Sunday, October 23
Pleasure and death, sex and terror—Mark Leckey’s subversive forays into the collective hangover that is modern-day, world-suffocating Pop have been making audiences gasp and laugh for nearly twenty years. The British artist’s survey at MoMA PS1—his first major retrospective in the United States, co-curated by the museum’s Peter Eleey, Jocelyn Miller, and Oliver Shultz, along with MoMA’s Stuart Comer—will make me and you and everyone we know more and more hardcore.
Mark Leckey: Containers and Their Drivers
Organized by Olivier Renaud-Clément, this two-person exhibition of Sol LeWitt’s and Liz Deschenes’s works at Miguel Abreu’s Orchard Street space on the Lower East Side—which expands to Paula Cooper’s 521 West Twenty-First Street location—unveils the subtle wit and mysteries of process embedded in these artists’ rigorously conceived works. At Miguel Abreu, Deschenes’s 2016 “Stereograph” pieces, along with a suite of nine triangular photograms, will unfold into LeWitt’s “On the Walls of the Lower East Side,” 1979, and images from the artist’s “Black Over Map of Manhattan” series from 1992.
Liz Deschenes / Sol LeWitt
Kerry James Marshall’s paintings of men, women, and children—obsidian-skinned, or perhaps even carved from the furthest reaches of the night sky—are emblems of hope, pain, and love. Marshall is a history painter in the grandest sense, documenting the interior and exterior workings and sensations of the Black Experience in America. “Mastry,” a retrospective covering thirty-five years of the artist’s rich oeuvre, co-curated by Dieter Roelstraete, LA MoCA’s Helen Molesworth, and the Metropolitan Museum of Art’s Ian Alteveer, comes to the Met Breuer for our careful consideration and astonishment.
Kerry James Marshall Mastry
At the end of the rainbow sits Alan Shields, whose gently psychedelic, upbeat objets feel pulled from a parallel universe dipped in candy-colored meringues. Van Doren Waxter presents paintings from the artist, made during the 1970s, that take on sacred forms, such as mandalas, pyramids, and spirals, on surfaces like linen, handmade paper, and patterned paper towels.
Alan Shields Space Sisters: Work from the 1970's
Alma Allen’s elegantly wrought sculptures—made from varieties of wood, metal, and stone—feel as though they were tenderly shaped by time and the elements. The Joshua Tree–based artist, whose sense of materiality seems inextricably linked to the earth beneath us, will be presenting an outdoor sculpture that owes a small debt to Brancusi, as do the pieces within the gallery.
Hans-Peter Feldman’s taxonomies—catalogues of stiletto heels, bread slices, or one hundred thousand US one-dollar bills (his 2010 Hugo Boss Prize honorarium, pinned to the walls of the Guggenheim in 2011)—upend the more self-serious aspects of Conceptualist thinking and facture. For the artist’s seventh solo exhibition with 303 Gallery, Feldmann comically reconfigures found paintings, tweaking the medium’s history and precious-precious objectness.
Painter, performer, writer, and activist Rosemarie Castoro, who died in 2015, left behind a searching and sophisticated body of work that deserved far more recognition while she was alive. Death, unfairly, can rectify these oversights, as the resurgence of interest in her art over the last year has shown. Castoro’s exhibition, “Iterference/Infinity,” at 1602 Broadway’s new Harlem space, will feature, among other items, the artist’s mural-size painting Blue Red Gold Pink Green Yellow Y Bar, 1965, and her “Inventory” pieces, 1968–69, a series of paintings and drawings that, according to Castoro, “emerged from the split vision experienced in taking inventory of my surroundings.”
Rosemarie Castoro Solo show
Nihilistic neons, crying clowns, pervy fingers, and pissing fish—Bruce Nauman’s one-in-a-million mind has forever altered the way we perceive bodies, objects, words, and images in art. His new exhibition at Sperone Westwater, “Contrapposto Studies, I Through VII”—a video installation featuring Nauman walking in contrapposto—takes off from the artist’s seminal Walk with Contrapposto video from 1968 and coincides with his exhibition at the Philadelphia Museum of Art, “Contrapposto Studies, I Through VII,” which opens September 18 and runs through January 8, 2017.
