Saturday, April 29
The twenty-one collages by Romare Bearden on view at DC Moore were created as designs for a ballet which the artist hoped would have been choreographed by Alvin Ailey. That marvelous production, sadly, never came to pass, but we are left with documents of Bearden’s vision—liquid, scintillating, gorgeous—that take us somewhere just as lovely.
Romare Bearden Bayou Fever and Related Works
Photographs are terrible liars, yet they still seduce—repeatedly, endlessly. Since the early 1970s Louise Lawler has been dismantling them with unequivocal ruthlessness, layer by inframince layer, to unpack the contradictions and fallibilities of culture, politics, and personhood. MoMA’s “WHY PICTURES NOW” is the artist’s first institutional survey in New York, organized by the museum’s Roxana Marcoci and Kelly Sidley, bringing us more than forty years of Lawler’s funny and frightening interrogations.
Louise Lawler: WHY PICTURES NOW
Merging film, anthropology, and performance, Beatriz Santiago Muñoz’s “A Universe of Fragile Mirrors” focuses on the repercussions of colonialism in Puerto Rico and Haiti with a style that is part documentary, part fever dream. This exhibition, organized by curator María Elena Ortiz and the Pérez Art Museum Miami, will also feature works from El Museo del Barrio’s collection of eight thousand–plus objects, selected by Santiago Muñoz, to augment and complicate her vision.
Beatriz Santiago Muñoz A Universe of Fragile Mirrors
A site, a prop, a vessel, a specter—the body is a multifarious thing, often uncontrollable, as Joan Jonas has been telling us for more than half a century. A survey comprising fifty years of this artist’s twisting and generous vision will fill all three floors of Gavin Brown’s Harlem space, with two major video installations making their US premiere—Reanimation, which began as a lecture/performance at MIT in 2010, and Stream or River, Flight or Pattern, 2016, a work of mourning for our dying environment—alongside drawings, sculptures, and sundry ephemera.
Joan Jonas What is Found in the Windowless House is True
Sarah Charlesworth understood the numinousness of pictures like few others. “Natural Magic,” the artist’s 1992–93 series of oval-shaped Cibachromes that depict images from the realms of hocus-pocus—a levitating woman, for instance, or a smoking genie’s lamp—comes out of the shadows for the first time since it was last exhibited, twenty-four years ago.
Sarah Charlesworth Natural Magic
Keltie Ferris’s disorienting, lambent abstractions—like a marriage between Albers and Oehlen, bathed in acetone—become even more physical with her current exhibition at Mitchell-Innes & Nash’s uptown space. For this grouping of works, started in 2013, the artist made prints from her body. Creases from clothes and flesh show up in these strange and playful images, Shroud of Turin–like.
Keltie Ferris M\A\R\C\H
“Virgins,” the ironic title of Betty Tompkins’s current exhibition of paintings and drawings at P.P.O.W, full of Brobdingnagian depictions of heterosexual sex in all its glory and monstrousness, faces the genuine weirdness of lust, intimacy, and human genitalia.
Betty Tompkins Virgins
Marisa Merz—one of Arte Povera’s most profound figureheads—has spent much of her life gazing heavenward. We see it in her levitating aluminum “Living Sculptures” of the 1960s and in more recent paintings of female spirits, coruscating and resplendent. Merz’s retrospective at the Met Breuer, “The Sky Is a Great Space”—her first in the US—covers five decades of this wide-ranging intellect’s enigmatic production via sculpture, installation, drawing, and painting.
Marisa Merz The Sky Is a Great Space
Jörg Immendorff was an artistic blue blood: He was a student at the Kunstakademie Düsseldorf during the 1960s, and he studied under Joseph Beuys. The fecundity of the place and period radiates from “LIDL Works and Performances from the ’60s,” an exhibition of Immendorff’s rarely seen paintings, objects, and props generated out of LIDL—a Dadaesque philosophy invented by the artist for an art that is politically and socially engaged.
