Friday, May 6
Elizabeth Peyton’s paintings feel like the most ardent of love letters. Her fey yet magisterial works deserve a backdrop as grand as the Metropolitan Opera. This exhibition, put together by the perennially chic Dodie Kazanjian, is being presented to coincide with the Met’s scintillating new production of Puccini’s Manon Lescaut (1893).
Elizabeth Peyton Manon Lescaut
Randall’s Island Park is simmering again with the fifth edition of Frieze New York. Hundreds of galleries from Amagansett to Beirut, Guadalajara, Leipzig, Tel Aviv, and beyond will gather for an extended weekend of special projects (assembled by Cecilia Alemani, who was recently selected to curate the Italian Pavilion for the 2017 Venice Biennale), featuring artists such as Alex Da Corte, Anthea Hamilton, and Heather Phillipson; talks (put together by Tom Eccles and Christy Lange), one of which is the fair’s keynote address, given by poet and raconteur Eileen Myles; and sounds (organized by Alemani and presented with BMW), with a Trump-inspired ventriloquism act by Liz Magic Laser; and so much more.
Frieze New York 2016
Few give credence to joy the way Miriam Schapiro did. Every glittering, floral, ruffled, hyper-patterned, and supersaturated aspect of her work was a kind of defiance: of taste, art-world hive mind, and some of the more misogynistic elements of the culture that keep a lady—and those of us with an affinity for the lady-like—down. To call her a visionary, as the title of this exhibition claims, is not an overstatement, as it takes real vision to work in such a grand vein of unabashed love.
Miriam Schapiro “Miriam Schapiro, A Visionary”
Betty Tompkins’s hall of catcalls—little text paintings flooded with denigrating terms for women—might inspire one to drive a knife into this “crisis of heterosexual masculinity” everyone keeps talking about, Sister Serpents–style.
Betty Tompkins WOMEN Words, Phrases, and Stories
Ed Atkins’s funny, futuristic, and funereal videos—an amalgamation of Cronenbergian aesthetics and Nickelodeon ethics—can sicken as much as they seduce. For Performance Capture, part of the Kitchen’s “From Minimalism into Algorithm” series, curated by Lumi Tan and Tim Griffin, the gallery functions as a theatrical site where screenings and presentations bring together “live bodies, animated surrogates, and departed performances.”
Ed Atkins Performance Capture
Steve McQueen is that rare kind of mind and heart whose creativity—via film, video, photography, and installation—has moved the art world and, indeed, quite a few worlds beyond it. For his show at the Whitney, as part of the museum’s “Open Plan” series of short exhibitions, McQueen will present End Credits, 2012, a portrait of the renowned African American actor and activist Paul Robeson, assembled via the FBI’s surveillance files on him from America’s paranoiac Joe McCarthy years. In the museum’s Kaufman Gallery will also be McQueen’s Moonlit, 2016, a sculpture making its US debut.
Open Plan: Steve McQueen
It’s strange to walk through this gorgeous retrospective—Broodthaers’s first in New York—as it feels as if the work was made at least a generation before 1963–75, the years the artist decided to make objects instead of poetry, his first métier. It could have something to do with the influence of his friend René Magritte, whose paintings corrupted the traditionalist aesthetics of the late nineteenth century. Or it could just be Broodthaers’s innate lyricism, tapping into images as the poet does language to unveil all the depths—metaphorical, historical, magical—embedded within a picture or thing. How lucky we are to witness the unfolding of such an exquisite visual grammar.
Books—or comics, magazines, and newspapers—make sense for Warhol, as they are entirely democratic vehicles for art, ideas, and desire (it’s not difficult to imagine the artist, eight years old and bedbound for months with illness, fastidiously poring over Modern Screen or Popeye’s weirdly masculine contours in the Sunday funnies). Warhol left behind vaults full of gorgeously printed and bound things: from the limited-edition collaboration with his mother, 25 Cats Name Sam and One Blue Pussy,1954, to the still-going-strong Interview magazine, founded in 1969. More than 130 objects from the artist’s commercial career and afterward will be on display, which underlines what we’ve always known—Warhol’s oeuvre is endless.
Warhol by the Book
Eleanor Antin photographed the subtle diminishing of her own body in Carving: A Traditional Sculpture, 1972, an iconic piece of first-wave Conceptualism and second-wave feminism. Since then, her art has interrogated the constructs surrounding identity, fiction, and historical painting. At Ronald Feldman, Antin presents her newest paper-doll work, The Theatre of the Absurd, 2016, in addition to older video installations, such as The Nurse and the Hijackers, 1977, and The Adventures of a Nurse, 1976.
