Sarah Moroz

  • picks October 02, 2017

    Ari Marcopoulos

    “I am considering the filmic quality of still photographs, making fast photocopies and slower color pigment prints,” writes Ari Marcopoulos in the introduction to his exhibition here. The gallery’s walls are papered with newsprint images in long, neat rows. There’s a sense of an archive unfolding, but one with a delightfully scattershot approach. If we detect anything recurrent in Marcopoulos’s work, it’s a tenderness toward his cast of mostly nonfamous characters: young skaters, athletes, and rappers, sometimes outfitted in loose hoodies or low-slung jeans. Meanwhile, snippets of text—via

  • picks July 06, 2017

    Kaye Donachie

    Glasgow-born, London-based painter Kaye Donachie threads her work with a pantheon of real and fictional heroines, from German Expressionist poetess Henriette Hardenberg to Hari, a character from Andrei Tarkovsky’s 1972 film Solaris. Her female protagonists are executed in a crepuscular palette, sometimes disrupted by bright gashes of color. Although human figuration is central, the compositions openly play with interiority—their dreamlike superpositions and fades feel cinematic, as if constructed from layers of negatives. The paintings are vividly gestural but contemplative, intimiste.

    Historical

  • picks June 20, 2017

    Chiharu Shiota

    Japanese artist Chiharu Shiota has likened her artistic practice with yarn to that of a calligrapher. It’s a fitting parallel: Shiota trained in painting before gravitating toward three-dimensionality. She studied in Braunschweig, Germany, under Marina Abramović, and later in Berlin, where she lives today. Her immersive environments and intricately wrought objects, enigmatic yet deeply physical, are the results of painstaking labor. Shiota’s current exhibition, consisting almost entirely of works produced this year, occupies the main gallery and its annex. Destination, 2017, is a site-specific,

  • picks June 01, 2017

    “Cholet–New York”

    François Morellet, who died last year, designated himself the “freak child of Mondrian and Picabia.” Morellet created grid-based paintings and abstract planar compositions that look sober and rigorous yet reflect the artist’s declaration that “art is frivolous even when it takes itself seriously.” Upon entering the gallery (the exhibition extends to Kamel Mennour’s Pont de lodi space), one sees three square oil-on-wood pieces from 1958, 1969, and 1970, hung on patterned wallpaper, titled Trames, 1972. The adjacent room contains a vitrine of decorative mosaics photographed at the Alhambra, which

  • picks April 10, 2017

    Michel Nedjar

    Self-taught artist Michel Nedjar is the son of a tailor and the grandson of a schmatess, or second-hand clothier. Given this history, his recurrent use of recycled textiles carries a sense of inevitability. His earliest recrafted poupée, or doll, was a broken-off leg from his sister’s toy. Nedjar interred this shamanistic fetish in the backyard then dug it back up. Burial and retrieval are persistent themes in this career-wide show, which highlights collage, assemblage, found objects, muck, and bright stitching. Nedjar’s composite works double as reliquaries for his own life as well as mementos

  • picks April 03, 2017

    Helmut Newton

    The French Riviera is a fitting context in which to exhibit Helmut Newton—few other places effect that particular mix of vulgarity and glamour. The photographer readily embraced this combination, as he was a Côte d’Azur dweller himself (a house near Saint Tropez in 1964, a Monaco residence in 1981). The exhibition provides a sampling of his nudes, fashion photography, and portraits, both silver-gelatin and laser-jet prints, plus a vitrine of Polaroids. Some of the first works presented are masculine portraits shot from the 1990s: from the searing gaze of actor Ralph Fiennes, Vanity Fair, Venice

  • picks March 13, 2017

    Vincent Perez

    Identity in today’s world is more muddled than ever by sociopolitical mayhem, but Vincent Perez takes a plainspoken approach to this predicament. His recent series “The Parisians,” 2016, photographed around Paris’s metro Château Rouge in an African neighborhood, mixes street style with an alfresco studio feel. (The Swiss-born Perez himself is a curious but respectful outsider; moreover, he is known as an actor/director in France). Each subject brandishes a bright palette of garments and accessories: taxi-yellow nails, red headscarves, pink paisley button-downs. Their hues are accentuated by the

