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
Writer and art historian Alex Kitnick curated two other shows—sleazily titled “Frottage” and “Massage”—before bringing us to “Montage” at Off Vendome, a group exhibition featuring the work of Hilary Lloyd, Stephen Willats, Barbara Kasten, and John Miller . . . a ménage à quatre of kinky makers and forthright thinkers who sensualize the vicissitudes of contemporary experience—ahem—expertly.
Barbara Kasten, Hilary Lloyd, John Miller, Stephen Willats Montage
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
This small show dedicated to German artist Günther Förg, who is known for his paintings, photographs, and sculptures, packs a strange punch. Underscoring the artist’s legacy as a key proponent of non-figurative painting in 1980s Germany, the three abstract canvases on view (made between 1988 and 1995) show Förg’s genius for intuitive approaches to color and composition.
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.
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.
Inspired by the Camden Arts Centre’s history as a public library, Matt Mullican’s current show describes various methods of categorization and organization. The American artist, who is based between New York and Berlin, mathematically divided the gallery space before filling it with his own obsessive works—including books, bulletin boards, drawings, objects, photographs, and videos.
Matt Mullican The Sequence of Things
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.
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 over a quarter of a century features works made between 1990 and 2011. Among the most arresting paintings on view—examples from Steir’s “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.
The title of this show and one of the major works on view, “Walhalla,” is a reference to the paradise for those slain in battle described in Norse mythology, as well as an 1842 neo-classical monument build 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
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 silkscreens, 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 multi-disciplinary oeuvre.
The French conceptual artist has chosen three historical figures to explore in her current exhibition, “QM.15,” whose title is a reference to nineteenth-century French actress Sarah Bernhardt’s motto “Quand Même” (Even so.) In addition to Bernhardt, Gonzalez-Foerster inhabits two other strong female personalities—Marilyn Monroe and Maria Callas. Costumes from these “apparitions,” as the artist describes her work, are on view concurrently at the Schinkel Pavillon through January 22, 2017.
For her solo debut in Berlin, American artist Stanya Kahn presents new animations, paintings, and drawings characterized by a white-knuckled sense of humor and a fascination with anxiety. The centerpiece of the exhibition, Don’t Go Back to Sleep, 2014, is a feature-length video that describes the negative impacts of so-called First World society on the rest of the globe, as well as allegorical battles between “the people” versus “the state.” Meanwhile, Kahn's deceptively cheery drawings and paintings convey a sobering solitude despite their vibrant palette and cartoon-like animal and human figures.
Two recurring motifs from Barbara Bloom’s oeuvre—absence rendered as traces, stains, and erasures, and the evocation of books and writing—come together in this exhibition, titled “The Weather.” Hovering above the floor, a fleet of carpets is emblazoned with Braille translations of descriptions of the weather as excerpted from texts by Raymond Chandler, André Gide, James Joyce, Gabriel García Márquez, Cormac McCarthy, Haruki Murakami, and Daphne Du Maurier, and the weather statistics of Los Angeles on July 11, 1951, at 2 AM (the place and date of birth of the artist). On the walls, seven photographs of optical illusions are accompanied by another Braille text about the nature of seeing.
Barbara Bloom The Weather
The pioneering Minimalist is showing six works produced over the course of his storied career, with the earliest dating from 1961 and the most recent from 2014. Together, these deceptively simple sculptures—made from diverse materials including mirror, artic birch, and aluminum—underscore Morris’s unconventional approach and create an environment where reflection and reality ricochet off each other.
Robert Morris Refractions
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, a version of which was infamously dismantled prior to a scheduled exhibition at MASS MoCA in 2007, Training Ground for Training Ground for Democracy 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 BŘchel Training Ground for Training Ground for Democracy
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In the lead-up to a retrospective at Tate Modern this winter, the artist’s seventh exhibition at this gallery takes a broad look at a diverse practice that alights on figurative portraiture, abstraction, digital vs analog technology, and documentary photography. Clinical vitrines of photos, heavy-hitting large framed pics, and small prints posted on the hiding-in-plain-sight backroom doors draw the white cube into cahoots with a more intimate bedroom-style display.
The late Austrian artist’s first solo exhibition in Los Angeles is a survey of works spanning half a century, examining her seesaw between painterly abstraction and the arguably more loaded abstractions of the body as both material fact and malleable emotional organ. Get ready to crumble.
Maria Lassnig A Painting Survey, 1950 – 2007
Founded in 1966, Gemini G.E.L. is celebrating its fiftieth anniversary as one of the country’s foremost printmaking shops with an exhibition of works on its home turf. In addition to fifteen series of prints, including editions by Jasper Johns, Robert Rauschenberg, Vija Celmins, Frank Stella, Michael Heizer, Richard Serra, Ellsworth Kelly, Josef Albers, John Baldessari, and Julie Mehretu, expect lithography, etchings, and screen prints to all put in an appearance.