Bruce Nauman Contrapposto Studies, i through vii, 2015/2016
Julie Mehretu’s colossal abstract paintings are deceptively beautiful. Her sweeping geometric patterns and mark-making secretly chart the vicissitudes of human “progress,” from the histories of urban housing projects and the African slave trade to the bloody and relentless architecture of war. For “Hoodnyx, Voodoo and Stelae,” her second solo exhibition with Marian Goodman Gallery, the artist delves further back in time, fusing the symbols of ancient Egypt and classical mythology with, among other things, contemporary graffiti and poetry.
Sally Mann’s early photographs—unremittingly tender portraits of her family—are not for the weak of heart. Her loving eye was also startlingly ruthless, as it unveiled the complicatedness of parental bonds and the disquieting sexuality of children. For her exhibition here, “Remembered Light,” Mann pays tribute to the late painter Cy Twombly, fellow Virginian and friend, with a suite of enigmatic, black-and-white pictures of the artist’s studio, taken between 1999 and 2012.
Sally Mann Remembered Light: Cy Twombly in Lexington
New York is alight in this peerless imagination’s work—NYU’s 80WSE, Maccarone, Electronic Arts Intermix, MoMA, Foxy Production, and Skowhegan’s West Twenty-Second Street space have come together to celebrate this fearless feminist and happy pornographer with various exhibitions, screenings, talks, and performances. Participant Inc. is staging “Lovely Girls Emotions,” an exhibition covering twelve years of Cantor’s early paintings and drawings, from 1982 through 1994, electrifying even the dreariest of sensibilities and libidos.
Ellen Cantor Lovely Girls Emotions
Cornelia Parker’s sorta/sorta not “dollhouse,” a re-creation, at two-thirds scale, of Norman Bates's house in Alfred Hitchcock’s Psycho (1960), is too weird for real children, but perfect for toy children—especially the dead-eyed, Victorian kids made by haute doll manufacturer Jumeau, which were favored by New York’s neurasthenic copper heiress Huguette Clark, who died, in 2011, surrounded by them. Clark’s haunted life, and so much more, comes racing to mind while witnessing Parker’s Transitional Object (PsychoBarn), 2016, on the Met’s Fifth Avenue rooftop. It also underlines, quite explicitly, that Parker is a horror auteur sans précédent.
Cornelia Parker Transitional Object (Psycho Barn)
The marvelous Antonio Lopez, with his creative partner/boyfriend Juan Ramos, knocked the pasty-white starch out of American fashion illustration, then injected it with a glittering cocktail of Puerto Rican dandyism, Warholian sex, disco sultriness, and—duh—top-tier Roman candle–style queerness. From Paris to New York and back again, arm in arm with the likes of Karl Lagerfeld, Tina Chow, Grace Jones, and Gianni Versace, they created a soiree that, still, few of us are cool enough to enter.
Antonio Lopez Future Funk Fashion
The burden of viewing life the way Diane Arbus saw it seems unbearable. Getting that close to humanity—well beyond “warts-and-all”—is monstrous. “diane arbus: in the beginning” presents more than one hundred of this profound artist’s photographs—more than two-thirds of which have never been seen before—from 1956–62, a period when she was working away from her husband, actor, and commercial photographer, Allan Arbus, and clarifying her own sublime, phantasmal vision.
Diane Arbus In The Beginning
Ecstatic, bloody, and viscerally sensuous, Carolee Schneemann’s iconic 1964 Meat Joy performance kicked the shit out of Abstract Expressionism’s machismo, pushing the movement’s ideas surrounding painterly facture into territory unapologetically feminist. For the artist’s solo exhibition, “Further Evidence – Exhibit B” at Galerie Lelong—which expands into P.P.O.W. with “Further Evidence – Exhibit A”—Schneemann will present a number of works from her vast oeuvre, such as the films Snows, 1967; Souvenir of Lebanon, 1983; Viet-Flakes, 1965; and a two-channel video installation titled Devour, 2003.