Jörg Immendorff LIDL Works and Performances from the 60s
Fuse Lynchian horror with Hitchcockian style, douse it in Robbe-Grillet’s magnificent object-obsession, and you get a sense of where Robert Therrien’s enigmatic and uncanny sculptures (gigantic folding chairs and dinner plates, for instance) reside. For his exhibition at Gagosian’s West Twenty-Fourth Street space, the artist presents disembodied rooms—grand, clinical, woozy, inexplicable—that could have been pulled from a secret MGM soundstage created explicitly for the manufacture of night terrors.
Allan D’Arcangelo played lightly with Pop’s emotional hardness and irony. His imagery was always imbued with a gentle affection for the modern American landscape and imagination. “Without Sound: 1974–1982,” the first exhibition of D’Arcangelo’s works in nearly a decade, features nine paintings—some never before seen—that appear to be a deft amalgamation of the Hudson River School, Kazimir Malevich, and Hanna-Barbera.
Allan D'Arcangelo Without Sound, 1974–1982
Rodney Graham is the director—and, usually, star—of his immaculately conceived comic tableaux, where he often depicts himself as a sad sack leading man fumbling through art history and popular culture. For his current exhibition at 303 Gallery, Graham presents a new suite of photographic light boxes that send up academia, Hollywood, and maleness in middle age.
Henny Youngman, Don Martin, boy’s room graffiti, Ralph Waldo Emerson—Mel Bochner’s painted cartoon verbiage, smeared and splattered with an AbExer’s panache, runs from the rigorous to the ridiculous. His exhibition at Peter Freeman, Inc., is his first solo outing in New York since his spectacular and dizzying retrospective at the Jewish Museum in 2014.
Mel Bochner Voices
The Seventy-Eighth Whitney Biennial—the first to christen the museum’s Renzo Piano–designed building—brings together a tight selection of sixty-three artists, from emerging (Puppies Puppies, Raúl de Nieves, Sky Hopinka, and Porpentine Charity Heartscape) to established (Larry Bell, Lyle Ashton Harris, William Pope.L, and Jo Baer). This year’s contingent of painters, performers, sculptors, photographers, filmmakers, activists, musicians, and one video-game designer comes to us courtesy of curators Mia Locks and Christopher Y. Lew.
Artist, activist, right-on sister—Nancy Spero didn’t have the patience or time for greed, misogyny, stupidity. She was a thinker and maker who took on the idiocy of right-wing politicizing and cold-blooded warmongering. Maypole: Take No Prisoners, a large-scale installation incorporating ribbon and chain shown at the 2007 Venice Biennale makes its US debut at Galerie Lelong’s New York outpost, along with a series of febrile drawings Spero described as “a personal attempt at exorcism.”
Nancy Spero Maypole: Take No Prisoners
Giorgio de Chirico was Surrealism’s grand architect, a designer of eerie buildings and empty piazzas culled directly from the collective subconscious. Giulio Paolini, a rigorous Conceptualist who’s more than a little Surrealism-adjacent—and a longtime admirer of de Chirico—often dives into the artist’s haunted cityscapes, creating works that feel like revelations discovered in dreams, which always seem to exist only in traces upon waking. The artists’ exhibition at CIMA is a dialogue in code, metaphysical and gorgeous.
Giorgio de Chirico and Giulio Paolini The Center for Italian Modern Art presents de Chirico and Paolini
For her Guggenheim exhibition as a recipient of the 2016 Hugo Boss Prize, Anicka Yi presents more of that old black magic that she weaves—via science and scent—so spectacularly well: A pair of self-contained biospheres/dioramas, titled Lifestyle Wars and Force Majeure, both 2017, that utilize ant colonies, bacteria taken from New York’s Koreatown and Chinatown, and mirrored surfaces, in addition to a separate installation emanating a specially conceived aroma that “combines chemical compounds derived from Asian American women and carpenter ants.”
