Sam Lewitt hat trick at Miguel Abreu Gallery
Detail of Sam Lewitt at Galerie Buchholz
Standard (Oslo) with paintings by Gardar Eide Einarsson and sculpture by Oscar Tuazon
Tom Friedman at Luhring Augustine
Thomas Ruff at David Zwirner
Noam Rappaport and John McAllister at James Fuentes
Bjarne Melgaard at Gavin Brown’s Enterprise
Stewart Uoo at 47 Canal
Andy Boot at Croy Nielsen
Julia Rommel at Bureau
Shimabuku, Onion Orion, 2012, at Air de Paris
Nina Canell at Mother’s Tankstation
Zoe Leonard and Sergei Tcherepnin at Murray Guy
David Maljkovic at Metro Pictures and Annet Gelink Gallery
Sliding Liam Gillick doors at Esther Schippe
Anton Kern Gallery
There’s a nice five-part suite of drawings of Wimbledon courts mid-match by Jonas Wood on the back wall.
Ryan McGinley at Team
Dianna Molzan at Overduin & Kite
Aaron Curry at Almine Rech Gallery
Steve Claydon at Sadie Coles HQ
Bjorn Copeland at Jack Hanley
John Henderson, Sam Falls and Daniel Rees at T293
An untitled 1991 Kippenberger from the “White Rubber Paintings” series at Gisela Capitain
The Fat Radish in the distance
Charline von Heyl’s Untitled (11/89), 1989, at Gisela Capitain
John Wesley and works by Mary Reid Kelly with Patrick Kelley at Fredericks & Freiser
The first new set of Wesley paintings since 2004.
Marianne Vitale in Frieze Projects
Marianne Vitale in Frieze Projects
Johannes Kahrs at Zeno X Gallery
Jamian Juliano-Villani, NIGHT FOOD, 2013
Lauren Luloff, Sunflowers (Black & White), 2013
Arthur Ou, Test Screen (Huntington), 2010
Brennan & Griffin
Michael Berryhill, Feathery Furnace, 2013
Shannon Bool, The Analyst (2nd version), 2013
Daniel Faria Gallery
John Lehr, Office Door, 2013
Kate Werble Gallery
Damian Navarro, Cuisine-Cointet IV, 2013
Mamie Tinkler, Three Glasses Two Ways, 2013
Ruby Sky Stiler, Unique Copy (#2), 2013
Joe Smith, Untitled, 2012
Scott Reeder, Post Good, 2013
Liam Gillick, Allocated Table, 2012
Jaan Toomik, still from Waterfall video, 2005
Temnikova & Kasela Galler
Adrianne Rubenstein, Self-Portrait as a Pile of Lumber Falling Backwards, 2013
Rana Begum, No. 363, 2013
Galerie Christian Lethert
Francine Spiegel, Lora, 2013
Max Brand, untitled, 2013
Jacky Strenz Galerie
Oliver Michaels, Primordially Decorative and Insincere, 2012
Marjorie Schwarz, Lamp, 2011
Nairy Baghramian, Gueridon (brace), 2013
Alex Da Corte, Head, 2013
Joe Sheftel Gallery
Nancy Haynes, Retreat, 2012–13
Joe Reihsen, I’m exceptionally fun at parties, 2013
Anna K.E., Paris Bar, 2013
Martin Roth, Untitled, 2013
Louis B. James
Glen Baldridge, Fright Flight, 2012
Klaus von Nichtssagend Gallery
Breyer P-Orridge, Lucy Fur, 2004
Sculptures by Denise Kupferschmidt
Halsey Mckay Gallery
Elizabeth Jaeger, Mudita, 2013
Stephen Vitiello, Site-Sound Series (Polaroid): Rauschenberg Residency, Captiva, FL, 2012
Marsha Cottrell, Aperture series (variation 3), 2013
Petra Rinck Galerie, photo by Alan Weiner
Johanna Jaeger, Prussian Blue – American Vermilion I, 2013
Meg Cranston, installation view of Emerald City, 2013
Fitzroy Gallery and Newman Popiashvili Gallery
Courtesy the artist and LAXART
Photo Credit: Michael Underwood
Ilit Azoulay, Red, 2013
Richard Jackson, Bad Dog (Blue), 2007
Galerie Parisa Kind
Grayson Revoir, Untitled, 2013
Thomas Brambilla Gallery
Robert Davis, Here, 2013
Andrew Gbur, Untitled, 2013
Know More Games
Bea McMahon, A great organic stratification, 2013
Green On Red Gallery
Amy Feldman, Moodmode, 2013
Lisi Raskin, Sky Fall, 2013
Churner and Churner
Works by Mariah Dekkenga
Stephen Kaltenbach, Untitled, 2012
Independent Curators International
Jimmy Wright, Caves, 1973
Corbett vs. Dempsey
Thu, May 9, 2013Frieze Art Fair New York 2013: The Food
Go for the art, stay for the food! This year’s Frieze Art Fair in New York is coming up with the goods, the food goods! Right now, several of our favorite New York and Brooklyn eateries are firing up the stoves and grinding the coffee beans to ensure we all leave the fair not only feeling cultured, but full! Frankies Spuntino and Marlow & Sons will have pop-up restaurants on-site while hotspots like Roberta’s, Mission Chinese, The Fat Radish, Saint Ambroeus, and Blue Bottle Coffee will be scattered in and about the 180 exhibiting galleries. We asked the chefs to share some sneak peeks of what they’ll be serving.