Eleanor Antin I wish I had a paper doll I could call my own...
On view at Ronald Feldman is artist/activist/poet/prankster Conrad Atkinson’s series “Shopping Carts” and “Aesthetics Can Be a Pretty Ugly Business,” along with a Wizard of Oz–inspired sculpture that takes on xenophobia and nationalism, and the artist’s famous Material–6 Works, 1979—originally presented in Atkinson’s first exhibition with the gallery—which investigate Third World poverty, industrial poisoning, and Northern Ireland’s troubles.
Conrad Atkinson as u like it
There’s always been something queerly funereal about Haim Steinbach’s saintly presentations of consumer goods, such as cereal boxes, shoes, or toys, on his sleekly designed shelves. It’s as if the assembly line is the only place we can find incorruptible bodies today. At Tanya Bonakdar, Steinbach dazzles with more twenty-first-century weirdness by asking us to consider the graphic visage of the Lion King, Pantone’s creepily named “Matching System,” and disembodied lines of poetry that feel like jingles written by ghosts.
This exhibition at Michael Werner, organized by art historian and curator Sir Norman Rosenthal, is the most exhaustive presentation of the English Pop artist’s work in New York to date. More than fifty years of Allen Jones’s febrile and scrupulously conceived paintings and sculptures will be available for one’s erotic peregrinations. Sexy, slinky, synthetic—shoot yourself up with a veinful of Jones if you want to leave the whip- and rubberless doldrums of our vanilla world.
Allen Jones A Retrospective
It’s not a stretch to call Tom Wesselmann a descendant of Gauguin. Wesselmann’s nudes carry the same sultry iconicity of his forbear’s, but they were found on the magazine racks of grocery and liquor stores, in copies of Playboy, Vogue, or Ladies’ Home Journal—not in Tahiti. This is the first real retrospective of Wesselmann’s painted works in New York since the artist’s death in 2004. It highlights this underrated Pop master’s witty and innovative approaches to genre painting, via cutouts, assemblage, and molded plastic.
Alighiero Boetti and Mel Bochner make a kind of conceptual poetry that’s funny, grand, and hopelessly gorgeous. They do unto language as few can, intelligently and enviably, making words into pictures, portals, and spells.
Mel Bochner and Alighiero Boetti Verba Volant Scripta Manent
Ellsworth Kelly and Frank Stella, make room: Centenarian painter Carmen Herrera has been creating her rigorous yet utterly sensuous hard-edge abstractions for nearly eighty years. Alas, the artist’s bright and beguiling works have only caught the art world’s attention during the past decade or so. But a major solo exhibition scheduled at the Whitney this fall is finally making up for all that lost time.
Follow Janet Cardiff and George Bures Miller wherever they want to take you. The centerpiece of their fourth solo exhibition here is The Marionette Maker, an immersive and ghostly tableau from 2014 about the titular craftsman that features, among other things, a series of robotically animated marionettes performing inside a vintage caravan.
Janet Cardiff and George Bures Miller The Marionette Maker
Cindy Sherman’s been seducing us for over thirty-five years with her ambivalently feminist phantasmagoria of broken socialites, fairy-tale victims, trophy wives, Old Master characters, and silver-screen clichés. Her exhibition at Metro Pictures—Sherman’s first new body of work in four years—is an exploration of female Hollywood “types” from the Roaring Twenties.
More than fifty years of Ryman’s cautiously metaphysical paintings, sculptures, and drawings are situated in Dia’s luxurious space like a sexy Minimalist cathedral. White in Ryman’s numinous hands becomes more than psychic space—it’s psychic material—and brings you, quite carefully, for just a split second, to the edge of some kind of marvelous forever.
With a focus on rarities from the 1930s, this stunning exhibition expands upon the haunted intelligence of Giorgio Morandi—a mostly homebound genius who, like Emily Dickinson, could peer into life, death, and eternity with startlingly limited means.
Mike Kelley called dark humor “negative joy,” an ultimately creative force that suffused everything he did (which makes one wonder if it’s anything at all like our universe’s dark matter, a mysterious yet totally productive energy to which Kelley was likely a direct conduit). The artist’s shaped paintings—made during the early to mid-1990s—are presented together for the first time. Think of them as guides to America’s greasy, filthy heart, full of sex, shit, cartoons, and blood.
