Leslie Rankow Fine Arts


Airport, please! To Marfa: to see the new Agave Garden and Judd’s Chinati Foundation

Marfa, Texas
Chinati Foundation/Donald Judd

Marfa, Texas is an iconic town, a cultural stronghold of vitality and vision. Thanks to the artist, Donald Judd, the small desert city in west Texas is known as an arts hub. The Chinati Foundation, founded by Judd, displays huge indoor and outdoor installations on an old army base. The Ballroom Marfa Arts Center hosts exhibitions, concerts and the Marfa Myths cultural festival. Outside the town, a viewing platform from which the mysterious orbs known as the “Marfa Lights” is a phenomenon worth experiencing.

Unlike other towns that have tried to reinvent themselves as art destinations, Marfa is a town that grew organically. It all started when the acclaimed minimalist artist left New York City in the 1970s for this dusty dot of a town. He wanted to escape an art scene that he claimed to disdain. With the help of the DIA Foundation, Judd acquired an entire Army base, and before he died in 1994, he filled it with art, including light installations by Dan Flavin and Judd’s own signature boxes. Ironically, now this once tiny town perched on the high plains of the Chihuahua desert is nothing less than an art world station of the cross, like Art Basel in Miami, or Documenta in Germany.

Agave Franzosini

The most recent addition is a reflection of the renewed awareness and appreciation, triggered by the pandemic, for the outdoors,  for nature and for the environment. “The Agave Garden is a space for the community of Marfa and a celebration of the biodiversity of our region,” said Rainer Judd, President of Judd Foundation. “Don(ald Judd) wrote, ‘my first and largest interest is my relation to the natural world, all of it, all the way out.’ This thinking is central to the work of the Judd Foundation and supports Judd’s interest in the region and his commitment to the city of Marfa. The garden is open to the public and incorporates  Donald Judd Furniture into the setting.


Rainer Judd


The garden was designed and planted in partnership with Jim Martinez, principle of a Marfa landscape design company that specializes in native plants of Texas and the Southwest. Martinez selected more than twenty agave species native to the Trans-Pecos region including: Agave ferox (Giant Agave), Agave havardiana (Harvard Agave), Agave lechuguilla (Chihuahua Agave), Agave parryi neomexicana (New Mexico Agave), Agave parryi truncata (Artichoke Agave), Agave ovatifolia (Whale’s Tongue Agave), and Agave victoria reginae (Queen Victoria Agave).

Agave plants

The selection of the agave species was based on those local to the Chihuahuan Desert that have had historical use for food, beverage, fiber, cultural ceremony, and beauty for the indigenous tribes of the surrounding regions. Martinez also considered the evolution of the agave species as well as their use and importance to the insects, birds, and mammals.


The garden is situated outside of the Cobb House, Whyte Building, and Gatehouse, three buildings on five and a half lots of property purchased by Donald Judd in 1989. Judd intended that these three buildings and the neighboring structures, which house his Art Studio and Architecture Studio, to be united as a complex enclosed by an adobe wall that was to run the length of Oak Street.  The two benches installed in the garden were originally designed by Judd  for his residence in Marfa. The benches are intended to provide a contemplative place for visitors to spend time in the garden.

http://2021 Judd Foundation press release

Donald Judd Furniture


“Most art is fragile and some should be placed and never moved again.” So wrote American minimalist sculptor Donald Judd, founder of the Chinati Foundation. Located on a 340-acre tract of desert land that includes abandoned US Army buildings, Chinati is a contemporary art museum that embodies Judd’s belief that art and the surrounding landscape are inextricably linked. It opened in 1986 with the specific intention to present permanent large-scale installations by a limited number of artists, including Judd himself. Each artist has work installed in a separate building on the museum’s grounds, while temporary exhibitions showcase modern and contemporary work in diverse media. The collection includes iconic examples of the work of Carl Andre, John Chamberlain, Dan Flavin, Roni Horn and Robert Irwin and a limited number of other artists who share Judd’s sensibility.



Heading to Hauser & Wirth’s new gallery, in Monaco, with Airport, please!

Louise Bourgeois
Spider in Monaco

Over a nearly 30-year history, Hauser & Wirth has created physical spaces in locations where their artists and collectors reside—of course in the large urban cities of London, New York, and Los Angeles but also in legendary resort communities and seasonal gathering spots such as Southampton and St. Moritz. In July 2021, Hauser & Wirth will also open an extraordinary center for the arts on King’s Island, in the port of Mahon in Menorca. The artists and estates represented by the gallery has always been  its driving force for expanding in the areas of art, education, conservation and sustainable development. The impact of the events of the last year and one-half have acted as a compelling catalyst to accelerate Hauser & Wirth, and every major network of galleries, auction houses, and art fairs, in developing new and innovative, often technologically based, ways to present and sell works of art.


Hauser & Wirth
Gallery Interior

On June 19th, located in the heart of Monaco, near the historic Hôtel de Paris, Hauser & Wirth’s latest gallery features a spectacular main exhibition space, an impressive 350 square yards cube with 30 foot high walls, lit by a dramatic skylight. The conversion of the site has been conducted by Selldorf Architects, New York, which has collaborated with Hauser & Wirth on its spaces internationally since the founding of the gallery in 1992. In Monaco, Hauser & Wirth occupies the lower spaces of a building designed by Rogers Stirk Harbour + Partners and owned by the Société des Bains de Mer.


The inaugural exhibition ‘Louise Bourgeois. Maladie de l’Amour’ (Love Sickness although it sounds so much better in French!) runs from  June 19th until September 26th, 2021. A monumental public sculpture from the French American artist’s Spider series, a bronze arachnid over three meters tall, will be installed in the gardens adjacent to the gallery.

