Saturday, December 10
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
Mark di Suvero’s elegant, playful, and sometimes forbidding metal sculptures—objects that pull formal inspiration from nature and some lone Constructivist’s fever dream—shape the spaces around and, unquestionably, within you. His stately arabesques and tweaked geometries here deftly combine the gargantuan with the unapologetically graceful.
Mark di Suvero
Time-traveling maker of seductive, sculptural phantasmagoria Carol Bove—chosen as one of the artists to represent Switzerland at the 2017 Venice Biennale—presents “Polka Dots,” the artist’s first exhibition with David Zwirner in New York. Here, Bove—channeling the heavy-metal spirits of Anthony Caro and John Chamberlain—offers up a number of new “collage sculptures” made from three different kinds of steel, along with her tubular and kinky “glyph” works.
Carol Bove Polka Dots
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
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.
Alexander Calder was an Apollonian maker of form and sensation—a master of equilibrium, distillation, and harmony. Picasso, by comparison, was utterly Dionysian, a forthright interrogator of the messiness and sensuality within human experience. “Calder and Picasso,” Almine Rech’s inaugural exhibition at its new Upper East Side space—curated by Bernard Ruiz-Picasso and Alexander S. C. Rower, the artists’ grandsons—brings together these twentieth-century giants for a dialogue both uplifting and beautiful.
Calder and Picasso
One wonders if the art-marketing firm that took the seminal 1985 “Infortainment” exhibition—organized by wunderkind artist/curators Alan Belcher and Peter Nagy of Nature Morte gallery, and Anne Livet—on the road was hired as a kind of sniggering Conceptual gesture, reconfiguring the downtown bohemian “artiste” into a plugged-in, image- and career-savvy strategist. Indeed, the idea seems positively quaint in the face of 2016. “Every Future Has a Price: 30 Years After Infotainment,” an anniversary restaging of this famous exhibition on mass media and the Baby Boomer imaginations it helped to create, featuring work from the show’s original artists (such as David Robbins, Laurie Simmons, and Sarah Charlesworth), with some era-appropriate additions (Cindy Sherman, Jack Goldstein, Wallace and Donahue), promises to—as the title suggests—entertain.
Every Future Has a Price: 30 Years After Infotainment
A nightmare work for nightmare times, Arthur Jafa’s seven-minute found-footage video Love is the Message, the Message is Death, 2016—a sinister homage to MFSB’s 1973 disco-soul instrumental “Love Is the Message”—condenses the horrors of the Black American experience into a chaotic and operatic visual dirge. Jafa—film director, cinematographer, and artist—presents this work at Gavin Brown’s Harlem space for his inaugural exhibition with the gallery.
Arthur Jafa Love is the message, the message is death.
Lee Lozano was that rare and marvelously perverse imagination—via painting, drawing, texts, and, as Roberta Smith referred to them, “life-related actions” (Lozano was allergic to the word performance)—who could marry the cerebral and the visceral with supernatural skill. The artist’s exhibition at Karma’s new space on 188 East Second Street—paintings of creepy phallic tableaux, all from around 1962—owe something to Morandi, Paula Modersohn-Becker, and even Ed “Big Daddy” Roth’s hot-rodding Rat Fink.
Lee Lozano C. 1962
“Decolonize This Place” at Artists Space Books & Talks is a beacon of light in this Cimmerian darkness. The activist/research/aesthetics collective MTL+ has organized a series of weekly “assemblies, trainings, skillshares, readings, screenings, meals, and healing sessions” from a wide range of other New York–based artist organizations—such as the Chinatown Arts Brigade, Bronx Not For Sale, Woman Writers of Color, Queens Gentrification Project, W.A.G.E., AKA Exit, Jive Poetic, and Black Poets Speak Out—to ignite dialogue and action for those of us who are fed up with the social, legal, political, and economic disparities, aka horrors, of right now.
Decolonize This Place
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
“I like drawing Marilyn. She said, ‘If you can’t take me at my worst, you don’t deserve me at my best.’” This quote from a queer inmate known as James D. appears in “On the Inside: A Group Show of LGBTQ Artists Who Are Currently Incarcerated,” an extraordinary exhibition of drawings—and one painting—installed throughout two floors of the Abrons Arts Center. The images presented are not miserable. Created by the prisoners with what’s available to them—letter-size paper, dull pencils, ballpoint pen tubes (the plastic casing removed because it’s considered a weapon), and even Kool-Aid—these works are funny, erotic, tender, and, most especially, defiant, as evinced by a wall full of glamorous portraits of Rihanna, pouting, smiling, and sneering.
ON THE INSIDE
Elizabeth Peyton, perhaps our most tender contemporary portraitist (who, after all, has rendered Kurt Cobain, Jarvis Cocker, and the Obamas with such lissome majesty?), comes to Gladstone Gallery’s uptown space with “Speed Power Time Heart,” an exhibition of new paintings that will make you wish you were just as sweet, just as smart.
