Wednesday, March 29
“Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965,” scrupulously curated by NYU Steinhardt’s Melissa Rachleff, is a historiographic survey of thinking, making, showing, and collaborating during a pivotal moment in the history of this city’s avant-garde. The exhibition, which starts at Fifty-One East Fourth Street (Tanager Gallery) and travels all the way up to Fifteen West Fifty-Seventh Street (Green Gallery), introduces us to the nascent, crackerjack goings-on from some of New York’s finest, such as Richard Bellamy, Lee Lozano, Lois Dodd, Lucas Samaras, Dan Flavin, Fay Lansner, Red Grooms, Stan VanDerBeek, Phyllis Yampolsky, Mark di Suvero, and Yoko Ono, among countless others.
Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965
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
Painter Jack Whitten is a scrupulous, stealthy abstractionist who understood, very early on, that paint had sculptural properties as well. The artist’s first exhibition with Hauser & Wirth at its West Twenty-Second Street space pulls together works from his “Portals” and “Quantum Walls” series—images that feel as vast and uneasy as a starless night—created between 2015 and 2017. Also on view is Quantum Man (The Sixth Portal), 2016, a dramatically conceived sculpture made of acrylic, Cretan walnut, lead, Serbian oak, and marble.
Jesus, Charles Manson, the Apocalypse, Gumby—Raymond Pettibon has spilled a lot of black ink rendering all the fetid, funny, and fantastic realms of the postwar American imagination. “A Pen of All Work,” organized by the New Museum’s Gary Carrion-Murayari and Massimiliano Gioni, is the largest survey of Pettibon’s art to date, with more than eight hundred drawings spanning nearly fifty years of perverse peregrinations.
Raymond Pettibon A Pen of All Work
Sue Williams has been playing pretty-pretty with her painterly abstractions for years, but traces of the woman who made The Art World Can Suck My Proverbial Dick, 1992, always manage to crop up in her gorgeous canvases: c.f. the gooey splotches of Memory and Paint and the action in Time Line, both 2017. These and more await your eager eyes at 303 Gallery.
The magisterial auteur Agnès Varda, grande dame of the French New Wave and Rive Gauche group of artist/filmmakers, presents sculptures, photographs, and video installations at her eponymous exhibition at Blum & Poe, which covers more than sixty years of the artist’s peerless thinking and making.
Peter Schjeldahl once referred to early Conceptualism as “a last gasp, or a dying fall, of Romanticism.” Reducing art into incantation is indeed a territory of the unrepentant romantic, and Lawrence Weiner, after more than fifty years, has made himself a veritable master of this gesture. At Marian Goodman’s New York space, the artist offers up more of his recondite text works—poems that obscure as much as they illuminate.
Lawrence Weiner Innate Inherent Tension
This divine exhibition of Alice Neel’s paintings and drawings—curated by the equally divine Hilton Als—focuses on works the artist made while living in Manhattan’s Upper West Side and Spanish Harlem over fifty years. Neel’s portraits of poets, students, writers, artists, musicians, salesmen, neighbors, and activists—be they black, Latino, white, or Asian—are unequivocally American pictures in their diversity and beauty.
Alice Neel Uptown
Olafur Eliasson has made a career out of toying with human perception and the natural world, creating remarkably elaborate pieces that work on the viewer in sly, almost invisible ways. For his ninth exhibition at Tanya Bonakdar, titled “The listening dimension,” the artist offers up paintings, installations, and sculptures that grew from the noise and ugliness of the 2016 US elections.
Olafur Eliasson The listening dimension
Les Lalanne—the husband-and-wife team of Claude and François-Xavier Lalanne—have never shied from whimsy in the making of their art. Since 1956, the pair have imbued their sculptures, jewelry, and assorted objects with an otherworldly charm that calls to mind Lewis Carroll, Tove Jansson, and Charley Harper. Their exhibition at Paul Kasmin’s 293 Tenth Avenue gallery will showcase pieces from their rich oeuvre along with newer works.
