregularity. These immersive, optically charged compositions envelop the viewer, turning the act of looking into a fully embodied experience of beauty, color, and space. “For me,” Ledgerwood states, “the painting happens between the painting and the viewer.”

Titled after Frederic Edwin Church’s 1863 painting of a sunset, Twilight in the Wilderness presents four new paintings inspired by the drama and color of refracted light just before nightfall. Monumental in scale, these works blaze with hot pinks, golden yellows, burnt oranges, teals, and vivid greens—colors that heighten the works’ radiance and emotional intensity. Of the largest canvas, Vitamin C, art historian and curator Helen Molesworth writes: “A riot of tangled paint strokes, a filigreed layer of beachfront-hotel seafoam on top of an Orange Julius® ground? Whatever grid once held the substrate together has gone all akimbo.” 

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Ana Prvacki in Common Sentience at 601ArtSpace, New York →

Ana Prvacki
September 7 - November 9, 2025 | 601ArtSpace, New York

The experience of sentience—a word deriving from the Latin root word “sentire,” which means to perceive or feel—is to be aware of our own existence through our five senses. It is often thought of as the dividing line between human and artificial intelligence. Our innate ability to perceive, feel, and understand through our eyes, ears, mouth, nose, and skin places us in a feedback loop with the world, enabling us to experience and co-create reality as we know it. Common Sentience looks at the properties of the sensory faculties—essentially human technology—and how they connect humans, animals, plants, and planets in ways that we have yet to fully understand. In light of anxieties about AI’s capacity to acquire sentience, this exhibition asks us to first look inward: how might we better comprehend our own sensory mechanisms, which author Michael Serres describes as “the real interdisciplinarity of the body?” What is the intelligence of the sensorial realm and how does it operate relationally between human bodies and the rest of the natural world?

Curated by Regine Basha

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Kirsten Everberg in Surface Streets, curated by Russell Ferguson at Marian Goodman Gallery, Los Angeles →

Kirsten Everberg
September 6 – October 18, 2025 | Marian Goodman Gallery, Los Angeles

Kirsten Everberg
Bedroom, Kitchen, Bath (Jeanne Dielman), 2023
Oil and enamel on wood panel
48 x 225 inches
121.9 x 571.5 cm

Surface Streets presents recent paintings by artists working in Los Angeles. The title of the exhibition is intended to evoke both the specificity of the local environment and the tactility that is integral to the medium. Curated by Russell Ferguson, the intergenerational group chosen for this exhibition trace a variety of aesthetics, strategies, impulses, and traditions, and yet at the same time each engages deeply with the physicality of the painted surface.  

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Jan Albers: teNdertaNtrum at Van Horn →

Jan Albers
September 5 – October 25, 2025 | Van Horn, Düsseldorf

Jan Albers, stRawbeRRyReef, 2025
spray paint & polymer plaster on polystyrene & non-wood in acrylic glass box,
171 x 121 x 37 cm

Jan Albers describes his work as a kind of self-observation in action: “The great art is to experience yourself in the act of doing. The more varied the actions are, the more you learn about yourself.”
This attitude lies at the heart of his work. It is insight through action, artistic exploration without a fixed route, a continuous process of experience. Beauty, it seems, is not a goal for Albers, but a solution. Something that can arise from the work itself.

In this exhibition, strength meets softness, wildness meets sensitivity. As the exhibition title suggests, the work oscillates between opposites: ‘tender’ and ‘tantrum’ – delicacy and outburst. These are interwoven in a formal language that allows for both emotional depth and conceptual rigour.

What emerges is the expression of a dynamic, often contradictory process: a performative exploration of material, form and action. Albers’ relief works are performative settings, less objects than traces of an action. They are the expression of an intellectual and emotional, sometimes even spiritual process. It is not just about form, but about experience: erosion, friction, doubt, pain, happiness, curiosity. It takes courage to seek out the unfinished, to endure failure and inability, and even to use them as a springboard to the next level. The choice of materials is part of this search – open and sensual. What emerges remains open to interpretation: it is not uncommon for a work to only take shape or shift when viewed. It is not so much about realising a design, as about exploring a path.

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Applications for Fall 2025 Internship at 1301PE Now Open

1301PE is excited to announce an internship opportunity for students eager to immerse themselves in the art gallery environment. This internship will provide a comprehensive insight into various aspects of gallery management, including event planning, art curation, sales, and more.

*Please note that you will need to email the application materials to info@1301pe.com to be considered.

Full Details Can Be Found Here.

Uta Barth in Second Nature at Modernism →

Uta Barth
September 4 - November 1, 2025 | Modernism, San Francisco

Uta Barth, Ground 10 (1992-93), chromogenic print on panel, Ed. 4 of 5, 29 1/2 x 27 1/2 inches

Nature has arguably been the favorite subject of artists since the beginning of time. While some artists dedicate their practice to portraying the natural world as it appears with accuracy, others use nature loosely as a muse or starting point to employ their artistic processes. In today’s world where we are inundated with content of nebulous artificiality, questioning is this real or fake has become second nature. While artists continue to use nature as a subject and inspiration, the question is this nature or is this a product of a human intervention feels more pertinent than ever when viewing art and imploring so feels instinctual. 