Mike Kelley Shaped Paintings
Jasper Johns’s fastidious, poetic works are exquisite mysteries that we’ll spend lifetimes trying to decipher. At Matthew Marks’s West Twenty-Second Street space, forty-one of the artist’s monotypes—made between 1978 and 2015—will be on display, many of which have never been exhibited before. In 2017, the gallery will publish a catalogue raisonné of these pieces, written by Jennifer L. Roberts, professor of art history at Harvard, and Susan Dackerman, Getty Scholar at the Getty Research Institute.
Jasper Johns Monotypes
American life has been particularly ugly these past several years—as if the battles for the rights of black people, immigrants, or the poor had simply never happened. Rodney McMillian understands that collective memory, especially in these hypermediated times, is more tenuous than ever. The castoff things he resuscitates, like sofas, chairs, or carpeting, are, physically, quite heavy. But so are the histories attached. Should art be otherwise?
Rodney McMillian Views of Main Street
This exhibition pulls us into that numinous, dangerous decade for queers, shortly after Sylvia Rivera threw the first brick at Stonewall and right before GRID—now commonly referred to as AIDS—decimated legions. Organized by Leslie–Lohman’s staff, the show brings together a wide range of works from the likes of Paul Cadmus, Cathy Cade, Jimmy DeSana, Tee Corinne, Diana Davies, and Robert Mapplethorpe, among others. Witness a generation’s charisma, uniqueness, nerve, and talent while, in the words of Harry Hay, “throw[ing] off the ugly green frog skin of hetero-imitation.”
Paul Cadmus, Joan E. Biren, Jimmy Desana, Marion Pinto, Amos Badertscher The 1970s: The Blossoming of a Queer Enlightenment
Nicole Eisenman’s lesbian heat beats up painting’s lineage of hetero male starchiness. Though she pulls her depictions of bodies from the best—Bosch, Goya, Bruegel, and Munch, among countless others—she imbues them with a weirdness, humor, and pathos that is, unequivocally, hers. This retrospective at the New Museum, titled “Al-ugh-ories,” is the artist’s first major museum survey in New York and is curated by Massimiliano Gioni, the museum’s artistic director, and assistant curator Helga Christoffersen. The catalogue features contributions from Grace Dunham and one of New York’s finest, Eileen Myles.
Nicole Eisenman Al-ugh-ories
Musician, filmmaker, painter, and all-around queer wunderkind Sadie Benning gives us “Green God” (an examination of the phrase “God created man in His own image,” from Genesis 1:27), one half of a two-pronged exhibition taking place at Callicoon Fine Arts and at Mary Boone’s Fifth Avenue space. For this section of the show, Benning inhabits the Goddess mantle—Being Supreme and Artist—with an iconic female crucifixion as well as several binary-breaking illustrations of the human form that screw up the range between “male [and] female, baby bump [and] butt.”
Sadie Benning Green God
Musician, filmmaker, painter, and all-around queer wunderkind Sadie Benning makes her solo debut at Mary Boone, curated by Piper Marshall, with “Green God” (an examination of the phrase “God created man in His own image” from Genesis 1:27), one half of a two-pronged exhibition taking place here and at Callicoon Fine Arts. For this section of the show, “the artist incorporates found objects and photographs into the composition[s] of [her] works,” which tweak notions of Christian monotheism with a pantheon of littler, lovelier, funnier gods, like the purple hat god, the grey god, or the worm god, among others.
Sadie Benning Green God
Multifaceted cultural engineer Genesis Breyer P-Orridge is one body, two souls, and a thousand hearts. “Try to Altar Everything” is the name of this survey/shrine/site-specific installation, which highlights the ways Nepal and Hindu creation myths have influenced h/er thinking and making, in realms sacred and profane. The artist will be at the museum at certain times throughout the duration of the show, and visitors are encouraged to bring objects of devotion to add to this sprawling autobiographical sanctuary of—what else?—love.
Genesis Breyer P-Orridge Try to Altar Everything
Dyke Action Machine!, Gran Fury, the Guerrilla Girls, Martha Rosler, Coco Fusco, and the Friends of William Blake, among innumerable others, show us that art can, and does, change lives. Brilliantly organized by Stephanie Weissberg, Jess Wilcox, Saisha Grayson, Catherine J. Morris, and Stephanie Weissberg from the museum’s Elizabeth A. Sackler Center for Feminist Art, “Agitprop!” might be one of the most urgent shows up in the city right now.