One Monte-Carlo
Gallery facade

‘When we were invited to play a part in the continuing revival of the art scene in Monaco,’ says Iwan Wirth, President, Hauser & Wirth, ‘we saw that it offered an exceptional opportunity to present our artists in the heart of city, engaging with the vibrant contemporary scene across the south of France, strengthening our European presence. In former times, Monaco was a destination for artists, writers, and filmmakers who were as captivated as we have been by the Côte d’Azur.

Louise Bourgeois
Hauser & Wirth Monaco


The works in the inaugural exhibition by Louise Bourgeois span a period between 1947-2008 and draw on recurring themes of anxiety and longing, emotions which the artist repeatedly evoked to create her personal visual vocabulary. Along with Bourgeois’ monumental Spider sculpture dating from 1996, one of the artist’s most enduring and iconic motifs, two further aluminium sculptures are suspended inside the gallery. ‘Untitled’ (2004) gently rotates, as a continuously morphing form. The abstract spiral belongs to an important series Bourgeois made during the 1990s and shares a particular affinity to a previous work entitled ‘Les Bienvenus’ (1996), commissioned by the French Government and installed in the Parc de la Mairie in the village of Choisy-le-Roi, France, where she grew up.

Louise Bourgeois


Bourgeois’s work is inextricably entwined with her life and experiences. ‘Art,’ as she once remarked in an interview, ‘is the experience, the re-experience of a trauma.’  Employing motifs, dramatic colors, dense skeins of thread, and a vast diversity of media, Bourgeois’s distinctive symbolic code enmeshes the complexities of the human experience and individual introspection.

Rather than pursuing formalist concerns for their own sake, Bourgeois endeavored to find the most appropriate means of expressing her ideas and emotions, combining a wide range of materials – variously, fabric, plaster, latex, marble and bronze – with an endless repertoire of found objects. Although her work covers the range of painting, drawing, printmaking, and performance, Bourgeois remains best known for her sculpture.


Bourgeois’s work was included in the seminal exhibition ‘Eccentric Abstraction,’ curated by Lucy Lippard for New York’s Fischbach Gallery in 1966. Major breakthroughs on the international scene followed with The Museum of Modern Art in New York’s 1982 retrospective of her work; Bourgeois’s participation in Documenta IX in 1992; and her representation of the United States at the 45th Venice Biennale in 1993. In 2001, Bourgeois was the first artist commissioned to fill the Tate Modern’s cavernous Turbine Hall. The Tate Modern’s 2007 retrospective of her works, which subsequently traveled to the Centre Pompidou in Paris; The Guggenheim Museum in New York; The Museum of Contemporary Art in Los Angeles; and The Hirshhorn Museum & Sculpture Garden in Washington D.C., cemented her legacy as a foremost artist of late Modernism.


In response to the isolation and distancing of the pandemic, many of the major galleries have successfully opened branches in luxurious resort areas, Palm Beach and the Hamptons, on the East Coast. The debut of a new Hauser & Wirth gallery on the Cote d’Azur is a seductive destination and supports Monaco’s efforts to establish an active art scene with Monaco Art Week and the Monte-Carlo fair.

See for yourself! Airport, please!

Airport, please! Staying local, visiting Miami’s Team Lab Superblue

Miami, Florida
Es Dezeen

Superblue is a groundbreaking enterprise dedicated to producing, presenting and engaging audiences with experiential art. One of the best results of the isolation of the pandemic has been the extraordinary strides in technology that the art world has incorporated. Previously content to focus on showing and seeing works of art in person, the art world was one of the last industry’s to allow the digital world to take priority over the physical one. Covid-19 has changed all that.  Art fairs went OVR, the mega-galleries and auction houses invested significant sums in developing new innovative technologically-oriented ways to expose art to collectors and galleries and to the global public. A new opportunity to collect art has emerged with cryptoart and nfts. Overall, a great deal of innovation in a very short time.



Located at 1101 NW 23rd Street, in Miami, Superblue’s inaugural program features the debut of a new immersive environment, Every Wall Is a Door, featuring a new project by British designer, Es Devlin, a transcendent digital world created by teamLab, and an enveloping light-based work from none other than James Turrell, represented by Pace Gallery, from his iconic Ganzfeld series. Bringing together new and recent projects by teamLab in one, all-encompassing experience, this suite of interconnected artworks takes audiences on an exploration of the ambiguity between living and nonliving states of being, and the relationship between humanity and the natural world.

http://Superblue miami teamlab


teamLab is an interdisciplinary community of artists, programmers, engineers, CG animators, mathematicians, and architects that aims to transcend boundaries of perception, explore time, and the interaction between the self and the world which is integral to the ultimate form of the work – underscoring their collective presence as a means of creation and where distinctive parts interact to become a unified whole. Superblue is an independent new concept that straddles the divide between art and entertainment.

Mollie Dent-Brocklehurst

Conceived by Marc Glimcher, president and CEO of Pace Gallery, and the legendary British Mollie Dent-Brockhurst whose professional experience ranges from establishing the Garage Museum of Contemporary in Moscow to working in the gallery and auction worlds, Gagosian and Sotheby’s and curating exhibitions at her family property in England, Sudeley Castle. She has now teamed up with her former boss at Pace Gallery, president and CEO Marc Glimcher, to found Superblue. Dent-Brocklehurst, who is the enterprise’s CEO, says Superblue is courting a “much wider audience” than the standard gallery or museum.

James Turrell
Ganzfeld Series


In this project, the artist is on a mission to manipulate the viewer’s perception and experience by just using light. Never known as one to hurry in person or work, Turrell even describes himself as a tortoise as opposed to considering himself as a hare. He is now past 70 years of age and sports white hair and a mustache. For the past 40 years, this artist has been involved in the Roden Crater, a project that requires movement of more than one million cubic feet of earth, but nothing can convince him that he should have been done by now. With such a long term project under his wings, how did the idea of light come about? Here, Turrell creates a similar experience of “Ganzfeld”: a German word to describe the phenomenon of the total loss of depth perception as in the experience of a white-out.