Elizabeth Peyton SPEED POWER TIME HEART
Paulina Olowska lives and works in the tiny Polish hamlet of Rabka-Zdrój, and the queer historicism of the artist’s grandly scaled paintings—camp, tender, and more than a little haunted—certainly reflects that. Floor-based candelabras within the gallery heighten the melancholy theater of Olowska’s latest offering.
Paulina Olowska Wisteria, Mysteria, Hysteria
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
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
Late artist Tony Feher unveiled the inherent grace of the most negligible things—glass marbles, blue painter’s tape, plastic water bottles, cardboard boxes. He saw something major in these minor materials and passed this sense of wonder on to anyone brave enough to countenance their own fragility. Feher’s memorial exhibition at Sikkema Jenkins & Co., “It Didn’t Turn Out the Way I Expected,” is borne of love, curated by the artist’s colleagues and close friends Joy Episalla, Carrie Yamaoka, Zoe Leonard, Nancy Brooks Brody, and Andrea Blum, and presented in cooperation with San Francisco’s Anthony Meier Fine Arts.
Tony Feher It Didn't Turn Out the Way I Expected
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
Political pugilist and Pop provocateur Ai Weiwei returns to New York, after being banned from travel for four years, with two major solo exhibitions across four sites: “Roots and Branches,” which will engulf Lisson Gallery as well as Mary Boone’s Fifth Avenue and Chelsea spaces, and “Laundromat” at Jeffrey Deitch. For Ai’s first solo exhibition with Lisson’s New York space, the gallery will feature, among other works, a number of iron root sculptures and several elegant sixteen-foot-long cast-iron tree trunks.
Ai Weiwei 2016: Roots and Branches
Macho American Maler Thomas Hart Benton and his former pupil Jackson Pollock are the generative engines behind California cool-kid and sly-cat Conceptualist John Baldessari’s exhibition at Marian Goodman’s uptown gallery. Here, Baldessari’s smart interrogation of these painting giants takes us deep into the sundry ways pictures and their strange histories can do just as much as they can undo.
John Baldessari Pollock/Benton
Political pugilist and Pop provocateur Ai Weiwei returns to New York, after being banned from travel for four years, with two major solo exhibitions across four sites: “Roots and Branches,” which will engulf Lisson Gallery as well as Mary Boone’s Fifth Avenue and Chelsea spaces, and “Laundromat” at Jeffrey Deitch. Boone’s uptown space will be host to Spouts Installation, 2015, a round field of spouts cracked off of antique Chinese porcelain teapots, and a wallpaper that makes use of Ai’s photographic series “Study of Perspective,” 1995–2003, depicting an outstretched hand giving the bird to a number of historic monuments and sites, such as the Eiffel Tower and Tiananmen Square.
Ai Weiwei 2016: Roots and Branches
Almost ninety years old, John Wesley is still the weirdest kid on the block. His renderings of, among other things, birds, girls, Disney characters, the Bumsteads, and Utamaro geishas—in dusty pastels straight from a pack of Necco wafers—sensationally defy narrative logic. For Wesley’s current offering at Fredericks & Freiser, the artist’s queer menagerie exists as a veritable hall of mirrors, aptly titled “Doubles, Pairs, and Diptychs.”
John Wesley Doubles, Pairs, And Diptychs
Political pugilist and Pop provocateur Ai Weiwei returns to New York, after being banned from travel for four years, with two major solo exhibitions across four sites: “Roots and Branches,” which will engulf Lisson Gallery as well as Mary Boone’s Fifth Avenue and Chelsea spaces, and “Laundromat” at Jeffrey Deitch. Boone’s West Twenty-Fourth Street space will carry, among other works, Ai’s Brobdingnagian sculpture Tree, 2010, made from parts of dead trees scavenged from the mountains of Southern China, and Dropping a Han Dynasty Urn, 2015, a triptych self-portrait, built from LEGOs, of the artist doing exactly as the title describes.
Ai Weiwei 2016: Roots and Branches
Political pugilist and Pop provocateur Ai Weiwei returns to New York, after being banned from travel for four years, with two major solo exhibitions across four sites: “Roots and Branches,” which will engulf Lisson Gallery as well as Mary Boone’s Fifth Avenue and Chelsea spaces, and “Laundromat” at Jeffrey Deitch. Ai’s presentation of new works here center on Idomeni, the refugee camp located on the border between Greece and the former Yugoslav Republic of Macedonia. The project began, said Ai, “following my arrest and secret detention in 2011 . . . while I was living under soft detention in Beijing.”
Ai Weiwei Laundromat
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?