Cao Fei’s immersive, funny, maddening, and queasy video installations may feel Surrealist, but understand: The artist doesn’t pull from dreams. Her approach to exploring a flowering of Chinese culture in the grips of twenty-first century metastatic capitalism feels nearly documentarian. Cao’s exhibition at MoMA PS1 is her first solo outing at a museum within the United States. It surely won’t be her last.
Imagine what Marcel Breuer’s dark, imposing edifice did to New Yorkers during its first incarnation as the Whitney Museum, when it opened to the public in 1966. One can feel the white gloves quake and starched collars moisten in the presence of this seductively forbidding structure. Taken in by the Metropolitan Museum of Art when the Whitney went Meatpacking, The Met Breuer, as it’s now officially dubbed, comes at us with several brilliant exhibitions, one of which is “Unfinished: Thoughts Left Visible,” a show that will explore “a subject critical to artistic practice: the question of when a work of art is finished.”
Unfinished: Thoughts Left Visible
Cornelia Parker’s sorta/sorta not “dollhouse,” a re-creation, at two-thirds scale, of Norman Bate’s house in Alfred Hitchcock’s Psycho (1960), is too weird for real children, but perfect for toy children—especially the dead-eyed, Victorian kids made by haute doll manufacturer Jumeau, which were favored by New York’s neurasthenic copper heiress Huguette Clark, who died, in 2011, surrounded by them. Clark’s haunted life, and so much more, comes racing to mind while witnessing Parker’s Transitional Object (PsychoBarn), 2016, on the Met’s Fifth Avenue rooftop. It also underlines, quite explicitly, that Parker is a horror auteur sans précédent.
Cornelia Parker Transitional Object (Psycho Barn)
Among the British artist’s latest works, his monumental “Id Paintings” from 2016 are titled after Freud’s description of the pleasure principle. Scaled to Walliger’s own body and made by sweeping his paint-covered hands directly over the canvas, these complex self-portraits are records of the artist’s instinctive actions and mirrors of his psychic energy.
Mark Wallinger ID
A decade after his death, John Latham is being honored with a slew of exhibitions across the UK. Timed to coincide with the Tate Britain survey “Conceptual Art in Britain 1964–1979” (April 12–August 29) and the Henry Moore Institute’s tribute “A Lesson in Sculpture with John Latham” (March 24–June 19), the show at Lisson focuses on the artist’s spray paintings and time-based drawings.
John Latham ‘The Spray Paintings’
Elizabeth Neel’s paintings are records of her being expressed through gesture, bodily fluids, and gravity. The new paintings and works on paper shown here examine the relationship between the individual and landscape, both in terms of physical and emotional surroundings.
Elizabeth Neel Vulture and Chicks
Borrowing its title from a term Nam June Paik coined in 1974 to describe how technology facilitates and ignites global connections, this exhibition traces the influence of computers and the Internet on artworks. Beginning with 1966 and going to present day, the show’s reverse chronology culminates with artist-engineer collaborations initiated by the Experiments in Art and Technology collective in the 1960s.
Now widely recognized as a pioneer of abstract art, Swedish painter Hilma af Klint did not have a public exhibition until 1986—more than forty years after her death. The works currently on view belong to a group of nearly two hundred paintings known collectively as “The Paintings for the Temple.” Made between 1906–1915, these colorful and phatasmagoric paintings represent the artist’s spiritual interpretations of themes like good and evil, man and woman, and religion and science.
Hilma af Klint Painting the Unseen
This small exhibition in Zwirner’s upstairs gallery features a group of rarely seen works by one of the UK’s most influential twentieth-century artists. Lithographs and signs made in Cadaqués during the 1970s show Hamilton playing with the iconic logo of Ricard, a French liqueur that remains a popular drink along the Mediterranean coast.
Richard Hamilton Cadaqués
Known for videos, photography, and performances that draw attention to twentieth-century protests, the American artist here explores queer and feminist movements in the US and the UK. The new works on view include a six-channel film, a wall drawing, and a large-scale installation that evokes the notice boards used by action groups as a means of communication.
Sharon Hayes In My Little Corner of the World, Anyone Would Love You
This group show brings together work by seven artists from two generations—Sonja Braas, David Claerbout, Elger Esser, Julie Monaco, Jörg Sasse, Stephen Shore, and Joel Sternfeld—who use photography to explore the uncanny. The works on view demonstrate photographers’ unnerving ability to simultaneously document and mutate reality.