Superblue represents a radical business model: a for-profit venture that exhibits seriously respected artists who produce experiential works, rather than objects, and pays them a cut of ticket sales. Now projected to open in Miami in early spring (Covid has delayed its debut several times), Superblue will mount the kind of large-scale, immersive exhibitions that have become wildly popular in recent years: Think Random International’s Rain Room, which had thousands waiting for hours in sweltering heat to experience a tech-generated rainfall, or teamLab, represented by Pace Gallery,  a digital-heavy collective that opened its own Tokyo exhibition space in 2018 and drew over 2 million visitors in its first year.

http://Robb Report, Lifestyle News, December 27, 2020

After more than a year of long stretches at home, narrowed perspectives of the world, limited travel and virtually no adventure except virtual ones, experiencing SUPERBLUE’S EVERY WALL IS A DOOR, immersive environment will feel like the ultimate freedom!

Airport, please!

Airport, please! Happily heading to Italy to the Thomas Dane Gallery in Naples

Thomas Dane Gallery Naples, Italy

Thomas Dane Gallery was established in 2004 and currently exists in two London gallery spaces at 3 and 11 Duke Street, St. James’s, with a third space in Naples on Via Francesco Crispi. One feature of the gallery is its commitment to the moving image, supporting the production and exhibition of works by Steve McQueen, John Gerrard, Akram Zaatari, Paul Pfeiffer and Bruce Conner. In addition, the gallery has introduced renowned mid-generation artists to London audiences such as Cecily Brown, Albert Oehlen, Glenn Ligon, Dana Schutz and Arturo Herrera, creating an established base of institutional and collector support for these artists in the U.K.

Lynda Benglis
Thomas Dane Gallery
Naples, Italy

Along with nurturing the development of new talents including Hurvin Anderson, Caragh Thuring, Walead Beshty, Ella Kruglyanskaya and Anthea Hamilton, the gallery’s program seeks out guest curators and promotes gallery collaborations that include such inspired exhibitions as Very Abstract and Hyper Figurative, (2007, curated by Jens Hoffman), Sunless-Journeys in Alta California since 1933(2010, curated by Walead Beshty),  Signals (2018) in collaboration with kurimanzutto and Terra Trema (2019) in collaboration with Mendes Wood DM.


In 2018, Thomas Dane opened a gallery in Naples, at Via Francesco Crispi, 69. A longstanding and respected presence in the art world, Dane has been involved in London’s art scene since the 1990s. In an interview with Silvia Anna Barrila in Contemporary Art Galleries on April 23, 2019, Dane explains his interest in opening an artist-centric location in Naples.

I was looking for interesting ways to find new space for artists to show in. Naples is a city that I find fascinating and so do many artists. I am opening a space for artists, not primarily for collectors. I go back to the sense that for artists it is a city where they will be excited to show, because of the layers of history. It is such an extraordinary city. It feels like Europe and also outside Europe, more exotic. It’s also that to open a gallery in New York or LA is just to follow the crowd.

Thomas Dane

I want to try and create a different path. A different experience for the artist and myself. I also think that Naples has a rich history of showing contemporary art. For example the great gallery of Lucio Amelio showed many well-known contemporary artists. Also the Museo Madre, whose director is Andrea Viliani, who is running an extraordinary programme of contemporary art.

The decision to open in Naples was instinctive. It is a city I had always had a curiosity for, its mystery, its ambiguous beauty… It is a beguiling city. All the artists I talked to were equally drawn to it, and for all of us it became natural, almost effortless, fluid – the opposite of moving to, say, New York, Hong Kong or Los Angeles.

Inaugural exhibition
Thomas Dane Gallery

The most recent (memorable moment in my career as a gallerist) was the opening of the Naples gallery last year. We went there with no clear idea of what we were doing and why we were doing it really, but the Neapolitans utterly embraced the project. For a gallery to open in their city when most are looking at Asia or North-America must have meant a lot to them, and ultimately to me.


Luisa Lambri
Thomas Dane Gallery


May 29 – October 2, 2021

In the current exhibition at Thomas Dane Naples. Milan-based photographer Luisa Lambri focuses on two particular historical moments in and around Naples: the frescoes inside the architecture structures of the nearby first century A.D. ruins of Pompeii, and the legendary designer Giocolea Ponti’s elements for the interiors of the Royal Continental Hotel in Naples and the Parco Dei Principi in Sorrento.

Working on site this past year in the preserved ruins of the ancient city, Lambri has turned her photographer’s eye to the interior walls of the Casa degli Amanti, Stanza di Leda e l’Atrio di Narciso, and the Casa di Giulia Felice. While their interior frescoes are decidedly figurative, the artist paradoxically became fascinated with the ways that the Pompeiian artisans used linear design elements to define and enhance the portraits of patrons and allegorical myths that adorn these walls.

