A new exhibition in the expansive Württembergischer Kunstverein in the city of Stuttgart in southeastern Germany is the first comprehensive solo show for Cologne-born artist Bettina Lockemann.
At a first glance, Lothar Osterburg’s photographic works can be visually disorienting given the textural presence of their surfaces. This is because these are photogravures, prints—that is, works on paper—rather than photographs.
Salon 94 Freemans recently opened for the season with an exhibition of new black-and-white pictures by the artist Carter. The images, made large-scale by tiling laser printouts, variously depict elegant interiors, figures, and marble sculptures.
Since the late 1980s, Rainer Ganahl has frequently exhibited his work in solo and group shows around the world. He speaks with John Beeson about context, form, and the benefits of biking.
John Beeson reports from Mönchengladbach on the Museum Abteiberg’s discerning approach to curation which is based on works’ autonomy and particular vibrations. This installment of “Sight Mapping” exports some valuable perspective on curation.
Brad Alexander, originally from Philadelphia, Pennsylvania, has been living in Southern Germany since graduating from Wesleyan University in 2008.
Acting as a signpost for a new exhibition at PS1, “Green Desert” by Heather Rowe sensitizes visitors to visual textures, literal referents, and artistic nuance, keys to experiencing much of the work that has been brought together.
THE WORLD AS IT IS AND THE WORLD AS IT COULD BE, an exhibition of new work by British conceptual artist Stephen Willats, now occupies the first-floor gallery of Victoria Miro in London.