Magical Surfaces: The Uncanny in Contemporary Photography
This two-woman show takes the form of an unexpected visual dialogue between weavings and drawings. Keeping examples of each others’ artworks in their studios as they worked, the two artists have created poetic cross-media counterpoints: Strafella’s drawings are fluttery and weightless, while Mirra’s tapestries are stiff and thick.
Helen Mirra, Allyson Strafella, Suchness
The British artist’s latest nudes were inspired in part by a recent exhibition at Oxford’s Ashmolean Museum: “Titian to Canaletto: Drawing in Venice” (October 2015–January 2016). While Saville’s writhing and coupling figures certainly relate to Old Master nudes, her forceful gestural marks also mine the overlap among figuration, landscape, and abstraction.
Jenny Saville Erota
Born in Beirut to Palestinian parents, Mona Hatoum settled in England in 1975. This show, her first major survey in the UK, was organized with Paris’s Pompidou Center (where it debuted in 2015) and includes thirty-five years worth of beautifully haunting work—from early radical performances and video pieces to recent post-Minimalist sculptures made from various industrial and personal materials, like barbed wire or the artist’s own hair.
Mining a rich art-historical period when artists found new ways to engage with reality and make work beyond the studio setting, this survey includes, among others, Keith Arnatt, Hamish Fulton, Mary Kelly, John Latham, Richard Long, David Tremlett, and Stephen Willats. Much of the work on view is politically engaged, dealing with a wide range of contemporary issues from feminism to the conflict in Northern Ireland.
Conceptual Art in Britain: 1964–1979
For Warhol, the Polaroid camera was an ideal egalitarian tool because of its built-in flash, preset focal distance, and standard print dimensions that could turn us all into equally glamorous creatures. This comprehensive selection of Warhol’s Polaroid portraits documents the New York underground scene—including artists, Factory denizens, and Studio 54 revelers—between 1971 and 1986.
Andy Warhol Andy Warhol Polaroids 1971 - 1986
Known for rephotographing images found across the spectrum of commercial and art photography, the New York-based artist here presents two new series in that vein. “Women Crying,” 2016, features enlarged and cropped images of tearful ladies taken from LP covers while “Tripod,” 2016, is based on ads for photography equipment. Photos of photos is a simple way to describe these works, but Collier’s reified images are surprisingly profound
In his ongoing project examining the art-historical, industrial, and commercial dimensions of photography, Christopher Williams notably features one particular piece of drywall in his latest exhibition. This piece—which Williams first showed in 2009 at Germany’s Bonner Kunstverein as part of a typological display of mobile wall systems, and then used as an actual wall in his Whitechapel Gallery show in 2015—was rephotographed and printed into images for this current exhibition, which are shown alongside the original wall in a characteristically meta move for this artist.
Christopher Williams Open Letter to Model No. 1740
The basis of the American artist’s latest work, Epigraph, Damascus, are architectural drawings she made from photos of Damascus. Mehretu used a range of traditional etching techniques to create the final layered image, which sprawls across six panels in a flurry of the artist’s signature painterly gestures.
Julie Mehretu Epigraph, Damascus
A follow up to Phillips’s 2015 show at Mathew NYC, which featured a takeoff on Christopher Wool’s and Albert Oehlen’s paintings, the American artist’s latest paintings enter into a dialogue with Gerhard Richter’s abstractions. Overlaying an old, found series of black-and-white portraits of a female model with painterly neon rainbows of oil color applied via a painstakingly cut vinyl mask, the artist achieves a certain psychedelic tone at once celebratory and satirical of the expressive associations of abstract painting.
Richard Phillips New Paintings / Neue Bilder
As a photojournalist, Lee Miller captured haunting images of WWII, including scenes of aerial bombardments of London, the liberation of Paris, and Nazi concentration camps in Dachau and Buchenwald. Though she was often footnoted in history as Man Ray’s muse and partner, the one hundred photographs included in this exhibition are a testament to Miller’s singular talent and diverse repertoire encompassing Surrealism, fashion, and documentary reportage.
Lee Miller – Fotografien Lee Miller
Taking as his subject the space and contents of his own studio, Wolfgang Tillmans slots another entry into the veritable historical genre of artists depicted at work. While scenes from his native site of production have previously appeared as a backdrop in many of his portraits, here they take center stage.
Wolfgang Tillmans Studio