FRIEZE ART FAIR NEW YORK
Randall’s Island Park
New York The Fat Radish The Fat Radish Roberta’s Roberta’s Saint Ambroeus Saint Ambroeus Blue Bottle Coffe
What to Expect at Frieze Art Fair in New York
Some art-fair organizers are satisfied to put up a tent and offer what is essentially a supermarket—aisles and aisles of artworks for sale. But the organizers of Frieze New York, Amanda Sharp and Matthew Slotover, the fair having its second annual edition beginning Wednesday with a kick-off party and running through next Monday, are aiming substantially higher than that with their special programming.
“We want to engage all the senses this year,” says Cecilia Alemani, the curator of Frieze Projects. “All of the works touch on the idea of gathering places, both at the fair and in the rest of our lives.”
Alemani chose last year’s projects as well, enthusiastically embracing the fair’s out-of-the-way location on Randall’s Island. Turning constraints into an advantage is something of specialty for Alemani, since her other job is curating the works along the High Line, the elevated train tracks on Manhattan’s West Side that have been turned into a spectacularly successful park.
The most singular element of Frieze New York 2013 is a tribute to, and reboot of, FOOD, the early-1970s artists’ collective founded by Carole Goodden and the late Gordon Matta-Clark. It straddled a fine line between being an actual restaurant—one where Richard Serra and Philip Glass dropped in for a meal—and a kind of performance art. Alemani has tapped two of the original artist-cooks, Goodden and Tina Girouard, as well as young contemporary artists Matthew Day Jackson and Jonathan Horowitz. Each will cook for one day of the fair.
Although the Frieze organizers have a reputation for culinary sophistication—the lineup of restaurant options includes the acclaimed Roberta’s and Mission Chinese Food—mere eating isn’t the point. “It’s about the collective energy that made these spaces alive,” says Alemani. The five artists she chose for the other Frieze Projects are no less thoughtful. Liz Glynn has created a hidden speakeasy that harks back to the days of Prohibition in New York; it will be accessible only via a key and a set of directions that will be given out at random to a few fairgoers. Maria Loboda has taken nineteenth-century interior design as the inspiration for a color-coded garden, planted right next to the tent where more than 180 galleries will convene. And Andra Ursuta has created a cemetery of sorts, dotted with marble slabs, representing “where art goes to die,” says Alemani.
Adding to the sensory stimulation are three sound pieces, experienced from listening platforms, including Haroon Mirza’s mixing and rebroadcasting of actual fair sounds. These will also be available at friezenewyork.com. “Sound is not the first medium people pay attention to,” says Alemani, who is always looking to expand our idea of what art can be. “I consider sound works to be as good as paintings, and it feels like a fresh approach to me right now.”
Frieze New York opens to the public on May 10 at Randall’s Island Park, New York; friezenewyork.com.