Butterflies, leaves, light: In Jane Hammond’s hands, these delicate symbols take on more sinister meanings. For her show at Galerie Lelong, the artist presents three-dimensional drawings, photographs, and “dazzle paintings”—images painted on sheets of mica and permeated with metal leaf and other reflective materials.
Jane Hammond Search Light
Curator and writer Andrianna Campbell uses Renaissance perspective as metaphysical tool to suss out the vagaries of seeing and the politics of being seen. Campbell’s “Vanishing Points” at James Cohan’s Chelsea space—the title of which is taken from a 1984 exhibition of Minimalist and Conceptual art at the Moderna Museet—will feature a wide range of artists and collectives such as Black Women Artists for Black Lives Matter, Carroll Dunham, Beatriz Milhazes, Matt Mullican, Toyin Ojih Odutola, Trevor Paglen, and Jack Whitten.
Funereal, funny, disorienting, and emphatically queer—A. K. Burns has the kind of touch that transforms the most quotidian materials and situations into numinous, beautiful experiences. For “Shabby but Thriving,” Burns presents a new two-channel video, Living Room, 2017–, which reconfigures parts of the New Museum’s architecture—its stairwell and basement—as sentient spaces within a living body. The video serves as the connective tissue for the artist’s installation in the museum’s fifth-floor galleries.
A.K. Burns Shabby but Thriving
Painter Harvey Quaytman was a bit of a historical outlier. While many artists were trying to grapple with the legacies of Pop, Minimalism, and Conceptualism after the 1960s, Quaytman was making canvases that distilled the lessons of high modernism, via Malevich, Arp, or Mondrian. The nine canvases on view at Van Doren Waxter, made between 1982 and 1990, are as beautiful as they are rigorous, and look fresher than ever.
Harvey Quaytman Hone
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
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
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
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.
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
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
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
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
Timed to coincide with the premiere of a BBC documentary about Paula Rego’s life and work—Secrets and Stories, directed by the artist’s son, Nick Willing—this exhibition presents a series of pastels made between 2006 and 2007. These previously unseen drawings reflect an experience that Rego, who is extremely private, discusses for the first time in the film, scheduled to air on BBC Two on Saturday, March 25.
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
Known for his genre-defying “Combines” and large-scale proto-Pop silk screens, Robert Rauschenberg also worked with photography, printmaking, papermaking, and performance over the course of his six-decade career. This retrospective (the first of its kind since the artist’s death in 2008) weaves together seemingly disparate works to create a cogent overview of a dazzlingly multidisciplinary oeuvre.
Timed to coincide with Turk’s survey at Damien Hirst’s Newport Street Gallery (until March 29), this exhibition includes new works inspired by Donald Judd’s quintessential boxes. Complicating—if not fully annihilating—any Minimalist associations with the cube, Turk uses wooden Juddish boxes to display various used and found items, such as a crumpled juice carton (Nature, Nurture, 2017) and a small fruit crate (Purgatory, 2017).
Gavin Turk Give In
Featuring films, sculptures, paintings, photograms, posters, and installations made between 2008 and 2017, the American artist’s current exhibition is divided into three sections, each dedicated to a different historical figure: artist Robert Smithson, writer Paul Scheerbart, and physicist Andrei Linde. McElheny’s alternative histories of modernism reference Smithson’s three-dimensional crystalline landscape “paintings” from the 1960s; Scheebart’s 1912 short story The Light Club of Batavia: A Ladies’ Novelette, about socialites in Batavia (present-day Jakarta); and the early universe, the domain of Linde’s recent research.
The Chilean-born artist is known for his connections with French Surrealists such as Salvador Dalí and André Breton, as well as for his influence on American Abstract Expressionists including Jackson Pollock and Mark Rothko. This exhibition features works made between 1940 and 1980 that demonstrate Matta’s own unique visual language and dedication to Latin American political and social issues.
Roberto Matta Roberto Matta: 1940s - 1960s
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
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.