Even the blackest of Mark Rothko’s paintings radiate a kind of light—tender, fraught, and uneasy. “Dark Palette,” the tenth solo exhibition of the artist’s works at Pace Gallery, presented with the Rothko family, explores the use of dark colors in his paintings, starting from 1955 until the late ’60s. Works loaned from New York’s MoMA, the Albright-Knox Art Gallery in Buffalo, the National Gallery of Art in Washington, DC, and the Virginia Museum of Fine Arts in Richmond will be on display. A book with writings by the artist and his son, Christopher—with an introduction by Arne Glimcher, Pace Gallery’s founder—has been published to coincide with the exhibition.
Mark Rothko Dark Palette
Joel Shapiro’s sculptures are subtle and intelligent expressions of textural and material joy. At Dominique Lévy, we have the privilege of experiencing the artist’s colorful early wood reliefs, made between 1978 and 1980, that seem to carry on a tradition of seeing that owes something to Matisse or Arthur Dove. A monograph will be published to coincide with the exhibition, featuring essays from David Raskin and Phyllida Barlow and poems by Ange Mlinko and Peter Cole.
If you’ve never wanted to shatter a few car windows with a big flower in a pretty blue dress after seeing Pipilotti Rist’s Ever Is Over All, 1997, then you must lack some essential gene for fun. Rist’s smart, fulsome, and manic vision is generously presented in “Pipilotti Rist: Pixel Forest,” a major retrospective that covers thirty years of the artist’s work—from her 1980s single-channel videos to the hypnotic and immersive video installations of recent years—which takes over three of the New Museum’s main floors. Smash!
Pipilotti Rist Pixel Forest
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
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, cocurated 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
Bruce Conner, Hito Steyerl, Dominique Gonzalez-Foerster, Anthony McCall, Lynn Hershman Leeson, and Lorna Mills, among so many more, explore the very heart and sundry vestiges of cinema’s history and influence in the Whitney’s “Dreamlands: Immersive Cinema and Art, 1905–2016,” an expansive look at the ways we’ve passed through the movies—and, of course, the ways movies have passed through us—for more than one hundred years. Organized by Chrissie Iles, “Dreamlands” promises feats of transportation and seduction that only the moving image can offer.
Dreamlands: Immersive Cinema and Art, 1905-2016
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.
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, cocurated 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
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
Take a gander at Francis Picabia’s Portrait d’un couple (Portrait of a Couple), 1942–43: A pair of doofus, dead-eyed lovers gaze out onto nothingness, while in the background a man holds a woman aloft—à la Fragonard, but waaaaay sicker—beneath a particularly bad rendering of a magnolia tree. Sex machines, hookers, race cars, nihilism—Picabia’s art is the kind that, despite the dazzling march of progress, reflects the merciless imbecility of history and humanity. He was a brilliant thinker, maker, snob, and slut who played art’s endgame faster and harder than perhaps anyone else. “Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction,” the first survey in the United States to chart the entirety of this fabulously demented artist’s career, will feature more than two hundred works: paintings, drawings, periodicals, a vast array of assorted ephemera, and one film.
Francis Picabia Our Heads Are Round so Our Thoughts Can Change Direction
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
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.
The LA-based artist’s latest large-scale kitsched-out paintings reference icons of modern picture-making, from Hokusai to Matisse. Pushing the viewer toward an interactive relationship with her works, a prerecorded message by the 2016 Hugo Boss Prize nominee asks, “When you look at the objects, do you think they are looking at you?”
Cage’s Lecture on the Weather, 1975, originally conceived as a work for radio or stage, is here presented—for the first time in Europe—using material captured during a tribute concert for the artist held at Bard College in 2007. The illustrious cast includes John Ashbery, Merce Cunningham, and Jasper Johns, among others.
John Cage Lecture on the Weather (1975)
Kate Shepherd’s high-gloss paintings composed of delicate networks of lines are paired with Allyson Strafella’s dense repetitive marks on handmade paper. Sharing an interest in color, space, and movement, the American artists address issues of form and formlessness in their distinct but related explorations.
Kate Shepherd and Allyson Strafella Recent works
Drawing attention to the human body—skin, in particular—Donna Huanca’s work examines the interactions between people within a certain space. For this exhibition, the artist has designed a three-story glass structure that becomes more and more opaque as her performers enact private rituals and mediations inside.
Donna Huanca Scar Cymbals
It’s been over a decade since Roman Ondak has had a solo show in London, but the Slovakian conceptual artist is making up for lost time with this one hundred day–long show. Continuing the artist’s obsessive exploration of time, the centerpiece of the exhibition is an oak tree that has been sliced into one hundred discs—each marked with a key event from the past century—that will be removed from the trunk (one each day) and mounted on the wall.
Roman Ondak ROMAN ONDAK: THE SOURCE OF ART IS IN THE LIFE OF A PEOPLE