Luisa Lambri


Her one-person exhibitions have been presented internationally at venues including PAC Milano, Italy; the Isabella Stewart Gardner Museum in Boston, MA; the Baltimore Museum of Art, Baltimore, MD; The Menil Collection, Houston, TX; the Palazzo Re Rebaudengo, Guarene d’Alba, Italy and the Hammer Museum of Art in Los Angeles. Forum 57: Luisa Lambri and Ernesto Neto was presented at the Carnegie Museum of Art in Pittsburgh 2006. Lambri’s work has been included in thematic exhibitions including Quadriennale d’Arte in

Rome; Among the Trees, Hayward Gallery, London; Italics: Italian Art between Tradition and Revolution, 1968-2008, Museum of Contemporary Art, Chicago; 31 Panorama of Brazilian Art, Museum of Modern Art, Sao Paulo, Brazil; Painting the Glass House: Artists Revisit Modern Architecture, Aldrich Contemporary Art Museum and the Yale School of Architecture, New Haven; The Shapes of Space, Solomon R. Guggenheim Museum, New York; The Grand Promenade, National Museum of Contemporary Art, Athens, Greece; Vanishing Point, Wexner Center for the Arts, Columbus; Living Inside the Grid, New Museum, New York; and Yesterday Begins Tomorrow: Ideals, Dreams and the Contemporary Awakening, Center for Curatorial Studies Museum, Bard College, New York.

Alexandre da Cunha
Thomas Dane Gallery

The LRFA Blog is quite taken by the beautiful abstract interpretations of the city’s historical structures transformed by the eye of contemporary photographer, Luisa Lambri. Summer is officially here and travel is starting after our long siege to open again. We can’t think of a better place to spend time than the Thomas Dane Gallery in Naples.

Airport, please!

Airport, please! An American in Shanghai: Loie Hollander at the Long Museum

The Long Museum

Beauty for me is not just visual, it is also experiential. I want the viewer to come away not necessarily knowing what I was trying to tell them about, say, my birth experience, but absorbing an impression of brightness or richness or radiance that has something to do with their relationship to their own body.

          Loie Hollowell

One of the very best adventures the LRFA Blog remembers with joy was a trip to Shanghai where I was met by a favorite client, who came from his home in Hong Kong, to spend two days acting as my interpreter and showing me this glorious city. Today, the LRFA blog is delighted to return virtually and hopefully one day soon, physically, perhaps in time to view the Loie Hollowell exhibit at Shanghai’s Long Museum.

The Long Museum in Shanghai, China, designed by the architect Liu Yichun of Atelier Deshaus, is a private museum founded by collectors, Liu Yiqian and his wife, Wang Wei, and officially opened to the public in December, 2012. The Long Museum West Bund branch opened in 2014 and expanded to a third location in Chongqing. The largest private museums in China, the Long boasts the richest collection. As world-renowned collectors, Liu and Wang’s interests range from traditional, modern and contemporary Chinese art to international contemporary art. It is dedicated not only to curating exceptional exhibitions but also to supporting public cultural education, showing the diversity of visual art from a global perspective, showcasing the splendid achievements of Chinese art as well as the vitality of contemporary art worldwide.

Liu Yiqian and his wife Wang Wei

LOIE HOLLOWELL: RECALIBRATE at the Long Museum, Shanghai

An exhibition of recent works by Loie Hollowell will open at the Long Museum on Saturday, April 24, 2021, and remain on view through Sunday, July 11, 2021 with an exhibition entitled Lois Hollowell: Recalibrate. The exhibit features 15 works  the artist created between 2018 and 2020, and continues her thematic exploration of the female body in a series called Plumb Line, introduced with much critical and commercial acclaim by Pace Gallery, New York.

Loie Hollowell

Evolving from earlier works focused on female nudes, her newest imagery still alludes to the human form, with an emphasis on women’s bodies. Hollowell’s visual language elevates flat geometric components into a figurative, almost sculptural sphere through her approach to volume, surface and texture. Autobiographical in nature, the works are inspired by Hollowell’s experiences of pregnancy and the postpartum journey. The paintings consider the female body in a state of realignment: reconciling the physical and psychological realities of childbirth, rejuvenating the well-being of the body and repositioning it for a renewed journey of fertility and conception.

The body has long been a central focus of Hollowell’s artistic practice. Her canvases are based in figurative painting  but move toward abstraction as Hollowell fragments the figure within her frame. She developed a pared down, truly unique, visual language characterized by vibrant hues, varied surface textures, the repetition of geometric forms, and compositional symmetry.


Loie Hollowell



Originating in autobiography, her work explores themes of sexuality, pregnancy and birth. Hollowell’s geometric compositions use symbolic shapes such as the mandorla, ogee, and lingam to build her distinctive visual lexicon. Her use of symmetry – often anchoring her compositions in a central, singular axis – relates her paintings to her own body as well as the natural world.

With strong colors, varied textures, and geometric symmetry, Hollowell’s practice is situated in lineage with the work of American artists like Agnes Pelton, Georgia O’Keeffe and Judy Chicago. She is also greatly influenced by the work of the California Light and Space Movement such as Mary Corse and Helen Pashgian.

Loie Hollowell exhibition Plumb Lines Pace Gallery, New York


One of the very best adventures the LRFA Blog remembers with joy was a trip to Shanghai where I was met by a favorite client, who came from his home in Hong Kong, to spend two days acting as my interpreter and showing me this glorious city. Today, the LRFA blog is delighted to return virtually

Located at the center of the West Bund Culture Corridor in Binjiang, designed by Liu Yichun, a Chinese architect of Atelier Deshaus, the building covers an area of 33,000 square meters with up to 16,000 square meters for exhibition. The main part of the building is a unique umbrella-vaulted structure. The museum encourages openness and public involvement offering a restaurant, concert hall, library, art bookshop, to name a few of its features. Art is no longer far away from the public but is seamlessly integrated into people’s daily life and leisure. This is exactly the original intention and sincere wish of the couple founders, Mr. Liu Yiqian and Ms. Wang Wei, when they set up the Museum.

Liu Yiqian is the chairman of Sunline Group, whose interests include chemicals, pharmaceuticals and financial services. He owns a stake in Shenzhen-listed Hubei Biocause Pharmaceutical. The flamboyant Shanghai billionaire has made headlines around the world for record-breaking bids at auctions organized by the likes of Christie’s and Sotheby’s is moving to build up a family-backed auction business in a bigger way.