For her latest self-portrait series, Cindy Sherman impersonates past-their-prime 1920s-era Hollywood stars, posed as if for glitzy studio publicity shots. Set in relief against digitally manipulated backgrounds, her elaborate costumes, heavy makeup, and studied poise turn away from glamour, treading into the ridiculous, strange, vulnerable, and poignant.
After rising to prominence in the 1950s LA art scene, where he cofounded the Ferus Gallery with Walter Hopps, Edward Kienholz spent much of his time collaborating with his wife, Nancy, in Hope, Idaho, near his friends and patrons Monte and Betty Factor. Key works on view from the Factor Family Collection include preparatory drawings for important installations such as the sickening Five Car Stud, 1972, and the early, articulated assemblage The Medicine Show, 1958–59.
Edward and Nancy Kienholz A Selection of Works from the Betty and Monte Factor Family Collection
The second part of Alfredo Jaar’s trilogy exploring the emotional power of a single image, Shadows, 2014, describes the atrocious final days of the Somoza dictatorship in Nicaragua in 1978, as captured by Dutch photographer Koen Wessing. The installation’s wrenching centerpiece features Wessing’s photograph of two sisters who have just been told of their father’s murder.
Alfredo Jaar Shadows
In advance of their major retrospective to be held at London’s Tate Modern this fall, Ilya and Emilia Kabakov are treating Berlin to a selection of recent paintings. Typical of the couple's work, these pieces depict their Soviet homeland using dual (and dueling) realities, which conflate historical periods and blend personal and collective memories.
Ilya & Emilia Kabakov Paintings 2012 - 2015
In place of a traditional title, a pair of images introduces this group show of new works by four artists (plus Trisha Donnelly) in the gallery’s stable. The juxtaposition of a photograph taken by French writer and photographer Hervé Guibert on the set of Akira Kurosawa’s Ran (1985) and an untitled 1993 Jack Goldstein painting depicting the night sky embellished with explosions set the stage for a rich and mysterious visual conversation.
Tomma Abts, Lutz Bacher, Trisha Donnelly, Vincent Fecteau, Mark Leckey
Larry Johnson’s work from the 1980s and ’90s focused on celebrity culture in his native Los Angeles. Mining news articles, obits, and billboard signage for snippets of text, the artist created a personal lexicon that foreshadowed today’s fast and furious freeway of digital communication.
Larry Johnson Works from the 80's and 90's
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
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
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.
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
Invalidenstraße 50-51 / +4930266424242 / smb.museum/
Tue - Fri 10am to 6pm, Sat - Sun 11am to 6pm, Thu 10am to 8pm
Owens is responsible for draping an army of men, women, and anything in between in his visionary garments, but his furniture takes the (dim) spotlight here, with thrones—it would be insulting to just call them chairs—made of bone and long slabs of marble chiseled into sofas suitable for fainting on, if getting back up isn’t really in the stars. Accompanied by a video of the designer’s partner, Michèle Lamy—the main producer and credited force behind the Owens furniture line—and other pieces made of foam, along with paintings from the late Steven Parrino, these rigorous works will make anyone question their own wan taste in interior decorating.
Rick Owens Furniture
Nineteen new sculptures along with an array of drawings are featured here for Nagle’s largest exhibition in Los Angeles to date. The artist is best known for his ceramics, and his sculptures here employ traditional glaze techniques that mix it up with newer elements such as epoxy resin, catalyzed polyurethane, and high-gloss automotive paint. Their energetic Pop colors latch onto paper-weight-size forms that, encased on top of pedestals, seem constellated to recall relics but resemble nothing so much as exclamations from some other, better world.
Ron Nagle Ice Breaker
Here, three rows of eighteen sunsets and several more figurative compositions that look straight outta MS Paint congregate, all rendered in the artist’s by-now signature medium of shaped aqua resin colored by acrylic gouache and casein. Benning’s wimpy imagery gets gumptious via her just-so arrangements and exacting palette, raising a tall flag for the freaks and the fun.
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