Anicka Yi Life Is Cheap
Lygia Pape’s art took its cues from the cool rigor of European modernism. But the artist imbued her work—films, sculptures, performances, drawings, and paintings—with the strangeness, frailty, and sensuality of the human body. “A Multitude of Forms,” organized by the Metropolitan Museum of Art and Projecto Lygia Pape, is the first monographic exhibition of her work in the United States, examining fifty years of the artist’s elusive, unclassifiable poeticism.
Lygia Pape A Multitude of Forms
Roni Horn’s elegant and glacial facture has always concealed a fathomless fire. The artist brings four new bodies of work to Hauser & Wirth’s West Twenty-Second Street space. Among them, “The Selected Gifts,” 1974–2015, a project documenting all manner of present the artist has received over the course of forty-one years (an olive tree made by hand and a dinosaur egg, for instance), as well as two series of exquisitely cut-and-taped drawings: “Th Rose Prblm,” 2015, and “The Dog’s Chorus,” 2016.
In a text on Hanne Darboven’s Kulturgeschichte 1880–1983 (Cultural History 1880–1983), 1980–83, from the February 2017 issue of Artforum, Bruce Hainley discusses the artist’s inveterate smoking. Indeed, a habit so simultaneously glamorous, malodorous, and cancerous makes perfect sense when thinking about this glossolalic and image-drunk roman à clef that conflates Darboven’s dark personal history with that of Germany’s. Her immersive, 1,609-piece installation from Dia’s permanent collection has not been on view in the US for more than ten years—see it now.
Hanne Darboven Kulturgeschichte 1880–1983 (Cultural History 1880–1983)
Kishio Suga, one of the Japanese Mono-ha movement’s founding figureheads, is a poet of form. His sculptures and assemblages, utilizing workaday materials such as wood, wire, stone, and steel, summon a presence that is immanently cosmic. The artist’s presentation at Dia: Chelsea—his first solo museum exhibition in the United States, curated by Alexis Lowry and Jessica Morgan––will feature a re-creation of Placement of Condition, 1973, an installation made from cut stones, among other of Suga’s numinous objects.
Light and Space artist Doug Wheeler’s PSAD Synthetic Desert III, 1971—a “semi-anechoic chamber” meant to push a viewer onto the very lip of infinity—has been realized for the first time ever at the Guggenheim. This immersive installation, which can only be experienced by five people at a time, has been brought to life by the Guggenheim’s Jeffrey Weiss, Francesca Esmay, and Melanie Taylor, and the design firm Arup, which, according to the museum’s website, “specializes in the acoustic properties of built space.”
Doug Wheeler PSAD Synthetic Desert III
bell hooks famously took Betty Friedan to task for The Feminine Mystique (1963). According to hooks, Friedan’s seminal text only addressed white “housewives bored with leisure,” virtually ignoring wide swaths of the female population who were not white, middle-class, or privileged. “We Wanted a Revolution: Black Radical Women, 1965–85,” an exhibition coming out of the Brooklyn Museum’s feminist “Year of Yes” programming, unravels second-wave feminism’s white narrative and focuses on the urgent output of artists and activists such as Blondell Cummings, Camille Billops, Ayoka Chenzira, Susan Robeson, Alva Rogers, Lorna Simpson, Howardena Pindell, and Julie Dash.
We Wanted a Revolution: Black Radical Women, 1965–85
Ian Cheng’s “series of live simulation works created using a video game engine,” at MoMA PS1, titled the “Emissary” trilogy, 2015–17—the artist’s first museum exhibition in the United States—is an immersive, discomfiting experience, full of twitchy characters, animals, systems, and landscapes that force us to contemplate our unstable sense of self in a world that seems on the verge of collapse.