Jiangsu Hongtu High Technology, a Shanghai- listed China electrical appliance chain, on Saturday unveiled plans to buy 100% of Beijing Council International Auction Co. for $415.4 million by issuing new shares of the listed company to Beijing Council’s existing shareholders. Beijing Council  is currently 32.8% owned by Chen Jia, Liu’s son-in-law, and 32.7% owned by Dong Guoqiang who co-founded the auction company with Liu’s Sunline Group in Beijing in September 2005.



The LRFA blog is pleased to share an interview by Sasha Bogojev with the artist in Juxtapoz magazine titled “The Complexity of Symmetry”


Matthew Barney’s new film, Redoubt at the Hayward Gallery, London. Airport, please!

Matthew Barney
Cremaster series

Matthew Barney, born in 1967 in San Francisco, is a brilliant American sculptor and video artist whose five-part Cremaster film cycle received enormous acclaim for its inventiveness and beauty. Art critics consider him one of the most significant artists of his generation.

Following his graduation from Yale University which he attended on a football scholarship, Barney moved to New York where he had his first one-man show in 1991. This and later shows were composed chiefly of videotaped recordings of performance art—notably one in which the nude artist climbed the walls and ceiling of an art gallery.

Cremaster cycle

His Cremaster series, named for the muscle that raises and lowers the testicles, explored  sexual differentiation, the process of development of males and females in human embryology and the various stages of creation, both themes that are central to much of Barney’s work. From his first performance art creations, Matthew Barney has represented the ultimate in  boundary breaching and athleticism, in his early gym-centric installations and testosterone-fueled performances—forms and activities that would culminate in that supremely ambitious filmic chain of unforgettable vignettes, the Cremaster cycle, 1994–2002.

The series consists of Cremaster 4 (1995), Cremaster 1 (1996), Cremaster 5 (1997), Cremaster 2 (1999), and Cremaster 3 (2002), which together are provocative and visually rich exercise in suggestive psychological fantasy and myth.  Barney directed and wrote each video and appeared as an actor in most of them; their consummate special effects were accompanied by a pictorial lushness have earned them a nearly cult following.



It is with great anticipation that the LRFA blog looks forward to viewing Matthew Barney’s latest film, REDOUBT, which draws on the artist’s ongoing fascination with mythology. The story draws on Ovid’s tale of Diana, Roman goddess of the hunt, and Actaeon. Matthew Barney: Redoubt explores the topical political issues of gun ownership and land use in the United States. The film follows a sharp-shooter in her pursuit of wolves across the winter wilderness of Idaho’s Sawtooth Mountains. She is accompanied by two dancers moving in dialogue.


Barney appears in the film as an artist working for the US Forest Service. He tracks and observes the hunter while making a series of copper etchings.  A hoop dance by an indigenous contemporary choreographer is the catalyst for the wolf hunt’s dramatic conclusion. The film has been hailed as ‘breathtakingly beautiful’ by the New York Times. It uses choreography to weave together the story of Diana and Actaeon, cosmology and modern American political narratives.


Billed by the Hayward Gallery  as “one of the most ambitious and provocative artists of our time”, Matthew Barney, the former Mr Björk, has become a huge name on the international art scene without individual works making a particular impact – certainly not in England. And given that his best-known work, the Cremaster Cycle, is a series of five feature-length films – with accompanying drawings, sculptures and installations – in which Barney himself plays a tap-dancing satyr and mass murderer Gary Gilmore, it isn’t surprising that this is not art that can be instantly absorbed or pigeon-holed.



Video art, form of moving-image art that garnered many practitioners in the 1960s and ’70s with the widespread availability of inexpensive video recorders and the ease of its display through commercial television monitors. Video art became a major medium for artists who wished to exploit the near-universal presence of television in modern Western society.  By the 1980s and ’90s higher production values and a closer intersection with installation strategies began to surface in the works of artists such as Matthew Barney, Pipilotti Rist and Bill Viola. x


The LRFA blog remembers with great pleasure an absorbing all-day visit to the Guggenheim Museum to view Matthew Barney’s epic work consisting of five feature-length films that explore processes of creation. The cycle unfolded not just cinematically, but also through the photographs, drawings, sculptures, and installations the artist produced in conjunction with each episode. The exhibition filled the museum in a site-specific installation designed by the artist to encapsulate the five-part cycle, combining all its varied components into one cohesive whole.

Hayward Gallery


Opened in 1967-68, The Hayward Gallery is an art gallery within the Southbank Centre, part of an area of major arts venues on the South Bank of the River Thames, in central London.This complex of buildings was designed by a group of radical young architects given astonishing freedom to innovate. At the time, neither the Tate nor the National Gallery were able to hold temporary exhibitions so Hayward Gallery immediately filled a vital lacunae in London’s art world. Early pioneering shows included the first solo large-scale UK shows by Bridget Riley and Anthony Caro.



Barney explores the dynamic relationship between humanity and the natural world, and the role of artistic creation.

The etchings featured in the exhibition were produced on location. The large-scale sculptures are cast from the burnt remains of trees from the region. Barney combines traditional casting methods and digital technology to create artworks of formal and material complexity that reflect on the story told in the film.



Airport, please! Sarah Sze: Night into Day reopens at the Fondation Cartier in Paris

Sarah Sze
Night Into Day
Fondation Cartier

As an artist, I think about the effort, desire, and continual longing we’ve had over the years to make meaning of the world around us through materials. And to try and locate a kind of wonder, but also a kind of futility that lies in that very fragile pursuit. 