==PAPERon the front lines of cultural chaos since 1984.Everything You Need to Know About FRIEZE and NYC’s Spring Art WeekNew York’s Spring Art Week is here! The weather has finally come around and it’s a great time to get out and enjoy the tons of gallery openings, art fairs, auctions and parties taking place from May 6th to the 16th. Here’s what’s happening:Scene from Frieze 2012
FRIEZE New York 2013
The New York spin-off of FRIEZE returns to Randall’s Island from May 10 to 13, with a big “Private View” on Thursday night, May 9. It will be open to the public daily from 11 a.m. to 7 p.m. starting Friday and, for a second year, is taking place in a giant tent designed by Brooklyn architecture firm SO-IL. You can get there via ferry from the dock at 34th Street and FDR Drive, by bus from the Guggenheim Museum, free shuttle from the Joe Fresh store or you can drive. Admission to the fair is $42 ($26 students). Over 180 worldwide galleries will be exhibiting and there’s also lots of side-projects, lectures and a tribute to the early ’70s, artist-run SoHo restaurant, FOOD, with artists/chefs doing the cooking and “exploring the relationship between food and art.” There’s also a big sculpture park with works by Paul McCarthy, Fiona Connor, Saint Clair Cemin, Pae White and more. To buy tickets and to check out all the details regarding getting there and back, go HERE.
NADA New York
NADA is also back for a second year in NYC, and they’re moving the fair over to the East River on Pier 36. Over 70 galleries will take over a space that’s normally occupied by Basketball City (299 South Street) and fill it with “new art by rising talents.” The opening preview is on Friday, May 10, from 10 a.m. until 2 p.m. and then it’s open to the public until 8 p.m. that day and thru Sunday. Admission to this fair is FREE, so be sure to check it out. Go HERE for more info.Piece on display at PULSE New York 2012
PULSE New York
PULSE celebrates its eighth anniversary with over 50 galleries, plus their unique “Pulse Projects” program featuring large sculptures, installations and performances. They’ll return to The Metropolitan Pavilion (125 West 18th Street) in Chelsea and are open for a VIP brunch on May 9 from 9 a.m. to noon and then open to the public thru Sunday. Tickets are $20 ($15 students). HERE‘s the details.Tyler Matthew Oyer, Gone For Gold Courtesy Cirrus, which will appear at Cutlog
CUTLOG New York
One of the new-fairs-on-the-block, Cutlog, comes from Paris, where it started four years ago. Running from May 9 to 13 in the Clemente Soto Velez Center (107 Suffolk Street) on the Lower East side, the fair features 45 galleries, plus several performances, talks and films. Downtown musician/actor/painter John Lurie will be speaking about his work and about the changes in the LES neighborhood. There’s also Free Car Wash presented by The Fantastic Nobodies who will be dressed as members of the Village People. There are two days of VIP and media previews, but Cutlog will be open to the public on May 9 from 5 to 9 p.m., May 10, 11 and 12 from 10 a.m. to 8 p.m. and May 13 from 10 a.m. to 6 p.m. Admission is $15 ($12 students). Go HERE for more info.
Pool Art Fair New York 2013
This fair started in 2000 with a goal of bringing together artists that aren’t represented by big galleries. It will be open for three days, May 10 to 12, from 3 p.m.to 10 p.m. daily in the Flatiron Hotel (9 West 26th Street) and will include curated exhibitions, lectures, special projects and events. There is a suggested donation of $10.
COLLECTIVE.1 Design Fair
Another newbie this year, the Collective.1 Design Fair will focus exclusively on design and will include vintage as well as contemporary works. It was founded by the architect Steven Learner and runs from May 8 to 11 at Pier 57 on the Westside Highway at 15th Street. Tickets are $25 ($15 students). The details are HERE.
The tenth edition of this showcase for Brooklyn-based designers runs for three days — May 10 to 12 — in DUMBO’s St. Ann’s Warehouse (29 Jay Street, Brooklyn). Over thirty designers will show original, limited-edition pieces and furnishings.
And, of course New York’s art galleries are taking full advantage of all the crowds in town for the fairs, and they’re opening new shows:
- The acclaimed Cuban art collective Los Carpinteros are opening a show of new works called “Irreversible” in three rooms at New York’s Sean Kelly Gallery (475 Tenth Avenue). You can check out some of their LEGO constructions, an installation entitled “Tomates” and a video of the reverse performance of a conga band and dancers. The opening reception is May 11 from 6 p.m. to 9 p.m. and the exhibit is up until June 22.
- Jose Parla and JR open an exhibit of their recent collab, “The Wrinkles of the City: Havana,” on Tuesday, May 7, 6 to 8 p.m. at Bryce Wolkowitz (505 West 24th Street). It’s up until July 12.
