Monday, January 16
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
Josef Albers, children’s board games, Jo Baer, magic squares—Dan Walsh’s numinous canvases startle the eyes. Along with his marzipan-colored paintings in this exhibition are ink drawings, sculptures made from shiny copper mesh and piping, a thick coil of rope, and abstract wall-mounted wood reliefs that could’ve been made during a high school shop class from another dimension.
Should David Cronenberg ever make a sequel to his 1999 body/tech/horror drama eXistenZ, he should consider Charles Long’s latest sculptures made from mirror-polished stainless steel and platinum silicone rubber. The artist’s eleventh solo exhibition with Tanya Bonakdar Gallery, titled “b 4 u,” plays with the body as a site for abstraction, revulsion, and transformation.
Charles Long b 4 u
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
October (1928), Battleship Potemkin (1925), Alexander Nevsky (1938)—Russian director and writer Sergei Eisenstein’s films are the essence of cinematic and art-historical gravitas. Even Stalin liked him—occasionally. But Eisenstein had a marvelously dirty imagination as well, as this suite of “sex drawings” made by the artist between 1931 and 1948—appearing in the United States for the first time at Alexander Gray Associates—attests. In this exhibition you’ll see a Sadeian chandelier orgy and masked rams engaging in frottage, among other sights. Perversity flourishes amid even the most oppressive regimes.
Sergei Eisenstein Drawings 1931–1948
Louise Bourgeois’s crepuscular vision—haunted by Brobdingnagian spiders, eviscerated cloth bodies, disembodied genitalia, and more—grows darker with this exhibition of blood-colored holograms the artist made with C-Project, a New York–based holographic studio. In these works we see a bell jar, two lovers, and the tiniest of chairs—props from tableaux made of light, horror, and illusion.
Louise Bourgeois Holograms
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.
Kader Attia is a poet, critic, anthropologist, and unrepentant fabulist. For the artist’s second solo exhibition at Lehmann Maupin, he brings us Reason’s Oxymorons, 2015, a multichannel video installation—which made its debut at the Thirteenth Biennale de Lyon—that features “European and African ethnographers, psychiatric and philosophical practitioners, and theorists discussing topics grouped under titles including ‘Genocide,’ ‘Totem and Fetish,’ ‘Reason and Politics,’ and ‘Trance.’”
Kader Attia Reason's Oxymorons
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
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
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 gallery christens its new Grosvenor Hill location with shiny, perverse works by Jeff Koons. Works from his ongoing “Gazing Ball” series, begun in 2013, wherein the artist adds super-reflective orbs to replicas of famous paintings and sculptures, are paired with his polished, and creepy, steel ballerina sculptures.
A subversive take on the traditional marriage portrait, Currin’s latest series of paintings depicts couples accompanied by mysterious accessories and bizarre, seemingly incongruous pictorial elements. Less sexually graphic than some of the artist’s best-known work, these paintings show Currin experimenting with symbolism—using art-historical tropes to evoke humorously ambiguous (and, let’s face it, grotesque ) relationships.
The Pakistan-born, US-based artist presents new works including sculptures carved from cork, clay, and other media, as well as drawings and collages made on large-scale photographs. Evoking ruins—ranging from the Ancient Gandharan ruins in Pakistan and Afghanistan to contemporary ruins of urban infrastructure—Bhabha describes various effects of time and decay.
Steir’s first solo show in London in more than twenty-five years features works made between 1990 and 2011. Among the most arresting paintings on view—examples from his “Waterfall” series, which the artist began in the 1980s—are vibrant mediations on space and chance in which Conceptual art meets Eastern philosophies.
Picasso’s friends, family, and lovers are the subjects of this major exhibition that includes more than eighty works, spanning all periods of the artist’s career. From nascent realist paintings to masterful late abstractions, Picasso’s portraits give an intimate look at his long and fecund life, humanizing his enormous legacy.
Slinger Francisco, the heart of this melodious homage/exhibition, is a Trinidadian calypso singer better known as Mighty Sparrow. In addition to a collection of Sparrow’s records, along with an archive of ephemera related to this music maestro’s career, British artists Carmel Buckley and Mark Harris have installed more than two hundred ceramic tiles depicting Sparrow’s albums—recto and verso—in the ICA’s Fox Reading Room.
Carmel Buckley and Mark Harris Sparrow Come Back Home
The title of this show and of one of the major works on view, “Walhalla,” is a reference to the paradise for those slain in battle, as described in Norse mythology, as well as an 1842 Neoclassical monument built by Ludwig I, king of Bavaria, to honor German heroes. Kiefer’s Walhalla, 2016, is a bleak, claustrophobic installation in which rows of steel beds line a narrow room. Its far end is decorated with a black-and-white photograph of a lone figure walking into a wintery landscape.
Anselm Kiefer Walhalla
Each painting in Baldessari’s latest series, “Miro and Life in General,” 2016, pairs a detail from a particular Joan Miró painting with a classic Hollywood film still and a single word, such as “reliable,” “necessary,” and “true.” These mashups of language, popular culture, and art history create seductive and enigmatic messages.