The Serial Impulse at Gemini G.E.L.
Jay DeFeo is best known for her startling masterwork The Rose, 1958–66, which she modestly described as “a marriage between painting and sculpture” (the bonds of matrimony have nothing on that glorious monument). DeFeo’s first exhibition at this gallery, and her first in this city in almost two decades, focuses on her “Samurai” series of paintings on paper. Inspired by a trip the artist took to Japan in 1985 and by the exhibition “Spectacular Helmets of Japan, Sixteenth–Nineteenth Century,” which she saw the same year at the Asian Art Museum of San Francisco, many of the works are based on images from the show’s catalogue and feature bold gray, white, and beige strokes rendered in oil and acrylic paint along with oil pastel and collage. Walter Hopps considered DeFeo on equal footing with Rauschenberg, Johns, and Stella. Take a look and see if you don’t agree.
While their name today sounds more like a support group for a certain US Presidential candidate, the Rat Bastard Protective Association was actually an artist collective created in 1957 and led by self-elected president Bruce Conner. Among his colleagues and cohorts were Bay Area glitterati Jay DeFeo, Wallace Berman, Joan Brown, Wally Hedrick, George Herms, and Carlos Villa, all of whom worked together in a building dubbed “Painterland” in San Francisco. Curated by Anastasia Aukeman, the show brings together nearly fifty works for a rare retrospective.
Wallace Berman, Joan Brown, Bruce Conner, Jay DeFeo, Wally Hedrick &more Rat Bastard Protective Association
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.
Given carte blanche to have his way with the Palais de Tokyo’s sprawling multilevel exhibition space, Tino Sehgal presents a selection of his own works mixed in with pieces by other artists of his choosing, including a drippy basement installation by Pierre Huyghe and a colorful ceiling by Daniel Buren. Sehgal’s largest project to date weaves together old and new interactive performances pieces.
Inspired by Wesselmann’s 1970 exhibition at New York’s Sidney Janis Gallery, the current show includes Bedroom Tit Box, 1968–70, which is restaged here for the first time. The performance, which involves an otherwise unseen model adding her “live breast” to a still-life composition that includes an orange, a cigarette, and a vase of flowers, is accompanied by a selection of colorful and provocative Pop paintings from the 1960s to the 1990s.
Tom Wesselmann A Different Kind of Woman
Featuring more than forty new works installed across Perrotin’s three Paris galleries, this expansive show confirms the artist’s talent for seamlessly weaving artistic styles, ranging from traditional Japanese painting and contemporary manga to Abstract Expressionism and Pop art. Grandiose and fun, the monumental panel painting A Picture of Lives
Wriggling in the Forest at the Deep End of the Universe, 2015, acts as a useful anthology of the recurrent themes and characters populating Murakami’s hypercharged “superflat” universe.
Confirming Rosenquist's longtime fascination with technology and popular culture, this impressive collection of paintings (many of which are loans from the artist himself) includes the explosive “Meteor” series, where space rocks crash into pillars of Modern Art from Picasso to Brancusi. Examples of the artist’s less well-known collages are concurrently on view at Ropac's flagship gallery in the Marais (through October 15).
James Rosenquist Four Decades, 1970–2010
Cattelan’s largest show since his 2011 retrospective at New York’s Guggenheim features his likeness throughout the eighteenth-century salons of La Monnaie. Conceived as a kind of post requiem five years after he gave us his “all” in New York, the Paris exhibition shows Cattelan re-presenting works that may have seemed funny before but which are now cast in a more serious light.
Maurizio Cattelan Not Afraid of Love
On the one-hundredth anniversary of the term readymade, Ropac is showing, and selling, one of the most emblematic artworks of the twentieth century: Marcel Duchamp’s ugly, brilliant, and fabulous Bottle Rack, 1959. Acquired by Robert Rauschenberg in 1959, the work has remained in his personal collection (and then the collection of his estate) until now.
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.
Coinciding with Twombly’s Pompidou Center retrospective, 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), 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.
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.
Strange, humorous, and sardonic, Urs Fischer’s new small-scale bronzes are presented at Massimo De Carlo’s converted warehouse on Via Ventura. Arranged in a theatrical tableau, the twenty-six handpainted figurines include a female nude reclining on a chaise lounge next to a snail, a crying horse, and piano-playing rat. (Fischer’s work is concurrently on view at the gallery’s new location at the Piazza Belgioioso.)