Sarah Sze

In 1994, after ten years in the town of Jouy-en-Josas near Versailles, the Fondation Cartier moved into the airy glass and steel building in central Paris designed especially by Jean Nouvel, who is also the creator of the Institut du Monde Arabe and the Musée du Quai Branly buildings. Famous in France and internationally for his unique way of dematerializing architecture, his challenge for Cartier was to harmoniously bring together 12,000 square feet of exhibition space and six stories of offices on the boulevard Raspail.

For her second solo exhibition at the Fondation Cartier pour l’art contemporain, internationally renowned artist Sarah Sze presents a fully immersive installation that transforms the visitor’s experience of Jean Nouvel’s glass building. The exhibit had to close due to the pandemic but is reopening on May 19th. A genius of architecture, Jean Nouvel, has created the perfect aesthetic environment for the genius of Sarah Sze’s installations.

Sarah Sze, who represented the United States at the 2013 Venice Biennale, presents two immersive installations in the gallery spaces of Jean Nouvel’s iconic building. Commissioned by the Fondation Cartier, her new works explore how the proliferation of images—printed in magazines, gleaned from the Web, intercepted from outer space—fundamentally changes our relation to physical objects, memories, and time. The works also engages with the materiality and history of Nouvel’s structure and its surrounding garden. Enveloping the architecture, these sculptures will alter the visitor’s sense of gravity, scale, and time, confusing the boundaries between inside and outside, mirage and reality, past and present.

Sarah Sze
Night Into Day
Fondation Cartier

Twice Twilight and Tracing Fallen Sky, created specifically for this exhibition, are the latest works from Sze’s Timekeeper series, begun in 2015. This series investigates the image and the increasing overlaps in our experience of the virtual and material worlds. The planetarium and the pendulum, age-old scientific tools designed to map the cosmos and trace the earth’s rotation, inspire the structure of these sculptures. Sze has long been interested in scientific models as tools to measure time and space and to explain the natural world.

With dramatic shifts in scale—from the vast trajectory of the sun, to the minute action of lighting a match—the artist conveys the mystery and complexity inherent in our constant attempts to measure and model time and space. In contemplating the essence of these concepts, Sze reveals both the wonder and the futility behind our efforts to understand what will always remain just beyond our grasp.

Sarah Sze
Timekeeper Series


For over 20 years, Sarah Sze has produced celebrated works of art, synthesizing a near boundless range of everyday materials into intricate constructions that are both delicate and overwhelming. Sze’s monumental site-specific installation Timekeeper, originally presented at the Rose Art Museum and now in the collection of the Guggenheim Museum, combines sculpture, video and installation into a sprawling experiential work that approaches some of the most complex themes of her career: time’s passage and its marking in mechanical and biological forms. Iterations of the work have also been exhibited at the Copenhagen Contemporary Museum in Denmark, The High Museum of Art in Atlanta.

Sarah Sze

The Timekeeper installation was a catalyst for a book which explores major new ideas in Sze’s work and practice. This ambitious work is extensively documented here alongside significant new texts by noted scholars on Sze and the themes that inform—and are informed by—her art, including the experience of time. In addition to the scholarly texts and abundant photographs of the work, the Timekeeper catalogue includes a section designed by Sze that function as a flip book to demonstrate the movement of time.


Sarah Sze


Sarah Sze was born in Boston, Massachusetts in 1969. Sze builds her installations and intricate sculptures from the minutiae of everyday life, imbuing mundane materials, marks, and processes with surprising significance. Combining domestic detritus and office supplies into fantastical miniatures, she builds her works, fractal-like, on an architectural scale.

Often incorporating electric lights and fans, water systems, and houseplants, Sze’s installations balance whimsy with ecological themes of interconnectivity and sustainability. Whether adapting to a venue or altering the urban fabric, Sze’s patchwork compositions seem to mirror the improvisational quality of cities, labor, and everyday life. On the edge between life and art, her work is alive with a mutable quality—as if anything could happen, or not.

Sarah Sze
Venice Biennale, 2013

Sarah Sze received a BA from Yale University (1991) and an MFA from the School of Visual Arts (1997). She has received many awards, including a Radcliffe Institute Fellowship (2005); John D. and Catherine T. MacArthur Foundation Fellowship (2003); Louis Comfort Tiffany Award (1999); and the Rema Hort Mann Foundation Award (1997).

Major exhibitions of her work have appeared at the Asia Society Museum, New York (2011); 10th Biennale de Lyon (2010); BALTIC Centre for Contemporary Art (2009); Malmö Konsthall (2006); Whitney Museum of Amerian Art (2003); Walker Art Center (2002); São Paulo Bienal (2002); Museum of Contemporary Art, Chicago (1999), and Foundation Cartier pour l’art contemporain, Paris (1999), the Carnegie International (1999), and the 48th Venice Biennale (1999). Sarah Sze lives and works in New York City.

2013 Venice Biennale


Her works manipulate the space, be it a gallery, domestic interior or public space. In 2013, she represented the United States of America at the 55th International Art Exhibition — La Biennale di Venezia in Venice, Italy. Her exhibition Triple Point featured installations inside and outside the Pavilion building. Much of Sarah Sze’s solo show evolved on-site over a three-month installation period. For Triple Point, the artist used elements from the urban landscape of Venice such as photographs of stone, leaves from the Giardini, tickets from the Vaporetto.

In many ways, the work of Sarah Sze is, to the LRFA blog, an important predecessor of the new NFT cryptoart that is commanding so much attention.

Stay tuned!

Airport, please! Australia welcomes Yayoi Kusama’s iconic Narcissus Garden

Narcissus Garden
Yayoi Kusama
Sydney Museum of Art

Yayoi Kusama is known for her immersive installations that carry the viewer into a sense of the infinite. Her work’s appearance at galleries all over the globe attract queues of viewers looking to snap up a coveted IG pic or to simply lean in to the void and feel swallowed up by the eternal.