John Baldessari Miró and Life in General
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
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.
Coinciding with Dominique Gonzalez Foerster’s exhibition at Esther Schipper, this presentation—a collaboration among the artist, the design group BLESS, and the interdisciplinary Studio Manuel Raeder—features costumes from Gonzalez-Foerster’s so-called apparitions, dating back to 2013. Among the garments on view are those the artist wore while incarnating Edgar Allan Poe, Lola Montez, and Carlos Fitzcarrald, who is best known as the inspiration for Werner Herzog’s Fitzcarraldo.
BLESS, Dominique Gonzalez-Foerster & Manuel Raeder Costumes & Wishes for the 21st century
Christoph Büchel’s sprawling installation Training Ground for Training Ground for Democracy, a version of which was infamously dismantled prior to a scheduled exhibition at MASS MoCA in 2007, is a biting critique of contemporary American politics and culture. Seen in the aftermath of the recent US presidential election, the piece takes on a new urgency, raising issues about voting rights and how democratic elections are run.
Christoph Büchel Training Ground for Training Ground for Democracy
Invalidenstraße 50-51 / +4930266424242 / smb.museum/
Tue - Fri 10am to 6pm, Sat - Sun 11am to 6pm, Thu 10am to 8pm
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.
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 slow-burn series of performances, events, and screenings began in fall 2016. It now seems a striking and timely response to our postelection scrambling for empathy and inspiration. Screenings from the Sankofa Film and Video Collective, Ceddo Film and Video Workshop, and Black Audio Film Collective—all of which received support from the nascent Channel 4 in England after the 1981 Brixton Rising—feature early pieces by Isaac Julien, Maureen Blackwood, and John Akomfrah, while a performative lecture from artist Simone Leigh and Yale professor Rizvana Bradley addresses black radical political, literary, and artistic traditions. Kenyatta A. C. Hinkle will workshop a new performance at the museum in mid-January, ahead of its premiere at the California African American Museum in February, and Trajal Harrel presents the customizable “M2M” version of his indefatigable series Twenty Looks or Paris Is Burning at the Judson Church.
In Real Life: 100 Days of Film and Performance
R. H. Quaytman’s first major museum survey features sixty-five paintings from the past ten years, including a completed “chapter,” as she so poetically categorizes her work, from 2011 and a new body of work comprising twenty-two silk-screen-and-gesso paintings made in response to Michael Heizer’s seminal Double Negative, 1969–70, which takes the form of two trenches cut into the eastern edge of Nevada’s Mormon Mesa summit. Quaytman’s interpolation features photographs of the Heizer work, but rendered in her own mysteriously monumental manner. Spanning an entire large gallery, the pieces swerve around the edges of representation and channel landscape into a subject for material lusciousness.
R. H. Quaytman R. H. Quaytman, Morning: Chapter 30
250 South Grand Avenue / +12136266222 / moca.org
Mon 11am to 6pm, Wed 11am to 6pm, Thu 11am to 8pm, Fri 11am to 6pm, Sat - Sun 11am to 5pm
Starting with a grand instruction, “Build Therefore Your Own World”—shout out to Ralph Waldo Emerson—Sam Durant’s exhibition of new work springs from his recent public project in Concord, Massachusetts and includes in the main gallery here a structure based on the first houses built by and for the first emancipated African Americans in that state. Painted on the walls of Durant’s house are texts by contemporary writers and poets such as Tisa Bryant, Danielle Legros Georges, Robin Coste Lewis, and Kevin Young. Elsewhere, 3D renderings of artifacts from colonial America that have a connection to transcendentalist writers and thinkers are incorporated into sculptures that starkly contemplate the vast contradictions of American history. In one, the headstone of an enslaved man named John Jack is crosscut by Henry David Thoreau’s flute, bringing some of the airy glory of the transcendentalist tradition crashing back to earth.
Sam Durant Build Therefore Your Own World
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.
The current exhibition dedicated to Gordon Matta-Clark, whose last major show in Paris was more than twenty years ago, features two important projects made in this city in the 1970s. For Conical Intersect, commissioned for the 1975 Paris Biennale, the artist cut a four-meter oculus through two seventeenth-century buildings near the construction site of the yet-to-be-completed Pompidou Centre. Two years later, Matta-Clark traveled beneath Paris and documented little-seen sites, including the crypt of Notre-Dame and the passages underneath the Opéra Garnier. Both Paris projects are memorialized by films, photographs, and collages, which are shown alongside works, including some rarely shown drawings, made in New York.
This selection of small bronzes by Joan Miro hails from a body of work comprising some three hundred such sculptures produced by the Spanish artist starting in 1940. Echoing the evocative and vaguely monstrous burlesque characters that populate his paintings, Miro’s bronzes incorporate found objects to create likewise surreal and suggestive figures.