Carolee Schneemann Further Evidence - Exhibit B
Paper is a democratic substrate upon which politics, satire, love, and empowerment can grow and be distributed to all and sundry. “Black Pulp!,” a dizzying exhibition organized by the artists Mark Thomas Gibson and William Villalongo, illuminates more than a century of representations and permutations of Black identity—from 1912 to 2016—via comics, magazines, newspapers, drawings, etchings, and more, from artists and thinkers such as William Pope.L, Countee Cullen, Laura Wheeler Waring, Nayland Blake, Alexandria Smith, Laylah Ali, Zora Neal Hurston, Jacob Lawrence, and Firelei Báez.
Ecstatic, bloody, and viscerally sensuous, Carolee Schneemann’s iconic 1964 Meat Joy performance kicked the shit out of Abstract Expressionism’s machismo, pushing the movement’s ideas surrounding painterly facture into territory unapologetically feminist. For the artist’s solo exhibition, “Further Evidence – Exhibit A” at P.P.O.W.—which expands into Galerie Lelong with “Further Evidence – Exhibit B”—Schneemann will present, among other works, her rarely seen multimedia installation Known/Unknown: Plague Column, 1995–96, a phantasmagoric interrogation of disease, witchcraft, and “malignant femininity.”
Carolee Schneemann Further Evidence - Exhibit A
Charlotte Moorman’s sharp, stylish, and generous approach to music and performance cracked open all manner of new frontier within the vanguard of mid-twentieth-century New York. Despite her inimitable doing and thinking, however, she died a pauper in 1991 after a long and arduous bout with cancer. “A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s,” a long overdue retrospective of this Julliard-trained radical’s vision, with documents, objects, and so much more—which opened at the Block Museum of Art at Northwestern University and draws on materials from the school’s Charlotte Moorman Archive—will only aid in cementing this major artist’s contributions to history.
Charlotte Moorman A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1
Michael Elmgreen and Ingar Dragset’s passive-aggressive, hyper-immersive, and hysterically funny installations (Prada Marfa, 2005), sculptures (Van Gogh’s Ear, 2016), and performances (Happy Days in the Art World, 2011), which poke fun at luxury, death, sex, and contemporary existence, vividly (and lividly) invade the Flag Art Foundation’s ninth- and tenth-floor spaces with “Changing Subjects,” an intimate survey that unveils two decade’s worth of the duo’s sneaky, seductive making.
Elmgreen & Dragset Changing Subjects
Walk through the world and you traverse the universe—such is Richard Long’s generous logic that, for nearly forty years, has manifested in performances, sculptures, drawings, paintings, photographs, and various texts. Experience this British Conceptualist’s gigantic terra-cotta works on the first floor of the Judd Foundation—Long’s first-ever presentation here, curated by Flavin Judd—to get a brief glimpse into eternity.
Richard Long Richard Long
Pop, Perugino, Picasso, porn—Cecily Brown’s exquisite and orgiastic paintings mine the medium’s sticky-sultry history with a gimlet eye. Her exhibition here, the artist’s first solo museum show in New York City, as well as the first entirely dedicated to her drawings, will feature more than eighty works—large, small, and in sketchbooks—from this sharp and sophisticated draftswoman.
Cecily Brown Rehearsal
Ree Morton’s peculiar sculptures—uncomfortable, funny, and feminist objects that tweak “women’s work” and appear as if they’d been pulled from some enormous, numinous digestive tract—are still, almost forty years after her untimely death, difficult to suss out and place . . . hence their extraordinary allure. “Something in the Wind” brings together a number of the artist’s little-seen works in Alexander and Bonin’s newly refurbished TriBeCa space.
Ree Morton Something in the Wind
Salvatore Scarpitta’s sleds and cars toyed with Futurism’s lust for industry, speed, and annihilation, but the artist’s poetic sensibilities have lent his objects a striking warmth and humanity the notorious Italian movement utterly eschewed. “Salvatore Scarpitta 1956–1964” brings together a number of the artist’s early assemblages and other works that smartly and sensuously dismantle the boundaries between painting and sculpture.