Ian Cheng Emissaries
Following last year's solo show at New York’s Metropolitan Museum of Art, Richard Tuttle is now showing two new bodies of work in London. The American post-Minimalist likens the relationship between the pieces on view to opposing forces that, when shown together, “will erase space, helping to see each for what it is.”
Richard Tuttle My Birthday Puzzle
Showing the rich diversity of one the most humble of art materials—paper—this intergenerational group show combines works born of quotidian experiences (Leo Fitzmaurice’s folded cigarette packs) with those that reference more existential questions (Mira Schendel’s oil-on-rice-paper drawings). Not limited to flat works, the exhibition also features Beatriz Olbarrieta’s multimedia sculptural work It Goes Both Ways (Tele-drawing 2), 2017.
This miniretrospective of recent works by the American Conceptualist includes photographs from the series “Wall Panels,” which depict the didactic text from Williams’s 2014 retrospective at the Art Institute of Chicago; “Pots and Pans,” a color study of colorlessness featuring a pan and two pots against a gray backdrop; and “Wheat,” in which two stalks of barley shot against a blue background conflate food advertising and pinups. As always, Williams’s droll, multilayered works critique the very medium he employs.
Christopher Williams Open Letter: The Family Drama Refunctioned?
Paying tribute to British Conceptualist John Latham, who is the subject of a survey at the Serpentine Gallery through May 21, contemporary artists Tania Bruguera, Douglas Gordon, Laure Prouvost, and Cally Spooner each interpret and update the late artist’s radical worldview according to their own style and means. “Speak,” the title of the show, is borrowed from a 1962 film in which Latham experiments with pulsating sound and imagery.
Tania Bruguera, Douglas Gordon, Laure Prouvost, Cally Spooner Speak: Tania Bruguera, Douglas Gordon, Laure Prouvost, Cally Spooner
For her first solo show in London since her 2009 Hayward Gallery exhibition, the French artist presents small assemblages and large installations comprising objects, paintings, and textiles. The monumental installation, Daily, 2016, which features a variety of quotidian objects hung from the ceiling, makes viewers feel small, vulnerable. A papier mâché uterus giving the finger, Uterus doigt d'honneur(Uterus Finger of Honor), 2017, mixes a vision of female empowerment with Messager’s signature dark sense of humor.
Annette Messager avec et sans raisons
Honoring David Hockney on the occasion of his eightieth birthday, this exhibition—which will travel to Paris’s Centre Pompidou and then to New York’s Metropolitan Museum of Art—features many of the artist’s most iconic works. From pools to portraits, Hockney's oeuvre offers a beautiful and subversive description of postwar British and American culture. The extensive selection also includes drawings, prints, photographs, and videos made over the course of six decades.
Timed to mark the fiftieth anniversary of the partial decriminalization of homosexuality in the UK, this exhibition features works, made between 1861 and 1967, that encompass sundry permutations of queer identity. Among the selection of intimate, erotic, and domestic works are paintings, drawings, photographs, and films by well-known artists such as John Singer Sargent, Dora Carrington, and David Hockney.
Queer British Art 1861–1967
Forty-seven local galleries are participating in the thirteenth edition of Gallery Weekend. An initiative celebrating these spaces as sites for historical dialogue, critical engagement, and new discoveries, highlights include Galerie Buchholz’s exhibitions of Melvin Edwards and Caleb Considine, Mehdi Chouakri’s spotlight on Charlotte Posenenske, and Barbara Weiss’s focus on Rebecca Morris, along with many more.
The first-ever large-scale exhibition of contemporary art at this modern art museum pairs George Condo’s paintings, made between the 1980s and today, with works by the likes of Cézanne, Picasso, Matisse, Klee, and Giacometti culled from the collection of Berlin’s Nationalgalerie. The loaded context heightens the impact of Condo’s peculiar perspective on art-historical styles and movements—alternately ironic and reverential.
