Viewing articles tagged with 'New York'

Whitney Museum of American Art, 99 Gansevoort St, New York, NY 10014, USA

Laura Owens

The Whitney Museum of American Art has historically positioned itself in the public imagination as an incontrovertible arbiter of taste, the sort of claim that makes its stale, self-consciously presentist choices all the more discouraging. As such, the Laura Owens retrospective currently on view feels less like the mid-career survey of a serious painter and more like an overblown Instagram backdrop, a pandering move that undercuts Owens’ contributions and reasserts the Whitney’s distance from artistic innovation. Review by Torey Akers

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Pace Gallery, 510 West 25th Street, New York NY 10001

Elizabeth Murray: Painting in the ‘80s

In the 1980s a new generation of painters had broken through. The pieces were big, the personas even bigger. Names like Fischl, Salle, and Schnabel became not just salient, but sexy. While this landscape hardly embraced women participants, innovators like Elizabeth Murray, the subject of an excellent retrospective currently on display at Pace’s 25th St. location in Chelsea, transcended dismissal through persistence.

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Matthew Marks Gallery, 523 W 24th St, New York, NY 10011, USA

Gary Hume: Mum

Matthew Marks is pleased to announce Gary Hume: Mum, the next exhibition in his gallery at 522 West 22nd Street. This body of work focuses on a range of subjects, but at its core is a suite of highly personal paintings about memory and loss. Hume’s mother is 86 years old and suffers from dementia. And while the ostensible subjects of many of the new paintings are flowers, their titles — Mourning, Spent, Blind — reflect Hume’s thoughts of her.

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Jack Shainman Gallery, 513 West 20th Street, New York, NY 10011

Nina Chanel Abney: Seized the Imagination

There seems to be a dichotomous relationship between specificity and standardization at play in Seized the Imagination. While occasional zeitgeist-adjacent signifiers prove easy to recognize, the activity afoot isn’t immediately identifiable. Review by Torey Akers

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Jack Shainman Gallery, 524 West 24th Street, New York, NY 10011

Hayv Kahraman: Re-weaving Migrant Inscriptions

In Re-weaving Migrant Inscriptions at Jack Shainman Gallery, New York, Hayv Kahraman’s material treatment of characters is important – pale, nude bodies and homogeneous features contextualize them in the annals of visual history, but while their faces look opaque, their bodies, suspended in the negative space of raw linen, feel ghostly, merely outlining the promise of a form. Review by Torey Akers

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Alexander Gray Associates, 510 West 26 Street, New York NY 10001

Polly Apfelbaum: The Potential of Women

In Polly Apfelbaum’s first show at Alexander Gray Associates, The Potential of Women, the artist borrows both the title and central design symbiology from the decades-old symposium’s accompanying publication. Her appropriation of this essentialist feminine image, denoted as such by the suggestion of a bob haircut, signals a further call to equity while contemplating the scope of modern identity politics itself. Review by Torey Akers

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MoMA, 11 W 53rd St, New York, NY 10019

Walid Raad

Widely noted, the role of fiction in Walid Raad’s practice takes a lead throughout his mid-career retrospective at MoMA. Review by Gemma Sharpe

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Marian Goodman Gallery, 24 West 57th Street, New York, NY 10019

Sunset Décor - Curated by Magalí Arriola

At a time when populations, cultures and the environment are fighting to resist conservative thinking and political assault, Sunset Décor puts into perspective the instrumentalization, now as then, of nature, the individual and the land for the production of a symbolic order in the name of freedom, civilization and democracy.

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James Fuentes, 55 Delancey Street, New York, NY 10002

Jessica Dickinson: ARE: FOR + remainders

Jessica Dickinson’s work in her current exhibition, ARE: FOR + remainders, currently on view at James Fuentes, New York, focuses on the sensations of time, light, and matter within shifting philosophical, perceptual and psychological states. Working with oil paint and various tools on a plaster-like ground, various additive and subtractive actions of countering speeds and pressures are layered, from repetitive marking to aggressive chiseling. These procedures draw their direction from a specific period and poetic sequence of events, where abrupt change is intertwined within daily time.

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Petzel Gallery, 456 W 18th Street, New York 10011

Simon Denny: Blockchain Future States

Regularly describing his own work as a form of fan art, Simon Denny’s practice revolves around new technology narratives: from Kim Dotcom to the NSA. In ‘Blockchain Future States’, he takes on the enigmatic Satoshi Nakamoto as his subject. Review by William Rees

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Matthew Marks Gallery, 522 West 22nd Street, New York

So I traveled a great deal…

Featuring six Northern California artists, So I traveled a great deal... is organized by the artist Vincent Fecteau and the curator Jordan Stein, and reflects their interest in the lesser-known, the ahead-of-its-time, the hard-to-classify, the ecstatic, the hermetic, and the strange.

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New Museum, 235 Bowery, New York, NY 10002, USA

Kaari Upson: Good thing you are not alone

‘Good thing you are not alone’, the Los Angeles-based artist Kaari Upson’s first solo museum exhibition in New York City’s New Museum, immediately follows her also having participated and contributed to the Whitney Museum of American Art’s 2017 Biennial, which took place not too far uptown in Manhattan. Timing aside, the exhibition is also notable for its size, promising to be of particular interest in providing a glimpse into what Upson’s been up to in the last number of years, especially since having possibly moved on from the monumental ‘Larry Project’, an omnipresence in her practice since the early 2000s. Review by Arthur Ivan Bravo

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39 Walker Street, New York, NY 10013

concrete realities

Bortolami’s current exhibition, concrete realities, is a two-person exhibition by Tom Burr and Andrea Zittel. Since the 1990s, Burr and Zittel have trained their attention on the built environment, addressing questions of site-specificity, subjectivity, and the body. This exhibition focuses on their ongoing projects in sites outside of art world centres, which find the artists developing distinct, but congruent methods of tackling their overlapping spatial concerns.

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Helper Projects, 495 Rogers Avenue, Brooklyn, NY 11225

Bonded Warehouse

Alina Tenser and Chris Domenick’s latest sculptural and performance work is currently on view at Helper Projects, New York.

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