Salvatore Scarpitta Salvatore Scarpitta 1956 - 1964
Carmen Herrera’s geometric abstractions—jewels of modernist facture that feel like love letters to iconic color maestros Johannes Itten and Josef Albers—will be on display at the Whitney for the artist’s first New York solo museum exhibition in nearly twenty years. More than fifty of Herrera’s paintings, drawings, and sculptures—from 1948 to 1978—will be on display, such as formative postwar works and pieces from her seminal “Blanco y Verde” (White and Green) series from 1959–71. Herrera, at 101, is still raising the bar. Can you keep up?
Cosima von Bonin—whose patterned, plush, and eerily Prada-esque works seem to use kitsch as a camouflage for cosmic sensations and exceptionally dark pensées—is having her first solo museum exhibition in New York City at SculptureCenter. Titled “Who’s Exploiting Who in the Deep Sea?,” this body of work—cocurated by the center’s Ruba Katrib and Sarah McCrory, director of the Glasgow International—will focus on underwater life in all its majestic, horrifying glory.
Cosima von Bonin Who's Exploiting Who in the Deep Sea?
Theatrical, fantastical, comic, and hydroponic, disco-lit brain trust and living Gesamtkunstwerk My Barbarian—made up of the inimitable Jade Gordon, Alexandro Segade, and Malik Gaines—invades the New Museum with “The Audience Is Always Right,” a series of workshops, public programs, and other events that come together as the ne plus ultra of the group’s “Post-Living Ante-Action Theater” project (aka, PoLAAT), an all-inclusive, performative, and politically engaged endeavor that began eight years ago during My Barbarian’s residency at the museum.
My Barbarian The Audience is Always Right
Light, as realized by Agnes Martin’s dexterous mind and numinous hands, was physical, sentient, voluptuous, and occasionally––when one least expected it—even threatening. This survey of Martin’s works, her first retrospective since her death in 2004, will feature more than 110 of the artist’s paintings, drawings, prints, and sculptures, and one film. Organized by London’s Tate Modern in collaboration with the Guggenheim Museum in New York, this exhibition will irradiate our fair city from October 7, 2016, until January 11, 2017.
Blood of a poet, heart of a dreamer—British thinker and maker Simon Starling’s project for the Japan Society, a centennial restaging of W. B. Yeats’s At the Hawk’s Well, a 1916 play inspired by Japanese Noh theater, will feature an assortment of new pieces from the artist—costumes, masks, and a video of dance—to take us deep into history and well outside of it.
Simon Starling At Twilight
Kai Altoff’s paintings, drawings, sculptures, and installations, queer amalgamations of Jacob and Wilhelm Grimm, The Bitter Tears of Petra von Kant (1972), Christa Päffgen, and East German children’s television are the products of a steadfastly Teutonic imagination: fatalistic, nostalgic, and terrified of love. Althoff’s MoMA exhibition, “And Then Leave Me to the Common Swifts (Und dann überlasst mich den Mauerseglern),” curated by the museum’s Laura Hoptman and Margaret Ewing, will give us a peek into this artist’s multifaceted oeuvre and longing, labyrinthine heart.
Kai Althoff and then leave me to the common swifts
Mierle Laderman Ukeles, quite literally, dove into the shit for her art. As a self-proclaimed “maintenance artist,” Ukeles immersed herself in the politics surrounding “care” by becoming, in 1978, the New York Department of Sanitation’s inaugural, and only, artist in residence (her office there, almost forty years later, still exists). Feminist, philosopher, rigorous Conceptualist, Samaritan, Ukeles has her first-ever retrospective at the Queens Museum, covering fifty years of sculptures, photographs, texts, performances, and more, cementing her place in history as one of art’s most preeminent, and generous, thinkers and doers.