Urs Fischer Battito di Ciglia
Showing a more intimate side of a painter whose long career was recently the subject of major exhibitions at Bilbao’s Guggenheim Museum and London’s Serpentine Gallery, this show focuses on Katz’s small-scale works. Less stylized than the large-scale portraits for which he is well-known, the artist’s preparatory studies, drawings, and small paintings are surprisingly expressive and spontaneous.
Alex Katz Small paintings and drawings 1990-2016
Known for his décollages made from torn street posters in Rome, Mimmo Rotella also made so-called “Blanks” by sticking large monochrome sheets of paper onto advertisements. First shown in Milan in 1980, and rarely exhibited since, these striking erasures are back in the spotlight as part of a multi-venue tribute to the Italian artist on the tenth anniversary of his death. The late Nouveau Réaliste's work is also on view at: Fondazione Marconi (December 2–February 4), Galleria Carla Sozzani (October 9–November 13), Robilant + Vena (September 20–October 28.)
Mimmo Rotella Mimmo Rotella. Blanks
In addition to the well-known sculpture that lends the show its title, this exhibition features other politically charged sculptures by Ed and Nancy Kienholz. Among them: The Bronze Pinball Machine with Woman Affixed Also, 1980, which presents the female body as pure entertainment, and 76 J.C.s Led the Big Charade, 1993–1994, one of the couple’s final installations, in which seventy-six wall-mounted crucifixes (made with baby doll parts and wagon chassis) take aim at institutionalized religion.
Edward Kienholz and Nancy Reddin Kienholz KIENHOLZ: FIVE CAR STUD
The title of Betye Saar’s first exhibition in Italy, “Uneasy Dancer,” is an expression the Californian used to describe herself and her process, which she recently described in her Artforum.com 500 Words as a “personal ritual.” Uniting more than ninety works produced between 1996 and 2016 and showcasing Saar’s powerful critique of racist and sexist stereotypes, this show features intimate assemblages created inside boxes and suitcases as well as large-scale installations, such as The Omega (The Beginning and the End), 2013–16, a circular environment related to the life cycle that was adapted specifically for this show.
Betye Saar BETYE SAAR: UNEASY DANCER
Multidisciplinary artist Marc Camille Chaimowicz brings his unique combination of design, literature, art, and performance to the Palazzo dell’Arte. The dreamy exhibition, which is part of the Triennale di Milano, includes historical examples of Metaphysical art, like Giorgio de Chirico’s Prodigal Son, 1973, and plenty of Chaimowicz’s own meditative and atmospheric experiments with linear time and logical space.
Marc Camille Chaimowicz Maybe Metafisica
Made during the creation of the artist's acclaimed film trilogies,Cabaret Crusades, 2010–15, and Al Araba Al Madfuna, 2012–16, twenty works on paper describing fanciful characters and scenes in translucent washes and metallic hues, show drawing as fundamental to Shawky's process. Echoing the theme of Cabaret Crusades, which describes the Crusades from an Arab perspective, a freestanding mirror decorated with a fourteenth-century map shows an ancient city from this period.
To accompany her new painting-collages and hanging sculptures, Smith has made a site-specific wall painting using her own body as a brush. Swirling out from a corner of the gallery with bold strokes, the black, purple, and blue mural complements the looping, spiraling, and coiling gestures that characterize the artist’s three-dimensional works.
Shinique Smith Black Swan
Born in Syria and based in California, Simone Fattal has never before had a solo show in Italy. Providing a comprehensive overview of how the artist has used ceramics since the early 2000s to convey socio-politcal themes, the works on view evoke ancient archeological finds while commenting on current events.
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 ’90s. Highlights on view from the Marconi Collection Include Rotella’s first décollages from the early ’50s to the sovrapitture (paintings made directly on advertisements) from the ’80s and ’90s.
Mimmo Rotella e Giorgio Marconi: Una storia d’arte e di amicizia
Mucha revisits his historic installation Mutterseelenallein (Loneliness), 1989, which originally filled the Galleria Lia Rumma in Naples with showcases displaying black-and-white photographs of chairs that had been used by gallery guards or visitors during a 1979 exhibition of his work in Düsseldorf. The German artist’s current presentation includes a miniature re-creation of Mutterseelenallein accompanied by films and photographs taken during the nine-day period in which the artwork was on view at Frankfurt’s Museum für Moderne Kunst.
Reinhard Mucha #MUCHA«MILANO - Schneller werden ohne Zeitverlust
A wide sampling of Andy Warhol’s signature 1960s “Screen Tests” as well as his Polaroids from the ’70s and ’80s make up the first show in China to look at the major role of mechanical reproduction in Warhol’s work. Also on view, his screen-printed wallpapers and fetching, iconic Silver Clouds guide viewers across the gap between indexicality and pure, tactile materiality.
Andy Warhol Contact