Since 1999 UK-born, Paris-based artist Charlotte Moth has religiously photographed places she has visited, lived, and worked. This conceptual project is the jumping-off point for two new slideshows documenting two buildings constructed in 1966: a church in Nevers, France, and the Apollo Pavilion in Peterlee, England. Also on view: small enigmatic sculptures, including a rotating 3-D-printed rubber plant and a series of cast-bronze hands presenting quotidian items such as an ice-cube tray and a drinking straw.
Charlotte Moth lightly in the world
The artists in this show—Balthus, Ulla von Brandenburg, Eugene von Bruenchenhein, Sanya Kantarovsky, Pierre Klossowski, and Philippe Perrot—represent family relationships in unique, intimate, and nightmarishly erotic ways. With works ranging from von Bruenchenhein’s 1940s pinup portraits of his wife to von Brandenburg’s film depicting the arrival of a foreigner in a community consisting of a grandfather, grandmother, mother, and daughter (Chorspiel, [Choral play], 2010), this exhibition describes family ties as both familiar and strange.
Balthus, Ulla von Brandenburg, Eugene von Bruenchenhein La Perle
Coinciding with Twombly’s retrospective at the Pompidou Centre, this exhibition focuses on paintings and works on paper that describe the mythical figure of Orpheus. Inspired by Rainer Maria Rilke’s Sonnets to Orpheus (1922), here Twombly also interprets Orpheus as a surrogate for himself and his own creative processes. These thematically linked works made between 1968 and 1979 have never before been shown together.
At first glance the French painter’s latest energetic compositions appear wholly abstract. On closer inspection, however, Congnée’s “Crowds,” 2014–16, reveal themselves as such—landscapes filled with throngs of people so densely packed together there is barely room to breathe.
Philippe Cognée Crowds
Featuring some 140 paintings, drawings, sculptures, and photographs, this single-venue retrospective includes loans from public and private collections around the world, highlighting the artist’s special relationship with Paris (where the Pompidou hosted the artist’s first substantial retrospective in 1988.) The chronological hanging, which focuses on three important cycles—Nine Discourses on Commodus, 1963; Fifty Days at Iliam, 1978; and Coronation of Sesostris, 2000—traces Twombly’s career from his first major works made in New York and his hometown of Lexington, VA, in the 1950s, to his 2005 “Bacchus” paintings, made in Italy, in response to the Iraq War.
Casting molten glass, Diego Perrone has created a mesmerizing series of translucent heads, each marked by plumes of bright pigment. Embellished with motifs familiar from Perrone’s previous workslike koi fish and tractorsthe sculptures evoke the rural environments of the artist’s youth.
Known for his output across a wide variety of media, Rehberger here presents thirty pieces on paper ranging from sketches for large-scale projects and environmental installations to autonomous drawings. Among some of these borderline politically incorrect works, two kitschy neon signs alternately flashing “Tous pour les femmes” (All for women) and “what else” underscore the odd irony and humor
with which the German artist addresses stereotypes.
Tobias Rehberger tous pour les femmes
Kishio Suga’s first European retrospective includes more than twenty installations dating from 1969 to the present day. Within the HangarBicocca’s vast industrial architecture, the Japanese artist’s beautiful, unsettling stacks and suspensions of organic and man-made elements (including materials found on site) upend our understanding of gravity, solidity, and tension.
Kishio Suga Situations
Part of an homage to Mimmi Rotella that spans multiple exhibition venues across Milan, this exhibition focuses on the friendship and collaboration between Rotella and Giorgio Marconi, whose gallery exhibited some of the most important artists of his day, including Alexander Calder, Joseph Beuys, Lucio Fontana, Pablo Picasso, and Man Ray. Having met in the 1960s, the two men collaborated on exhibitions in the 1980s and 1990s. Highlights on view from the Marconi Collection include Rotella’s first décollages from the early 1950s to the sovrapitture (paintings made directly on advertisements) from the 1980s and 1990s.
Mimmo Rotella e Giorgio Marconi: Una storia d’arte e di amicizia
Curated by Francesco Zanot, this group show inaugurates the Fondazione Prada’s photography and visual language program in the newly opened Osservatorio exhibition space. Reconsidering the role of photography in the age of Instagram and endless selfies, fourteen young artists (Melanie Bonajo, Kenta Cobayashi, Tomé Duarte, Irene Fenara, Lebohang Kganye, Vendula Knopova, Leigh Ledare, Wen Ling, Ryan McGinley, Izumi Miyazaki, Joanna Piotrowska, Greg Reynolds, Antonio Rovaldi, and Maurice van Es) have documented personal rituals with attention to the gaze of both the observer and the observed.
Give Me Yesterday
Italian photographer and video artist Paola Di Bello focuses her attention primarily on people and urban environments. Fascinated by seemingly mundane scenes, she brings a new perspective and dynamism to aspects of Milanese culture and society that one might otherwise overlook as being too familiar to be interesting.
Paola di Bello