- Gagosian Gallery opens an exhibit of new works by Cecily Brown — it’s her first NYC show since 2008 — on Tuesday, May 7, 6 p.m. to 8 p.m. at their 980 Madison Avenue space. Also that night, they are opening a show of over 400 photographs from The Lost Album by the late Dennis Hopper on the fifth floor of 980 Madison. On Thursday, May 9, 6 to 8 p.m., Jeff Koons has his first New York show with Gagosian at 555 West 24th Street featuring new paintings and sculptures. And don’t forget to check out the current Anselm Kiefer exhibition at the gallery’s space at 522 West 21st Street.
- Marlborough Chelsea (545 West 25th Street) is opening a big group exhibition called “Endless Bummer II – Still Bummin’” on Saturday, May 11, from 6 to 8 p.m. The show was curated by Drew Heitzler and Jan Tumlir and includes works by Ryan Foerster, Brendan Fowler, Jonah Freeman/Justin Lowe, Christian Marclay and many more. Mr. Heitzler also has his own show called “Comic Books, Inverted Stamps, Paranoid Literature” opening in the gallery on the same night.
- Martos Gallery (540 West 29th Street) is hosting an exhibit of fifty “small” works from the collection of Anne Collier and Mathew Higgs called “Why is Everything the Same?”. The opening is Tuesday, May 7, 6 to 8 p.m. and the show is up until May 24.
- There’s a big Bushwick gallery crawl AKA “Bushwick/Ridgewood FRIEZE Night” on Saturday, May 11, so head over there late and don’t miss the closing night of Brian Leo’s “100 Drones” that includes a “silkscreen print party” from 7 to 11 p.m. at David Kesting Presents (257 Boerum Street between Bushwick and White).
- The High Line has an outdoor screening of “Modern Times Forever” by Superflex opening May 7 at the High Line’s 14th Street passage. It starts at 7 p.m. daily and runs until May 19th.
- UK artist Tracey Emin will be showing an outdoor sculpture called “Roman Standard” in Petrosino Square (Lafayette Street between Spring and Broome) from May 10 to September 8. It’s a part of her show that’s on view now at Lehmann Maupin.
- Roberta Bayley curated a group photo show called “Just Chaos!” that features images of early punk style. It opens on Thursday, May 9, 6 to 8 p.m. at Bookmarc (400 Bleecker St.) and will be up until May 23rd. You’ll find photos by Bayley, Laura Levine, Janette Beckman, Stephanie Chernikowski, Lee Black Childers, Godlis, Bob Gruen, Marcia Resnick and more.
- The latest group show, “Wish Meme,” at the Old School (233 Mott Street) in NoLiTa includes over 50 artists spread over the building’s three floors and backyard. The works examine “21st Century wish fulfillment in the recession world.” There’s an opening reception on Wednesday, May 8 from 6 to 8 p.m. and it will be up until May 12th.
- The Ed. Varie gallery (618 East 9th Street) is showing new work by three New York-based artists: Tyler Healy, Dean Levin and Evan Robarts. The three are participants in the Artha Project in the Brooklyn Navy Yards and there’s also a book — with photos by Clement Pascal and Johnny Knapp, designed by GG-LL — that documents the artist’s “process and studio environment.” The opening is May 10 from 6 to 9 p.m. and it’s up until June 2.
- The Standard Hotel and the Paul Kasmin Gallery are hosting a book signing for “Kolors” by Kenny Scharf on Monday, May 13th, 5 to 7 p.m. at The Standard Shop (444 West 13th Street).
- Peter Makebish curated a show of prints and works on paper from the Richard J. Massey Foundation for Arts and Sciences (601 West 26th Street).
- Luxembourg & Dayan (64 East 77th Street) opens an exhibition, “Martial Raysse: 1960 – 1974,” on May 11. It’s the first U.S. show by the Paris-based artist in four decades and will be on view until July 13.
- Leila Heller Gallery (568 West 25th Street) has a 5-day, multi-venue installation by London-based artist Reza Aramesh that starts on May 8, 11 p.m., at Marquee (289 10th Avenue) and winds up on May 12, 9 p.m., at the Bossa Nova Civic Club (1271 Myrtle Avenue, Brooklyn.) The gallery also has a show called “Bass! How Low Can You Go?” curated by Amir Shariat that opens May 8, 6 to 8 p.m., and runs until June 5th in their 25th Street space.