  • picks February 07, 2017

    Cy Twombly

    In the November 30, 1978, edition of the SoHo Weekly News, William Zimmer wrote of Cy Twombly’s paintings, “One is reminded of graffiti on men’s room walls . . . brutish and even downright nasty—a compliment.” This institution, having dedicated two prior exhibitions to Twombly’s oeuvre (in 1988 and 2004), offers the first major retrospective of this artist since his death in 2011. This completist array of 140 works gives us expressive canvases, multimedia sculptures, and placid photographs culled from both private and public collections.

    Twombly began his career by deploying industrial paint.

  • picks December 14, 2016

    Wojciech Zamecznik

    Multidisciplinary and experimental, Wojciech Zamecznik made his mark on the postwar Polish art scene by playfully exploring the boundaries of photography. Rather than encapsulating a fixed moment, he treated the medium as a jumping-off point for creating innovative graphic forms. Opening with self-portraits and the poster design for the historic show “Family of Man,” the exhibition includes more than two hundred works that reveal the breadth of both his process and his output. His earliest photos unfurl across Europe: His wife, Halina, is seated among high-contrast stripes of light in Bulgaria

  • interviews November 08, 2016

    Rodrigo Braga

    During this year’s edition of Nuit Blanche, Brazilian artist Rodrigo Braga inaugurated Inland Sea, 2016, an al fresco installation in Paris of forty-five stones carefully plucked from French quarries, weighing between 1,100 pounds and six tons apiece. The stones are placed in the shallow pool on the esplanade between the Palais de Tokyo and the Musée d’Art Moderne. With the Eiffel Tower looming nearby, Braga’s selection of prehistoric boulders provides a counterpoint to the metropolitan environment, which is ordinarily smoothed of geological traces. The raw and the man-made constantly face off

  • picks August 18, 2016

    Louis Stettner

    Photographer Louis Stettner produced a diverse oeuvre in black and white, from the streets of postwar Paris to forest landscapes. Born in Brooklyn in 1922, he frequented the Metropolitan Museum of Art’s reading room as an adolescent to scrutinize prints by Alfred Stieglitz, Paul Strand, and Ansel Adams. In 1946, he studied under sculptor Ossip Zadkine in Paris but switched to film as a proximal education in photography. He connected to both French humanist photography and American street photography and traveled regularly between the two countries.

    Stettner excelled at locating introspective

  • picks August 15, 2016

    Eugen Gabritschevsky

    Eugen Gabritschevsky was a relative unknown until he was discovered by Jean Dubuffet, who bought seventy-one of the artist’s works within a decade. Gabritschevsky’s well-to-do, cultivated childhood in Russia initially led to a brilliant scientific career. In 1925 he started a postdoctoral program in New York, working as a geneticist when the field was still in its infancy. Gabritschevsky, however, was hospitalized in Zurich for schizophrenia in 1931, and then transferred to the Eglfing-Haar Psychiatric Hospital, just outside of Munich, where he remained for the rest of his life. In a 1946 letter,

  • picks June 29, 2016

    “Apollinaire, the Vision of the Poet”

    Guillaume Apollinaire was a lightning rod within European avant-garde circles. This exhibition explores a number of early modernist works, made between 1902–18, when Apollinaire was writing about art. His thinking was so entangled with the artistic culture of the time that in 1916, Alberto Saviano, Giorgio de Chirico’s brother, deemed Apollinaire an “homme époque.” Born in 1880 in Rome to a blue-blooded Polish mother, he became a Parisian cultural staple, contributing to art magazines and creating his influential calligrams—diagrams or pictures made from words. Upon encountering Juan Gris’s

