Three great shows and only several days to visit them. Check them out!

Let’s begin with Noah Davis’s exhibition at David Zwirner. The artist died of cancer at just 32. But this gifted artist left behind a legacy that most artists would never dream of in a lifetime. David Zwirner organized the exhibition that provides an overview of Davis’s brief but fruitful career.

The show comprises more than twenty of his tender, gloomy, figurative paintings and a project called The Underground Museum, an alternative art space in Los Angeles that Davis co-founded with his wife, artist Karon Davis, in 2012. That’s what Helen Molesworth, a curator of the show, says, “On the one hand, I wanted people to get a sense of the breadth of what he did and what he was capable of. On the other hand, I didn’t want it to be so comprehensive that no one would do another show.”

Although it’s been five years since Noah Davis passed away, it feels like these dreamy scenes of domestic intimacy, and quiet moments of urban mundanity, touched with the occasional hint of magical realism were made just yesterday.

Our next exhibition is the one that features Paula Modersohn-Becker’s work. Kunsthandel Wolfgang Werner in Berlin presents a selection of major paintings, large drawings and studies for compositions.

The art gallery exhibits large scale charcoil drawings (1898-1899) as well as figural paintings of her years in Worpswede and still-lifes dating from her last stay in Paris (1906-1907). Besides, several studies offer an insight view of Becker’s working process by revealing how she conceived the composition of some of the paintings Kunsthandel Wolfgang Werner exhibit.

And for last we saved an artist who sees paintings everywhere, from street curbs and traffic signs to the painted trees and stones. It’s Federico Herrero—a contemporary Costa Rican artist, whose practice encompasses painting on canvas, public wall-painting and sculptural installations.

His new works are currently on view at James Cohan. Volume is Herrero’s second solo exhibition with the gallery. But it’s not a traditional show, it is a real examination of how color, shapes and signs define the urban environment that is vital to Federico Herrero’s practice as a painter.

Herrero’s exhibitions are often total environments. They are visual poems created with signs, colors, and symbols, and they are intended to be absorbed sensually rather than intellectually. As the artist notes, “I tend to think of color as sound and volume, or give it properties like weight.”

Read more about these artists on prabook.com.

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