Modernism is pleased to present Second Nature, a group show of 50 artworks from 1900 to contemporary, which explores the indeterminate boundary between the organic and the constructed. The exhibition brings together works that appear to authentically depict nature with seemingly blatant manipulations of the natural world. As the organic is transformed and artificial compositions mimic nature, Second Nature invites viewers to reconsider the divide. What appears raw may be refined and what seems fabricated, unexpectedly true to nature.

Through material, process, and form, artists in Second Nature create confounding contradictions: natural but not, nature but also artificial. In portraying the natural world, rather inauthentically, a sort of “second nature,” i.e. not the original, now once or even twice removed, emerges. And asking the question is it nature or not is only second nature.

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remains of the day: allora & calzadilla and rirkrit tiravanija at Kurimanzutto →

Rirkrit Tiravanija
September 4 – October 4, 2025 | Kurimanzutto, Mexico City

What lingers, what remains? When wars, environmental disasters, and political unraveling dominate the news, what stays with us after the headlines fade? Media coverage dissipates as surely as flowers fall and decay, yet events leave their mark, shaping what and how we remember. 

Rirkrit Tiravanija’s paintings layer charged phrases over pages from Mexican newspapers with once-urgent headlines. The works reveal how news structures memory, anchoring private and collective histories to particular dates. Newspapers from 2017 and 2024—years marked here by Trump’s first inauguration, California’s wildfires, and a solar eclipse spanning North America—show how time alters our perspective, depending on the political, environmental, or cosmic scale from which we view it. Across a series of canvases, the repeated phrase El miedo devora el alma (Fear Eats the Soul), borrowed from Rainer Werner Fassbinder’s 1974 film, warns of fear’s corrosive power—its ability to weaken solidarity, erode empathy, and fracture recognition of our interdependence with each other and the natural world.

On the gallery floor, hundreds of blossoms—cast from the flowers of the African baobab tree (Adansonia digitata)—appear swept by the wind. In Graft (2023), Allora & Calzadilla fabricated each flower from recycled plastic and hand-painted it in one of seven stages of decay, ranging from freshly fallen white to withered brown. The baobab, long associated with resilience and ancestral survival in African communities, was introduced to the Indian subcontinent through trade networks and to the Caribbean during the transatlantic slave trade. Yet even this long-lived species has been imperiled: in recent years, some of the world’s oldest and largest baobabs have perished due to drought and rising temperatures. Removed from their natural context, the flowers in the gallery evoke a fragile, paradoxical beauty shaped by histories of exploitation and enslavement, while pointing to the ecological precarity of the present and the uncertain future of a planet in crisis.

Amid scattered blossoms and newspapers, The Remains of the Day brings the fleeting and the lasting into dialogue, opening space to reflect on what remains—and what may slip away.

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Charline von Heyl at Xavier Hufkens, Brussels →

Charline von Heyl
September 4 – October 25, 2025 | Xavier Hufkens, Brussels

Charline von Heyl’s debut exhibition at Xavier Hufkens presents a dynamic suite of new paintings, works on paper, and lithographs that pulse with invention, wit, and formal tension. Long regarded as a vital force in contemporary painting, von Heyl conjures a visual universe that is as expansive as it is unpredictable. What emerges is a protean body of work: restless, confident, mercurial, and alive with inquiry and mischief.

von Heyl is a visual acrobat. Throughout the exhibition, she demonstrates a rare painterly dexterity: the ability to choreograph chaos without taming it. Each painting she makes poses a new formal puzzle. At the core of her practice is a belief in painting as a living form of knowledge — generative, volatile and perpetually in motion. Each canvas becomes a site of experimentation: never conclusive, always open. Her works offer not answers, but propositions. In doing so, they pose a deeper question: what can painting do now?

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Rirkrit Tiravanija and Philippe Parreno in Prism of the Real: Making Art in Japan 1989-2010 →

Rirkrit Tiravanija, Philippe Parreno
September 3 - December 8, 2025 | The National Art Center, Tokyo

Prism of the Real examines the practices of more than 50 artists from Japan and abroad. It explores both the art that emerged in Japan and how Japanese culture inspired the world between 1989, when the Shōwa era (1926–1989) ended and the Heisei era (1989–2019) began, and 2010.

These two decades saw the end of the Cold War and the advent of contemporary globalization, enabling the freer movement of people, goods, and information, and greatly encouraging international dialogue and engagement. Throughout this period, artists in Japan and elsewhere pursued new approaches, acting as prisms that refracted the social and cultural currents of the time into works that pose diverse questions. Co-curated by The National Art Center, Tokyo and M+, Hong Kong, this exhibition reflects on this critical transitional period through the lens of art. It presents a multifaceted view in which multiple histories and contexts coexist, while looking at Japan as a platform for artistic creation from both national and international perspectives.

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Philippe Parreno at Andersen’s →

Philippe Parreno
August 22 – October 25, 2025 | Andersen’s, Copenhagen

The exhibition is the first solo show in Denmark by internationally acclaimed French artist Philippe Parreno. Parreno works in a diverse range of media including film, sculpture, drawing, and text.

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