Narcissus Garden, one of Kusama’s many famous works, has had many incarnations over the years and is now floating in to Sydney on a mini tour of our city’s historical buildings and museums. The installation siphons Kusama’s obsession with infinity (and, well, dots) into a series of high-shine orbs that reflect the surrounding visible world and each other in a never-ending loop. True to the Greek myth that the installation takes its’ title, you can see your own reflection in the many balls of Narcissus Garden.

Adding to the reflective concept of Narcissus Garden is the colonial context in which it is being exhibited. Sydney Living Museums (SLM) is bringing the work to Museum of Sydney and then on to the heritage haunts of Vaucluse House and Elizabeth Bay House. The intention is for the viewers’ reflections to extend beyond themselves and the room in which it is installed also to reflect the historical style and architecture of these colonial spaces.


Named after a myth by Ovid named Echo and Narcissus, Kusama’s intention was for everyone to appreciate their appearance. According to the myth, Narcissus stood over a body of water and, upon looking at his feet, saw his reflection. So beautiful was his reflection in the mirror that he was unable to turn away.. By creating these orbs, Kusama is empowering you to see your own reflection and, in turn, fall in love with it.

In these strange times of distancing and isolation, it is particularly positive if you appreciate and care for yourself.


Essay by Danielle Shang

Today there are few female artists who are more visible to a wide range of international audiences than Yayoi Kusama, who was born in 1929 in Japan. Kusama is a self-taught artist who now chooses to live in a private Tokyo mental health facility, while prolifically producing art in various media in her studio nearby. Her highly constructed persona and self-proclaimed life-long history of insanity have been the subject of scrutiny and critiques for decades.

Yayoi Kusama
Infinity Room


Kusama arrived in New York City from Japan in 1958 and immediately approached dealers and artists alike to promote her work. Within the first few years she began to exhibit and associate herself with seminal artists and critics, such as Donald Judd, Joseph Cornell, Yves Klein, and Lucio Fontana who later was instrumental in her realizing Narcissus Garden.

In 1965, she mounted her first mirror installation Infinity Mirror Room-Phalli’s Field at Castellane Gallery in New York. A mirrored room without a ceiling was filled with colorfully dotted, phallus-like stuffed objects on the floor. The repeated reflections in the mirrors conveyed the illusion of a continuous sea of multiplied phalli expanding to its infinity. This playful and erotic exhibition immediately attracted the media’s attention.


In 1966 at the 33rd Venice Biennale, Kusama was not officially invited to exhibit. She did receive encouragement and financial support from the great Italian Arte Povera artist, Lucio Fontana and permission from the chairman of the Biennale Committee to stage 1,500 mass-produced plastic silver globes on the lawn outside the Italian Pavilion.

The tightly arranged 1,500 shimmering balls constructed an infinite reflective field in which the images of the artist, the visitors, the architecture, and the landscape were repeated, distorted, and projected by the convex mirror surfaces that produced virtual images appearing closer and smaller than reality. The size of each sphere was similar to that of a fortune-teller’s crystal ball. When gazing into it, the viewer only saw his/her own reflection staring back, forcing a confrontation with one’s own vanity and ego.

Kusama at the Venice Biennale
Narcissus Garden, 1966

During the opening week, Kusama placed two signs at the installation: “NARCISSUS GARDEN, KUSAMA” and “YOUR NARCISSIUM [sic] FOR SALE” on the lawn. Acting like a street peddler, she sold the mirror balls to passersby for two dollars each. Her interactive performance and installation received international press coverage. This original installation of Narcissus Garden from 1966 has often been interpreted as Kusama’s commentary on the commercialization of art.


New York Botanical Gardens
Narcissus Garden




Airport, please! A visit to the impeccable Axel Vervoordt’s Hong Kong gallery

Chung Chang-Sap

For more than half a century, Axel Vervoordt’s relationship to art and antiques has been a way for him to share his flawless perception and aesthetic. He believes the best way to fully inhabit a space is to be surrounded by architecture, furniture, art, and objects that represent the honesty of their materials and the purity of intent in their creation.


Axel Vervoordt Gallery space, Hong Kong

In March 2019, Vervoordt, a legendary antiquaire, art dealer, architect and true visionary, who integrates the best of the past with a minimal sensibility of the present, announced a move to a new gallery space in Wong Chuk Hang. Five years after opening his first overseas venue in a prime location in Central Hong Kong’s Entertainment Building, Axel Vervoordt Gallery relocated to an expanded two-level space in Wong Chuk Hang, the dynamic artistic hub on the south part of Hong Kong Island. 


From February 6 to May 8th, the extraordinary space is dedicated to an exhibition of the uniquely resonant paintings and objects by Korean artist, Chung Chang-Sup, (1927-2011), a leading member of the Dansaekha movement that began in South Korea in the 1970s. The pioneers of Dansaekhwa were born between 1913 and 1936. They rejected any references to Western representation in their work creating primarily monochrome and minimalist paintings. The artists also attempted to break away from the legacy of Japanese imperialism and Western abstraction. Their influence and presence in the international art market has grown thanks to the exhibitions at such galleries as Blum & Poe and Tina Kim, and of course Axel Vervoordt.

CHUNG Chang-Sup

Chung Chang-Sup

Chung Chang-Sup is a prominent figure of the Dansaekhwa monochrome movement, a synthesis of traditional Korean spirit and Western abstraction, which emerged in the early 1970s. His oeuvre reflects his Taoist belief that the artist must balance material and nature in the unified act of making in order to reach harmony.

After the world has suffered from the effects of the pandemic, feeling constricted at best, isolated, alone, and vulnerable economically and physically at worst, an exhibition of the quietly transformative beauty and peace found in the work of Chung Chang-Sup is more meaningful than ever.