- Vito Schnabel presents a group show curated by David Rimanelli called “DSM-V” in the “The Future Moynihan Station” (421 8th Avenue, enter on 31st Street) that will be open this week through Saturday from 11 a.m. to 6 p.m.
- Charles Bank Gallery (196 Bowery) has a closing party for Garrett Pruter’s “Interiors” multimedia installation on Friday, May 10th, from 6 to 8 p.m.
- Flux Factory (39-31 29th Street, Long Island City) hosts their monthly potluck and salon on Thursday, May 9. 8 p.m., with artist presentations, a poetry slam and more. “Please bring drinks or something tasty to share.” All the details are HERE.
- A show of new works by Seth Price opens on Sunday, May 12, 6 tp 9 p.m. at Reena Spaulings Fine Art (165 East Broadway).
And finally, don’t forget the arty-parties. There are too many to mention and several are “invitation only,” but here’s a few that caught our eye:
- There’s a big party on Tuesday night in honor of Paola Antonelli, the senior curator for architecture and design at MoMA, that’s hosted by Hannah Bronfman, Amani Olu and Larry Ossei-Mensah and sponsored by Beefeater 24 Gin.
- Tate Americas Foundation has a live auction, dinner and after party on May 8 that is sponsored by Dior.
- Visionaire magazine celebrates their “63 FOREVER” issue on Saturday night with an installation designed by Alexandre de Betak and music by Sebastien Perrin.
- EXPO Chicago and Gallery Weekend Chicago are hosting a cocktail party on Friday in SoHo.
- Whitewall magazine is hosting a “FRIEZE NY 2013″ party on Wednesday, May 8, at Le Baron (32 Mulberry Street). Jeremie Khait is DJing.
If Frieze has a mascot, it’s Paul McCarthy’s Balloon Dog. McCarthy has gained renown for a litany of idiosyncratic works. He’s presented decidedly alternative views of allegorical characters such as Snow White and Santa Claus; questioned the merit of celebrity in art, and art in general; and recently moved into satirizing pop culture, with Pig Island and Rebel Dabble Babble. His eighty-foot-tall Koonsian inflatable pooch announces Frieze’s arrival to anyone in view of the East River. It also serves as a colossal companion to the free-to-all Sculpture Park’s other works, which include the pieces by Tom Burr and Franz West pictured here.
In the Drink
Photo: BLACKBOX (Bar), 2012, by Liz Glynn, stained wood, one hundred unique numbered glazed ceramic mugs, eleven stools, Xerox copies, and acrylic. Photograph by Calvin Lee. Courtesy of LAXART and the Getty Research Institute.
Photo: Tina Girouard, Carol Goodden, and Gordon Matta-Clark outside the restaurant FOOD prior to its opening, 1971. Photograph by Richard Landry. Courtesy Richard Landry, the Estate of Gordon Matta-Clark and David Zwirner, New York / London
ART MAY 10, 2013
Frieze New York, a VIP Art Fair for Our Gilded Age
Frieze New York, up and running through Monday, is a fashionista’s wet dream of what an art fair ought to be. Take a look if you want to know how the people who buy and sell contemporary paintings and whatnots are amusing themselves right now. Set in a meandering white tent on Randall’s Island in the East River—it’s just a quick taxi ride (or Frieze-organized bus or ferry ride) from Manhattan—Frieze New York is our Gilded Age art world’s answer to the perfect Edwardian country house party. The bleached-chic style can make ignorance and mendacity look pretty. At a time when the people with the heaps of money are terrified of anything that isn’t “curated,” whether it’s their Louboutins or their Warhols, Frieze is so finely curated that it becomes its own conceptual art work, annihilating whatever art happens to be on display. Even an interesting late painting by Joan Mitchell, at Cheim and Read, registers as little more than another color swatch. You don’t need an art critic to explain Frieze New York. Henry James would have savored the drop-dead elegance and seen straight through to the corruption, although you might want a little help from Marx or Keynes (take your pick) to explain exactly how it all works.
Everything about Frieze is designed to obliterate any particular impression.
