Raoul De Keyser: Drift

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24 Grafton Street
London W1S 4EZ
November 26, 2015 – January 23, 2016

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The late Raoul De Keyser's first exhibition at the David Zwirner gallery in London is nearing the end of its two-month run, but there’s still time to see the show before it finishes next week. Drift features 22 paintings known as The Last Wall, completed shortly before the artist’s death in 2012, which are being shown together for the first time. It also includes works from the 1990s and 2000s, that similarly display De Keyser’s sparse and intriguing painterly expressions.

—David Zwirner

J.B. Blunk: Painting, Drawing, Sculpture

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5118 W. Jefferson Blvd.
Los Angeles, CA 90016
November 14, 2015 – January 23, 2016

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In November of last year, Gerard O’Brien, owner of the astonishingly good Reform Gallery in Los Angeles, opened his new space, The Landing, with an exhibition of work by the late American artist J.B. Blunk. Known for his immense redwood sculptures, Blunk’s list of influences is as impressive as his chainsaw carvings, having studied pottery with Laura Andreson at UCLA, and Rosanjin Kitaoji and Toyo Kaneshige in Japan. His lesser-seen paintings and drawings, also featured in this show, evoke a similar simplicity and connection to nature. The exhibition closes on January 23rd, leaving just over two weeks to take in the work of an under-appreciated West Coast legend.

—The Landing

Diane Simpson & Lesley Vance at Herald St

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2 Herald Street
London E2 6JT
November 21, 2015 – January 31, 2016

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The Herald St gallery in London opened a concurrent exhibition of work by artists Diane Simpson and Lesley Vance in November. For those that haven’t seen it yet, the show runs until the end of January and looks well worth visiting. Geometric form and an inquisitive exploration of shape, rigidly in the case of Simpson and more fluidly as it pertains to the work of Vance, is the tie that binds these two artists. Amy Sherlock touches on this very succinctly in the text that accompanies the exhibition, referring to the paintings and sculptures as "developable surfaces."

—Herald St

Fergus Feehily – Invincibles

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Capital
716 Sacramento Street
San Francisco, CA 94108
December 11 – January 23, 2016

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"Fergus Feehily's work can be disarming in its apparent simplicity. Often his paintings are more about what is not there. Behind this spare approach is a will to get at the heart of sensitivities and phenomena that are multi-layered and difficult to address. Feehily's painting practice grows increasingly fluid and promiscuous, utilizing disparate materials such as found objects, photographs, textiles, screws, and pins — even paintings that appear to have no paint involved in their making.

The discreet power of this exhibition proceeds from a desiring touch. Feehily engages vulnerable and precarious depths to control lightness and understand gravity. The exhibition's title, Invincibles, alludes to defiance — something or someone unbeatable or supreme — even while it sneaks up against the word invisible, itself delicate, fragile and modest."

—Capital

Lost in the Flood

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66 rue de Turenne
75003 Paris
October 22, 2015 – December 19, 2015

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There isn’t much time left to check out this intriguing group show at Galerie Frank Elbaz in Paris. Creating a dialogue between the long-deceased Wallace Berman and contemporary artists Will Boone and Virginia Overton, Lost in the Flood revolves around Berman’s Crater Lake home and gallery which was destroyed in 1964 by a mudslide. There are a number of his Verifax collages on display, as well as a surreptitious recording of the late artist in conversation made by Hal Glicksman, that serves as the show’s soundtrack. The sculptural work from both Boone and Overton provides an interesting minimalist juxtaposition of collage and structural elements, relying on fragments in much the same way as Berman did. Experience this exhibition in person if you can, before it closes on December 19th.

—Galerie Frank Elbaz

Chance Encounters curated by Jonathan Anderson

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110 NE 39th Street
Miami, FL 33137
December 2, 2015 – January 17, 2016

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As part of Art Basel Miami, Loewe's creative director, Jonathan Anderson, has curated a group show entitled Chance Encounters to mark the opening of the brand's new store in the city's Design District. The exhibition runs until January 17th and features Anthea Hamilton, Paul Nash, Lucie Rie and Rose Wylie. Displayed in and around an 18th century granary building, which was shipped from a small town bordering Galicia and Portugal, the works create an unexpected dialogue between past and present.

—Via Amuse
—Loewe

Hoyland, Caro, Noland at Pace London

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Pace London
6 Burlington Gardens
London W1S 3ET
November 20, 2015 – January 16, 2016

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Pace London has recently opened an intimately interrelated group show by three of the 20th century’s great abstract artists. Featuring the work of John Hoyland, Anthony Caro and Kenneth Noland, it examines the friendships and connections between the trio and how, through exposure to one another’s art and process, they explored similar concerns of colour, form and material. The exhibition is open until January 16th, leaving plenty of time to stop in and experience these striking works in person.

—Pace Gallery

Ed Ruscha – Metro Mattresses

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Sprüth Magers Berlin
Oranienburger Straße 18
D-10178, Berlin
November 3, 2015 – January 16, 2016

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"Ed Ruscha has been casting his eye across the landscapes of the American west for over 50 years, taking in everything from gas stations to swimming pools to sublime mountain ranges. With their clarity and deadpan wit, his photographs, drawings and paintings impart a mood of playful awe on everyday monuments. The motifs for his new series Metro Mattresses were found, like so many of the subjects of his work, on the streets of Los Angeles. In each of the twelve works in the series we encounter a mattress, or mattresses, isolated and in various states of neglect, all depicted against a neutral backdrop.

Mattresses are evocative objects: repositories of dreams, essential yet private, at once mundane and lush with possibility. When a mattress wears out, it becomes a cumbersome slab of raw intimacy that needs to be discarded. Ruscha noticed the mattresses cast aside on the streets of LA and began photographing them systematically before translating the images into pictures on paper-like museum board. The consistent neutral background emphasizes the typological nature and the heightened formality of the series, transforming the boxes of springs and padding into geometric abstractions. Yet the rhomboids and rectangles slump and fold with age, while the jagged rips and occasional trickles of fluid remind us that the mattresses have absorbed countless intimate experiences."

—Sprüth Magers