George Condo Confrontation
Schloßstraße 1 / +4930266424801 / smb.museum/
Tue - Fri 10am to 6pm, Sat - Sun 11am to 6pm
Anselm Kiefer’s latest large-scale paintings take inspiration from the prose and poetry of Adalbert Stifter and Johann Wolfgang von Goethe. The artist’s grand, moody, and romantic landscapes forge a connection between the natural world and the spiritual dimensions of transformation, purification, and transcendence.
Anselm Kiefer Paintings
This presentation of Ian Wilson’s work examines the South African Conceptual artist’s practice in relationship to work by Hanne Lippard, Adam Pendleton, and Paul Elliman. Wilson’s largely ephemeral oeuvre, which often takes form only through discussions and other modes of spoken discourse, is complemented by three solo exhibitions of the younger artists. In the spirit of Wilson’s dematerialized abstractions, a weekly program of performances, readings, lectures, and events will take place at this institution and around different locations throughout Berlin for the duration of the show.
Charline von Heyl’s latest painting series, made over the course of the past year, features the artist's familiar colorful abstractions that meld citations of her own imagery with art historical references. Working without sketches or preliminary drawings, the artist produced these dynamic, collage-like paintings directly on canvas, giving them a studied sense of buoyancy.
Charline von Heyl
Much of the work included in this exhibition will be the product of a four-day Easter-weekend workshop held at the gallery. Fittingly, the themes of Sarah Lucas’s initiative are the Last Supper, the Passion, and the Resurrection. Featuring interactive events, group meals, and collaborative artmaking activities directed by the British artist, her collective approach recalls her year-long project “Situation” with Sadie Coles in 2012–13, which culminated in a 2013 solo show at Whitechapel Gallery.
Grolmanstrasse 32/33 / +493088777167 / cfa-berlin.com
Featuring some 250 photographs, this exhibition celebrates Juergen Teller's career of successfully combining art and commercial photography. The photographer—who rose to prominence with his early pictures of Kurt Cobain and ad campaigns for Helmut Lang, Comme des Garçons, and Marc Jacobs—has recently turned his attention to subjects including Peter Lindbergh and Kim Kardashian.
Juergen Teller Juergen Teller. Enjoy Your Life!
Recently acquired by the German Nationalgalerie, of which this venue is but one affiliated institution, Adrian Piper’s installation and participatory group performance The Probable Trust Registry: The Rules of the Game # 1–3, 2013–15, proposes that visitors sign a contract with themselves pledging to act ethically, honestly, and reliably, in return for which they receive a registry of people who have made the same promise by the end of any iteration of the performance. A resource that, given the current political climate in the US and Europe, could hardly be more timely.
Adrian Piper The Probable Trust Registry: The Rules of the Game #1-3
Before his untimely death last year, artist and Underground Museum cofounder Noah Davis conceived a series of exhibitions of works from MoCA’s collection, but installed here, west of the trending downtown area and away from the city’s usual gallery districts. This show, titled “Non-Fiction,” is the second such collaboration between the two institutions, redistributing works by Kara Walker, Henry Taylor, Theaster Gates, Robert Gober, David Hammons, and Deana Lawson, among others, back into the city to address the systemic violence perpetrated on black people.
Southern California? Books, zines, and prints? Sounds on trend! If overwhelmed by the deluge of the new, take a tour through “Chapters” to brush up on a rich history of independent publishing and artists’ editions in the region. Featuring the output of Kim Abeles, Edgar Arceneaux, John Baldessari, Wallace Berman, Suzanne Lacy, Laura Owens, Raymond Pettibon, Elliott Pinkney, Allen Ruppersberg, Edward Ruscha, Betye Saar, and Barbara T. Smith, among many others, the exhibition is a promising immersion in the self-publisher’s realm.