Artistic experience is first and last a local experience—an experience of some particular thing seen in some particular time and place. The trouble with Frieze—and the same goes for Art Basel and all the rest of the high profile international art fairs—is that the particulars are effectively pulverized so as to create one grandiose global mash-up. To the extent that a fairgoer distinguishes one thing from another, it’s just a matter of determining the product placement in a top-of-the-heap trade fair. And whom does this all-in-one experience really serve? Well, it definitely serves the people who keep the galleries in business, because this is a constituency that has a lot of money but not a lot of time, at least so they will tell you. Contemplation is dead. Closing the deal is all that matters. At an art fair the mood is so keyed up that even the most lackluster work of art can begin to look as if it’s on steroids. And there’s always the chance that a collector will get in the mood and rev things up even further, with the adrenaline high of a purchase made more or less in public. Art collectors used to be inclined to be secretive. Now they’re pretty much all publicity hounds.
Actually, Frieze seems to have managed to send the entire Manhattan art scene into a mind-altering frenzy. This is only the second year Frieze, an established event in the London season, has appeared in New York. And it’s still fresh enough that the hometown team is eager to partner and stir things up—and make a bit of a rumpus—in the same few weeks that also include the major spring art auctions. Days before Frieze had opened, when I went down to Chelsea to see a few shows, there were already many more gallerygoers than you would normally see on a Tuesday afternoon. The international crowd had already arrived, anxious not to miss out on any of the fun. Over the weekend, the city is hosting a bewildering number of art and art-related happenings. And next Wednesday a major Jackson Pollock, November 19, 1948, is on the auction block in the Post-War and Contemporary Art Evening Sale at Christie’s. I suspect that at least for all but the most exclusive events there may be some anxiety as to whether there are enough bodies to go around. At Frieze there are VIPs and VVIPs, at least so I gather. And to top it all off—and obviously coordinated with Frieze and the auctions—Jeff Koons, king of the trashmeisters and the top dog among the top selling artists, has a duo of shows opening in Chelsea. One is with his dealer of recent years, Larry Gagosian, but the second is his first appearance at the David Zwirner Gallery, which has a far more austere and intellectual atmosphere than Gagosian and might just persuade the chattering class that’s wearied of Koons to take another look. Koons is now ripping off the Greco-Roman sculptors and for all I know will be hailed for revitalizing neoclassicism.
I am sorry to be a party pooper. Of course I get a buzz out of Frieze, what with the people-watching and the suave food concessions (Blue Bottle Coffee, Court Street Grocers, The Fat Radish, Sant Ambroeus, and so forth). I could write about the work I saw that stood out a bit, including Mai-Thu Perret’s miniscule, minimalist, and possibly mystical gameboard-like paintings at Zurich’s Galerie Francesca Pia and Simon Evans’s pale, all-over collages featuring bits and pieces of lined paper and graph paper at New York’s James Cohan. But under the circumstances I refuse to be the well-behaved art critic assigning B- to this and C+ to that and maybe even a provisional midterm grade of A-. Everything about Frieze—from the blinding white light to the open floor plan with galleries flowing one into the other—is designed to obliterate any particular impression. And that’s what’s wrong with the whole godforsaken glamorous weekend. At Frieze, you’re being pushed to groove, not to grapple. You’re in the know, but you’re a know nothing.
The people who run Frieze certainly knew what they were up to when they positioned themselves on an island that has a bit of a never-never land feeling. It’s as if they had set out to deny New York’s great artistic history—what Donald Judd, in the title of one of his pioneering articles about the art of the 1960s, referred to as “Local History.” At Frieze, history is dead and New York’s legendary spirit of place is totally obliterated. Art is left to start from scratch every time, which perhaps explains the scratchpad stupidity of a lot of the work on display. It’s demagogues who want to obliterate the past. And there is something autocratic if not fascistic about the sleekly cosseted ambience in Frieze New York’s snaking white tent. Everybody walks around in a cheerfully hypnotic state. The flow patterns have been oh so beautifully worked out. If you go, you have no choice but to go with the flow.
Jed Perl is the art critic for The New Republic.
WWJD by Jack Early, 2012 (printed Lexan, lights, plywood, muslin, lentils, printed cotton)
Gallery: McCaffrey Fine Art B15
Untitled by Daniel Arsham, 2013 (broken glass, resin)
Gallery: Galerie Perrotin, C43
Fotini by Saint Clair Cemin, 2013
Gallery:Paul Kasmin, C13 (Sculpture Garden)