Mierle Laderman Ukeles Maintenance Art
If Georg Grosz and Otto Dix were Germany’s grisly moralists charting the rise and fall of the Weimar Republic, then Max Beckmann was the country’s unrepentant epicure—look at all those self-portraits of the artist smoking in sleek tuxes and silken robes, the dark heart of so much glitter and doom. “Max Beckmann in New York” highlights his time as one of New York’s chicest denizens, focusing on fourteen paintings he made while living here, from 1949 to 1950—the year he died, on a corner of Sixty-Ninth Street and Central Park West—as well as a number of earlier pieces, culled from sundry New York collections.
Max Beckmann in New York
New York has always been a haven for individuals and appetites more
recherché than anywhere else in the United States, so it’s no surprise that some of our most acclaimed queer imaginations—James Baldwin, Merce Cunningham, Djuna Barnes, and Andy Warhol, to name just a handful—were forged and nurtured by this great metropolis. “Gay Gotham,” organized by the MCNY’s Donald Albrecht, Stephen Vider, and Whitney Donhauser, brings together a vast array of paintings, photographs, letters, and assorted ephemera from the likes of Greer Lankton, Leonard Bernstein, Bill T. Jones, Lincoln Kirstein, Harmony Hammond, and more to celebrate this city’s incandescent yet still too hidden queer history.
There’s a Beverly Buchanan oil pastel drawing, Georgia Shack with Datura Blooms, 2003, that shows the titular structure, an oddly sentient thing, nearly engulfed by an orange sky and monstrous plants—a landscape informed by Edvard Munch, the horrors of the American South, and the artist’s extraordinary personal history. “Beverly Buchanan—Ruins and Rituals,” part of the Brooklyn Museum’s yearlong programming called “Year of Yes,” celebrating the tenth anniversary of the Elizabeth A. Sackler Center for Feminist Art, will shed a necessary spotlight on this extraordinary and overlooked artist.
Beverly Buchanan Beverly Buchanan: Ruins and Rituals, 1976-2013
Oh but to be a Royal Meissen porcelain, handled with the most tender of care and on lofty display, in Henry Clay Frick’s magnificently appointed mansion. We are invited to inhabit the interior lives of these stately objects in “Porcelain, No Simple Matter: Arlene Shechet and the Arnhold Collection,” which commingles twelve of Shechet’s perverse Meissen-inspired works (pieces the artist made during residencies at the house’s factory in Germany a few years ago) with approximately 140 originals, selected and organized by the artist herself. This is the most appropriate way to enter the summer—in splendor.
Porcelain, No Simple Matter: Arlene Shechet and the Arnhold Collection
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
This comprehensive presentation of Eggleston’s portraits spans fifty years of the artist’s output. In addition to pictures of blues musician Fred McDowell in his casket and actor/director Dennis Hopper driving in the outback, the exhibition includes never-before-seen black-and-white prints from the 1960s that show the artist’s unromanticized view of daily life in America.
William Eggleston Portraits
The ironic title of this group show devoted to female artists is borrowed from a 2014 work by American artist Julia Wachtel. Making wide-ranging references to pop culture, world politics, and personal identity, the fourteen women featured are not united thematically or stylistically but rather by a common drive to succeed in a man’s (art) world.
Spanning the 1950s through the 1990s, this exhibition focuses on Kounellis’s very first pieces, the “Alfabeto” series, begun in 1958. These early works, which consist of black stenciled numbers, letters, and mathematical symbols on paper and canvas, show an essential step away from abstract formalism and toward a Conceptualist discourse.
Featuring clouds and vapor trails, Tacita Dean’s hand-drawn color lithographs depict the LA skies the artist marveled at during her residency at the Getty Research Institute in 2014–15, made locally at Los Angeles’s famous print studio, Gemini G.E.L. Also made in LA is Portraits, 2016, a poignant 16-mm film of David Hockney smoking.
Tacita Dean LA Exuberance
The new suite of three works by James Richards uses appropriated digital videos and audio recordings to striking effect. Crumb Mahogany, 2016, a kaleidoscopic six-channel sound installation, features a vast range of audio snippets, vocal to incidental sounds. Radio At Night, 2015, and Rushes Minotaur, 2016, employ this same eclectic audio as a sound track for a collage of newscasts, medical documentaries, French erotica, and material from ICA’s own video archive.