Chapters: Book Arts in Southern California
The first North American retrospective for Native American artist, activist, poet, and performer Jimmie Durham, titled “At the Center of the World,” is a rare chance to see work from a major American artist who not only left the US in 1987 but has since then intentionally withheld much of his practice from audiences here. With close to two hundred objects dating from 1970 to the present, the exhibition will notably feature his sculptural assemblages, often made from natural materials such as bone, stone, and wood. Finally, we have a chance to at least glimpse the edges of Durham’s expansive world.
Jimmie Durham At the Center of the World
Featuring the work of Beverly Buchanan, Njideka Akunyili Crosby, Karon Davis, Nona Faustine, LaToya Ruby Frazier, Steffani Jemison, Jennie C. Jones, Simone Leigh, Julie Mehretu, Senga Nengudi, Lorraine O’Grady, Sondra Perry, Howardena Pindell, Faith Ringgold, Betye Saar, Alma Woodsey Thomas, and many more––along with an accompanying essay by writer and scholar Andrianna Campbell––this show couldn’t have a more apropos title. What’s more, the title derives from a 1970 gospel song by artist and preacher Sister Gertrude Morgan; get thee to this church, posthaste.
Sydney-born, Paris-based artist Mel O’Callaghan’s installations, films, and performances are based on various rituals and traditional processes of self-transformation. Daily performances at the Palais de Tokyo have participants interacting with sacred objects—a burnt tree, a drum, a sistrum, a gong—in order to achieve an alternate state of consciousness.
Mel O’Callaghan Dangerous on-the-way
Assorted artifacts installed by Mexican artist Abraham Cruzvillegas convey urgent political and environmental messages. For instance, a traditional “butterfly” canoe from the Pátzcuro lake in western Mexico is suspended from the ceiling so that the distance between the boat and the floor matches the lake’s water shortage level (as measured over the past forty-nine years), which has resulted in the loss of endemic species and the decline of traditional activities and rituals practiced by the local community.
Ulla von Brandenburg’s latest exhibition includes a new 16-mm film, C,Ü, I, T, H, E, A, K, O, G, N, B, D, F, R, M, P, L, 2017, in which different fabrics reveal and conceal an idea of “truth” or reality. These textiles appear once more in a series of sculptural works, while the hide-and-seek theme is reprised in a site-specific installation made of bamboo and dyed fabrics.
Ulla von Brandenburg Two Times Seven
Baselitz’s recent paintings and works on paper are a continuation of his fragmented self-portrait series, “Avignon,” which was first shown at the Venice Biennale in 2015. Mixed in among portraits of himself and his wife, Elke, are several direct references to paintings by other artists. Among Baselitz’s pointed art-historical shout-outs: Marcel Duchamp’s Nude Descending a Staircase, 1912, and Otto Dix’s The Artist’s Parents, 1924.
Georg Baselitz Descente
Saban’s latest works combine elements of painting and sculpture. Using a loom, the LA-based artist has woven together strips of canvas to create richly textured three-dimensional surfaces that alternately evoke thick animal hides and fine topographical studies.
Analia Saban The Warp and Woof of Painting
The point of departure for Jutta Koether’s recent paintings is Jean-Siméon Chardin’s La Serinette, 1753, which depicts a young woman playing a bird organ. Inspired by this scene, Koether’s recent paintings are a continuation of her ongoing investigation of the independent materiality of paint. Here, she uses rich reds, pinks, and golds on heart-shaped canvases and, in a series of seven “black” paintings, turns to a limited palette in order to describe darkness and emptiness.
As one of the founding members of CoBrA, an avant-garde artist group formed in Paris in 1948 and named for the cities from which its members hailed (Copenhagen, Brussels, and Amsterdam), Dutch artist Karel Appel found academic interpretations of abstract art to be too rigid, which made him promote a naive-style visual language that combines figurative and expressive elements. This comprehensive overview of Appel’s work ranges from ceramic sculptures and gouaches from his “Psychopathological Notebook,” 1940–50, to large paintings and installations from the 1970s through the 1990s.
Karel Appel Art as Celebration!