Carl Andre’s conviction to form comes through in this show, which presents sculptures in cedar, sandstone, and steel, created over a period of thirty years. The striated bricks in the “Isohedron” series engage the capacious gallery, beckoning at works like Ferox and Ninth Steel Corner, which sit weathered and rusted at the back of the space. A retrospective of the artist is currently on view at the Dia:Beacon.
Louise Lawler’s “tracings"—sketches of photographs featuring artworks in private collections and storage houses—are the subject of her latest exhibition at Metro Pictures. Printed on vinyl and mounted directly to the wall, the works lend themselves to a range of concerns, from the malleability of the photograph to the mechanics of the market and the artist’s negotiation of that increasingly Brobdingnagian machine.
Louise Lawler No Drones
Fifty years after their American debut, Marcel Duchamp’s editioned readymades—including Fountain, Bicycle Wheel, Hat Rack, and Traveler’s Folding Item—are again on view, and in the same building in which they were originally presented. The issues of artistic integrity addressed in that show, which paralleled the rise of Pop and presaged the appropriationist methods deployed by artists of the Pictures Generation, haunt this one, too. With the Jeff Koons retrospective right down the road, this exhibition couldn’t be better timed.
For Brazilian artist Lygia Clark's first comprehensive exhibition in North America, MoMA presents three hundred of the artist's drawings, paintings, sculptures, and participatory works from the late 1940s to the early 1980s. The survey, drawn from both public and private collections, organizes the artist’s work into three key themes: abstraction, Neo-concretism, and the “abandonment” of art.
Lygia Clark The Abandonment of Art, 1948–1988
The first comprehensive US survey of Italian Futurism presents more than three hundred works including everything from painting and sculpture to architecture, fashion, film, advertising, free-form poetry, music, theater, and performance. Organized by Vivien Greene, the Guggenheim’s curator of nineteenth- and early-twentieth-century work, the exhibition chronicles the movement from its feverish inception in 1909 with F. T. Marinetti’s Futurist manifesto to its quietus as Word War II drew to a close.
Italian Futurism, 1909–1944: Reconstructing the Universe
In celebration of the fiftieth anniversary of Andy Warhol’s contribution to the 1964 New York World’s Fair, the Queens Museum shows nine paintings made with the screens the artist used to create the controversial 13 Most Wanted Men, 1964, a work that depicted the enlarged mug shots of thirteen of the NYPD’s most-wanted criminals of 1962. Another 175 related objects are also on view.
Andy Warhol 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair
For Maria Lassnig’s most significant survey ever presented in the United States, MoMA PS1 exhibits fifty of the artist’s paintings as well as a selection of watercolors and filmic works—most of which have never been shown in the US. The included works span all periods of the artist’s career, from her early graphic abstractions produced in Paris to her later figural representations.
For “Here and Elsewhere,” curator Massimiliano Gioni aims to counter any notion that contemporary art in the Arab world might be homogeneous. Instead, his large survey of art in the Middle East—including works by forty-five artists from fifteen countries—focuses on a group with practices that might conceptually or aesthetically reference the Middle East, but which extend far beyond the purview of mere geography.
Here and Elsewhere
This exhaustive retrospective is the first to examine Jeff Koons’s career in its entirety. Curator Scott Rothkopf has reconstituted groundbreaking series in a chronological narrative that asserts Koons as one of the most crucial artists of the postwar era. The weighty catalogue, with texts by Isabelle Graw, Rachel Kushner, Michelle Kuo, Jeffrey Deitch, and Antonio Damasio, among others, promises to be a summer read like no other.
JEFF KOONS Jeff Koons: A Retrospective
The first museum survey of Charles Gaines brings together four decades of work. From his early experiments with systems and codes to his later examinations of subjectivity, the exhibition forms a pivotal link between 1960s and ’70s Conceptualists and artists that followed.
Charles Gaines Charles Gaines: Gridwork 1974–1989