James Richards Requests and Antisongs
A founding member of Brazil’s Neo-Concrete movement, Lygia Pape is best known for her three-dimensional objects that transform according to the viewer’s point of view. Spanning more than thirty years, the works here include early black-and-white geometric drawings Desenhos (Designs), 1957–1959, and, from later in her career, her iconic Ttéias (Webs), 1977–2000), delicate installations of gold or silver threads that appear woven into the air.
New York–based painter Maureen Gallace has been compared to Edward Hopper and Giorgio Morandi. Replacing detail with flat areas of color, her small oil paintings of houses and landscapes tenderly capture the atmospheric effects of sun and weather.
Multidisciplinary artist Marc Camille Chaimowicz weaves together literature, design, painting, sculpture, and photography to make art that resists the tyranny of linear time. This look back at the French artist’s career includes a restating of his immersive glam rock installation Enough Tiranny, which was first presented at Serpentine Gallery in 1972.
Marc Camille Chaimowicz
This joint show, which inaugurates Skarstedt’s new London space, pairs two artists from the Pictures generation. Inspired by classical portrait paintings by the likes of Raphael, Caravaggio, and Rubens, Cindy Sherman plays both model and creator in her “History Portraits” series, 1988–90, and, in doing so, calls into question the fraught historical relationship between the two roles. Meanwhile, David Salle’s “Tapestry Paintings,” 1989–91, embellish scenes from seventeenth-century Italian and Russian tapestries tapestries with anachronistic art-historical references like African masks and Giacometti sculptures.
Cindy Sherman & David Salle History Portraits & Tapestry Paintings
Featuring works spanning the 1930s–1970s—a period during which Wifredo Lam worked in Cuba, France, America, and Spain—this retrospective confirms the Cuban artist’s place at the center of global modernism. Often compared to avant-gardists like Picasso and Fontana, Lam addresses the social injustices of his day using a signature style of hybrid figures.
Casting a critical eye over the role of female artists in European museums, the Guerrilla Girls revisit their own poster from 1986 that deadpanningly states: “It’s Even Worse in Europe.” Having sent questionnaires to arts institutions across Europe asking about their collections and exhibitions, the feminist activist collective presents nearly four hundred responses—funny, heartbreaking, and terrifying —as part of an archive-based exhibition.
Guerrilla Girls Is it even worse in Europe?
Having transformed Paris’s Palais de Tokyo in 2013 and New York’s Park Avenue Armory in 2015, Philippe Parreno now takes over the Turbine Hall with a complex choreography of sound, light, objects, and videos. The fully automated exhibition can be considered as a single Gesamtkunstwerk upending traditional exhibition stagings of time and space.
Hyundai Commission: Philippe Parreno
Part portraits, part documentation of past performances, Donna Huanca’s vivacious “Skin Paintings” describe the body as both a passive object and an active subject. Similarly concerned with figurative plasticity, several sculptures on view made from articles of clothing and other cultural artifacts address the reciprocal relationship between dress and identity.
Donna Huanca Surrogate Painteen
Known for his site-specific interventions, Mike Nelson integrated a raised platform into the architecture of an old music hall in Berlin’s Mitte district in 2012. Four years later, the artist is using salvaged pieces from this platform as rugged plinths for a selection of his own tools, used in various projects over the past thirty years, creating something akin to a retrospective of his labors.
Mike Nelson tools that see (the possessions of a thief) 1986-2005
Consisting entirely of mobile sculptures from Ruby’s ongoing “Scales” series, which he began in 2013, this exhibition hangs precariously from the gallery’s ceiling. The dense installation of brightly colored monochrome cutouts made of painted wood, steel, and bronze joined with ephemera from the artist’s studioincluding chains, steel fragments, buckets, and pipessuggests a weightless cloud of space trash.
Sterling Ruby The Jungle