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.”

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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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Ann Veronica Janssens: For M. at Galerie Micheline Szwajcer →

Ann Veronica Janssens
September 17 - October 31, 2025 | Galerie Micheline Szwajcer, Antwerp

For M. is Ann Veronica Janssen’s newest solo exhibition with Galerie Micheline Szwajcer in Antwerp. Janssen’s has worked with Galerie Micheline Szwajcer for over thirty years.

“My projects are often based on technical or scientific facts. The resulting plastic proposition is then akin to a laboratory revealing its discoveries. Cognition, reflexes, meanings and psychology lie at the heart of these experimentations. The spatio-temporal experiences are, in fact, closer to something like hypnosis, but with the will, nevertheless, to return to reality rather than escape from it. By pushing back the limits of perception, by rendering visible the invisible, these experiences act as passages from one reality to another … It’s a question of thresholds between two states of perception, between shadow and light, the defined and the undefined, silence and explosion; the threshold where the image reabsorbs itself.” – Ann Veronica Janssens

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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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Jorge Méndez Blake and SUPERFLEX in 'BAZAAAR' →

Jorge Méndez Blake, SUPERFLEX
September 6 - October 25, 2025 | OMR, Mexico City

Time stretches. It folds, loops and drifts. In its suspended form—beyond productivity or linearity—a different kind of logic emerges: one driven byplay, contemplation, and subtle acts of disobedience an joy.

BAZAAAR is a group exhibition that brings together artists through limited edition works that explore time as pause, as excess, as fertile drift for play and anarchy. Between the absurd and the intimate, the humorous and the delicate, these works inhabit the edges of utility and reason. They rest, they joke, they get distracted. They propose leisure not as escapism, but as a radical way of being in the world—a gentle revolt against the demand to always produce, explain, or advance towards the ever elusive idea of accomplishment. Conceived as an ephemeral and affective space of circulation,

‍BAZAAAR unfolds as a collection of gestures that invite us to inhabit the present differently: through slowness, through sensation, through wandering attention. Because in this suspended temporality—in its idleness and softness—other ways of seeing, relating, and existing quietly take shape.

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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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Jonny Niesche: Lava Lamp at 1301SW →

Jonny Niesche
August 14 – September 20, 2025 | 1301SW, Melbourne

Jonny Niesche, Zig Zag Wanderer (Wax Ballet), 2025

Jonny Niesche’s third solo exhibition with 1301SW continues the artist’s playful and profound engagement with the sublime. Lava Lamp, where amorphous movements of a psychedelic vessel become static… to produce static. An exhibition of forms containing distorting sunsets.

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Rirkrit Tiravanija in All Stories Are About Us: A Climate Recipes Survey at Sunaparanta Goa Centre for the Arts →

Rirkrit Tiravanija
August 9 – October 25, 2025 | Sunaparanta Goa Centre for the Arts, Panaji

Curated by Srinivas Aditya Mopidevi and Srinivas Mangipudi, All Stories Are About Us is the first comprehensive survey of the Climate Recipes project, which began within the corridors of Sunaparanta in the summer of 2023. From an exercise to gather wisdom in the Goan ecosystem, the project has evolved into a knowledge-system and dissemination method, extending across the regions of Andhra Pradesh, Telangana, Odisha, Karnataka, and other parts of India, as well as the educational context of Ashoka University in Haryana.

All Stories Are About Us spatializes and activates some of the ideas and directions that emerge from the Climate Recipes project in conversation with artists and creative practitioners. These artists respond to and depart from the recipes to create new sensations of thought and action about the ongoing ecological crisis and the resilience of communities.

This show includes projects and interventions by Edible Archives, Salil Chaturvedi, Vikram Doctor, Tallulah D’Silva + Vishal Rawlley, Divesh Gadekar, Debasmita Ghosh, Mihika Kulkarni, Material Library of India, Enit María + Sartaj Ghuman, Kulpreet Singh, Sumeet Thakur, Rirkrit Tiravanija, Ramesh V, Mamata Verlekar and Goa Water Stories.

The opening of the exhibition hosted a Climate Recipes Potluck conceptualized by renowned global contemporary artist Rirkrit Tiravanija in collaboration with Edible Archives. This potluck was an immersive and durational experience centered around sharing food and the stories that accompany it.

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Kiran Nadar Museum of Art Artist Talk: Rirkrit Tiravanija - Making Without Objects →

Rirkrit Tiravanija | Kiran Nadar Museum of Art

For several years now, renowned contemporary artist Rirkrit Tiravanija has been teaching his students at Columbia College of the Arts in New York a course titled "Making Without Objects." According to Tiravanija, this undergraduate sculpture course does not teach students to produce anything. It is, for him, a way to explore how a young artist in an art school experiences what is happening in the world at large. Students, as part of the course, have made films for YouTube, done projects on Instagram, and Tiravanija even rented a plot in Second Life, inviting them to create sculptures virtually. He says, "I am more interested in encouraging my students to think conceptually and create things in their heads than in any material." This pedagogic approach is in close alignment with his multidimensional approach to art that emphasizes the conditions and relations art could potentially generate rather than an object-oriented outcome.

In this conversation, Rirkrit Tiravanija will discuss with Srinivas Aditya Mopidevi how his approach to art influences his teaching practice and vice versa.

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