Dansaekhwa, which remains a driving force in Korean contemporary art, has gained international recognition over the past few years. Although the Korean monochrome painting style has never been defined with a manifesto, the artists affiliated with it primarily share a restricted palette of neutral hues—namely white, beige, and black—hence the umbrella term dansaekhwa (single color). However, monochrome as such has not been the main focus nor the raison d’être of any of the Dansaekhwa leaders, whose unique ascetic vocabularies led to an overall aesthetics that is formally comparable to that of Western minimalism: process prevails. Artists of the Eastern Dansaekhwa movement and Western minimalism reacted to the intensity and gesture of abstract expressionism and sought to clear art of self-expression or the emotional outpouring that single strokes and vibrant colors evoke.

The term Dansaekhwa, or “monochrome painting,” may elude readers unfamiliar with Korean, but it represents arguably Korea’s most important art movement of the late 20th century. The artists who practiced this approach to painting began to emerge in the early 1970s, when the Republic of Korea was still under a military dictatorship. They included Park Seo-bo, Ha Chong-hyun, Yun Hyong-keun, Kim Whanki, Chung Chang-sup, Chung Sang-hwa, and Lee Ufan, among others. These painters were dissatisfied with the cultural lassitude in South Korea and began painting in a manner that challenged the normative aesthetic to which most Koreans were accustomed. At the outset, the artists worked independently without a group name or identity. It wasn’t until a 2000 exhibition at the Gwangju City Art Museum that the term Dansaekhwa was introduced.

The appearance of the word coincided with the 20th anniversary of the Gwangju uprising, an important moment in modern Korean history when protesters took to the streets to defy the military dictatorship in control at that time. In many respects this uprising was comparable to the Tiananmen Square protests in Beijing nearly a decade later. Similarly, in Gwangju, armed soldiers opened fire on students and ordinary citizens in a series of clashes that cost  hundreds of lives. This sad but decisive historical event is generally cited as the end of the military government in South Korea and the beginning of a free democracy as the Republic is known today. Throughout the 1970s, prior to the Gwangju uprising, the oppressive regime was a binding force in the underground among the Dansaekhwa artists in Seoul.


The LRFA blog is whispering Airport, Please! in honor of the quiet beauty of this exhibit.


Airport, please! Artfields, a town in South Carolina, transformed into a cultural destination, reopens after the pandemic

April 23 – May 1, 2021

We believe art is a field that endures—through flourish and fallow. …Artfields

Spring has finally arrived. A time of regeneration. And there is nothing that represents the symbol of regeneration more than the town of Lake City, South Carolina. Today, the LRFA blog travels to a small town in South Carolina, by plane to Florence, SC and then 20 minutes by car, for an overwhelmingly engaging experience: ARTFIELDS: 2021, April 23-May 1st.

Artfields mural

The town itself, every shop, restaurant, The Inn at the Crossroads, the Library, the McNair Space Center, as well as three large gallery exhibition spaces established since Artfields was founded, is transformed into both indoor and outside spaces that display art, installation, video, sculpture, painting, photography, murals, and craft.


Darla Moore

Conceived and founded by visionary investor and philanthropist, Darla Moore, Artfields started in 2013 with a simple goal: to honor the artists of the 12 Southeastern states launching a phenomenal  annual art competition and festival to transform her once small, poor rural hometown into a thriving cultural destination. Passionate about the state of South Carolina and its rich legacy, Darla founded the Moore School of Business in its capital, Columbia, to further her commitment to education, in 2019 she endowed the Continuum, a 46,000 square foot center for tech education and workforce development in Lake City.

Moore Farms Botanical Garden

She founded and chairs the Palmetto Institute, a nonprofit think tank aimed at bolstering per capita income in South Carolina. She is the founder and chair of The Charleston Parks Conservancy, a foundation focused on enhancing the parks and public spaces of the City of Charleston, to highlight just a few of the commitments she has made to support and transform her beloved hometown and state.

Jones-Carter Gallery

The competition and exhibition offers over $100,000 in cash prizes. The winners of two People’s Choice Awards are determined by the votes of people visiting ArtFields; a panel of art professionals selects all the other awards, including the $50,000 Grand Prize and $25,000 Second Place award. Winners of the competition have had life-altering opportunities to engage in inspiring foreign travel, to exhibit in other venues and to develop their potential as professional artists.

Jamieson Kerr
Director, Artfields Collective

Up to 400 works of art are on display in locally-owned venues, from renovated 1920s warehouses and professional art spaces such as Jones-Carter Gallery and TRAX Visual Art Center to the library, the history museum, the Ronald E. McNair Life History Center, restaurants, boutiques and other shops. During ArtFields, Lake City, once one of South Carolina’s most prosperous agricultural communities, becomes a living art gallery as they recognize, celebrate and share the artistic talent of the Southeast.

Carla Angus
Education and Program Manager

As a visible way to show the power of art to revitalize and invigorate, the ArtFields Collective commissions artworks each year to enhance overlooked corners of the town. The Collective has commissioned over 9 murals and sculptures and an additional 9 artworks have been commissioned and contributed by other involved donors.

The ArtFields Collective is living, breathing proof of the power of art, a reminder that its beauty and soul and energy live within each of us—even in the harshest of seasons. In these divided and divisive times, Lake City’s Artfields has integrated its black and white, young and old, residents into a united, engaged community, working together to choose artworks, to welcome visitors and school groups to exhibitions and cultural events throughout the year  and to enjoy the rewards of living in the thriving town of Lake City.

Make ARTFIELDS a destination during the festival or at any time of the year. It is truly an enlightening, moving (and fun!) experience.

Lake City, South Carolina

Have a look at a huge selection of talent in this year’s competition!