  • picks May 05, 2016

    Manuel Scano Larrazàbal

    The inaugural exhibition of this newly opened space, titled “Pantomime,” features recent works by the Italian Venezuelan artist Manuel Scano Larrazàbal. The show’s centerpiece, Untitled (all works 2016) is an intricately designed mobile made of slender rods hung from nylon threads. The whole apparatus is animated by a rejiggered fan that prods this delicate sculpture into gentle movement. A rainbow of markers, taped to the threads that dangle to the floor, spin and dart over a white sheet of paper laid below. The bopping felt tips carry out a frenetic dance, leaving pointillist marks and vivid

  • picks April 28, 2016

    “Le Précieux Pouvoir des Pierres” (The Precious Power of Stones)

    There’s a collective fascination with stones and minerals. We’ve seen it in childhood collections of curious rocks, with rituals both meditative and occult, and at the very core of our desire to try to understand what our planet—and even our universe—is made of. This exhibition, “Le Précieux pouvoir des pierres” (The Precious Power of Stones), highlights our protean curiosity. Laurent Grasso’s eerie and undated Studies into the Past—a faux-Renaissance oil painting in which a boulder is depicted hanging like a specter in midair—sets the tone for this group show that deals with materiality and

  • picks April 18, 2016

    Julian Rosefeldt

    Julian Rosefeldt presents a thoughtfully crafted installation of thirteen videos from 2014–15 that run in tandem across a large open-plan room. Titled “Manifesto”—a word characterized by “appellative language, militant provocation, and often propagandistic self-promotion,” as the introductory exhibition text emphasizes—the exhibition features a collage of politically underpinned treatises by philosophers, artists, architects, choreographers, and filmmakers from movements such as Futurism, Dadaism, and Fluxus. These urgent diktats are all channeled through Cate Blanchett via the videos’ thirteen

  • picks March 31, 2016

    “All Over”

    “All Over” derives its title from Clement Greenberg’s term for the space of AbEx painting, where foreground and background merge into a limitless plane. This group exhibition focuses on the stripe: a simple formal device that can wreak just as much perceptual havoc as a Pollockian drip. Erstwhile Fluxus artist John M. Armleder sets the tone. His thick white-and-gray stripes act as a gallery-encompassing mural, on which nearly all the other works have been overlaid. The exception is a commissioned inflatable column by Hans-Walter Müller, whose floor-to-ceiling cylinder is intersected from within

  • picks March 08, 2016

    Noémie Goudal

    At first sight, Noémie Goudal’s photographs appear to depict ambiguous, hard-to-situate spaces that, though placid, are thoroughly uncanny. The French-born artist, who works between Paris and London, presents her first solo exhibition here, titled “Cinquième Corps” (Fifth Element). In the series “In Search of the First Line,” 2014, Goudal documents a group of majestic, cathedral-like arches mysteriously set into concrete industrial buildings. In “Observatoires” (Observatories), 2014, lone staircases and pyramids float like ruins from a long-dead, postapocalyptic civilization. All of these

  • picks March 04, 2016

    Tatiana Trouvé

    If the street on which this gallery is located leads to the unknown in “From Alexandrinenstrasse to the Unnamed Path,” so too does Tatiana Trouvé’s work usher the viewer toward an imagined space. Here the Italian-born, Paris-based artist has created groupings of new and recent works. Of these, her 2016 series “Cosmos” has the sturdiest sense of volume and materiality, with a trio of vintage wooden wardrobes over which trompe l’oeil draped bronze blankets have been laid. These furniture surfaces are also striped with bright paint and scribbled with fragments of French and English, such as “Got

  • picks December 15, 2015

    Ernst Haas

    Published in his native Austria, Ernst Haas’s first photography series, “Homecoming Prisoners of War,” 1947, attracted the attention of Robert Capa and Henri Cartier-Bresson, which earned Haas an invitation to join a then-young cooperative, Magnum. Haas’s experimentation thereafter with vivid hues and feverish movement offset his reportages: He fully embraced color film in an era when photographers still scoffed at it as artistically frivolous, despite its high demand in the illustrated press. (Life commissioned Haas to do an unprecedented twenty-four-page spread, titled “Magic Images of a City,”