Additional Exhibitions
I have listed some shows in and out of the city that are worth seeing, and let me know if you would like to visit some artist studios.
Best,
js
OUTSIDE OF NYC
Dia Beacon – Exhibitions – Dia Beacon is the museum for the Dia Art Foundation’s collection of art from the 1960s to the present and is one of the 12 locations and sites they manage. The museum, which opened in 2003, is situated near the banks of the Hudson River in Beacon, New York.
Storm King – Exhibitions – Storm King Art Center is a 500-acre outdoor museum located in New York’s Hudson Valley, where visitors experience large-scale sculpture and site-specific commissions under open sky.
MUSEUMS
Fotografiska – Best in Show – Explore the role our furry (and feathered) friends have played in culture and how they stand in as representations of status, power, loyalty, compassion and companionship through the perspectives of 25 global artists.
Museum of the City of New York – This Is New York: 100 Years of the City in Art and Pop Culture – It features both famous and lesser-known depictions of New York in film and television, visual and performing arts, music, poetry and literature, and even fashion, painting a collective, moving, and sometimes funny version of a city that has captured the imagination of the world.
American Museum of Natural History – Gilder Center – The new Gilder Center features new exhibition galleries and one-of-a-kind experiences, including an insectarium, butterfly vivarium, floor-to-ceiling collections displays, and more—and connects to the rest of the American Museum of Natural History on four floors.
DOWNTOWN
Peter Freeman – Helen Mirra, Green Holotrope – Explicit in the project is a possible answer to the existential question of how to meet things. Objects, sounds, and methods fold and realign; prior works get edited, put into new arrangements, or remade with a method of subtraction that sometimes looks like addition. Here, a compelling case is made that less is not more or less. When works and thoughts return, it is in the visible cycles of their repetition, and the space generated between occurrences, where we might find patterns for holding future and past equally within the present.
James Cohan 48 Walker – Jesse Mockrin, The Venus Effect – Extracting details from European Old Master paintings, Jesse Mockrin recontextualizes cultural narratives and art historical motifs to speak to the present. In The Venus Effect, Mockrin explores historical representations of women with mirrors, ranging from scenes of the toilette to biblical and mythological narratives of reflection.
James Cohan 52 Walker – Eamon Ore-Giron, Talking Shit – The paintings, textiles, and ceramic tile works in the exhibition represent an imagined conversation between the artist and deities from Mexico and Peru’s ancestral past. With precisely rendered, vibrantly-colored, semi-abstract references to the gods Quetzalcoatl, Coatlicue, Amaru, and Inti, among others, Ore-Giron explores our ongoing relationship with symbols of culture and the ways in which they come to hold ideas around individual and collective identities.
David Lewis – Lisa Jo, Heritage and Debt – Jo’s paintings begin with a glimpse (de Kooning: “content is a glimpse”) of the female body, rendered from the French 1970s erotic comics L’Écho des savanes: an arm here, a leg there, different renderings of eyes, a glimpse of a hip or a leg, graphic cutouts of long flowing hair… the suggestion of a nude.
Schoelkopf – Arthur Dove, Yes, I Could Paint a Cyclone – this exhibition brings together over 70 significant works in various media, including oil, pastel, watercolor and charcoal. These pieces are drawn from distinguished foundations and private collections across North America, revealing Dove’s profound influence and innovation in 20th century art. The exhibition will be accompanied by a fully illustrated catalogue featuring an essay by leading Dove scholar Rachael DeLue, Professor in American art at Princeton and author of the monograph Arthur Dove: Always Connect (2016)
GRIMM – Matthias Weischer, New Paintings – uses the domestic realm as a framework to enhance the viewer’s experience of the interior as a stage for symbolic objects. His thick paint application speaks to a practice enriched with conceptual and material exploration. His origins as a painter of elaborate spaces charged with personal memories connect to his present work through a shared tendency toward the theatrical.
Luhring Augustine – Yasumasa Morimura, Self Portraits – Masterfully transforming himself into famous figures who are often pulled from the Western cultural canon, such as Vincent Van Gogh, Marilyn Monroe, and Albert Einstein, Morimura’s work reference well-known imagery ranging from historical paintings and photographs, to pop culture and mass media.
UPPER EASTSIDE
Gagosian 980 – Roy Lichtenstein, Lichtenstein Remembered – curated by Irving Blum in recognition of the centenary of the artist’s birth. Organized in close collaboration with the Estate of Roy Lichtenstein and featuring an exhibition design by Bill Katz.
Gagosian 976 – Edmund de Waal and Sally Mann, To Light, and Then Return – The result of an ongoing exchange between two artists who are also celebrated writers, the exhibition is titled after the final line of “The spry arms of the wind” (c. 1866), a poem written by Emily Dickinson on an envelope scrap. Informed by their mutual fascination with material transformation and themes of elegy and historical reckoning, the works on view include de Waal’s sculptural installations featuring porcelain and other materials, and Mann’s tintypes and platinum prints.
Michael Werner – Aaron Curry, New Sculptures and Paintings – Known to draw inspiration from classical sculpture, 20th century modernism, comic book illustration, science fiction, as well as skateboard and BMX culture, the artist uses these diverse influences to develop what he calls a “visual toolbox.” Curry elaborates, “Instead of thinking of art through an avant-garde lens, where ideas are a reaction to what came before, it’s more about building on top of those ideas and discoveries.”
Almine Rech – Zio Ziegler, The Essential Figures – These totems, which Ziegler has called “Essential Figures,” are in his words, “a rejection of speed and change…relics that provoke the nervous system, rather than the intellect.” In front of them, one feels a haptic, bodily energy which encourages a prolonged engagement and an appreciation of their compositional complexity. It is impossible to imagine a computer generating or even replicating the highly subjective gestures, passages, and incidents that make up these paintings, characteristics that Ziegler intentionally engineers into the work as a direct challenge to machine learning
Skarstedt – Hans Josephsohn, Sculptures – In a career that spanned over six decades, Josephsohn remained unwaveringly dedicated to the human figure—its contours, its spatial depth, and its very essence. It is a subject as old as art itself, and indeed, Josephsohn was inspired by ancient influences from Greek, Egyptian, and Assyrian sculpture, as well as Medieval art, Romanesque churches, and Indian temple reliefs. By connecting these eras of artmaking with his lived experience, Josephsohn imbued his sculptures with a sense of timelessness.
Acquavella – Painted Pop – A group exhibition of painted work by the pioneers of Pop art, including Rosalyn Drexler, Robert Indiana, Jasper Johns, Roy Lichtenstein, Claes Oldenburg & Coosje van Bruggen, Robert Rauschenberg, Larry Rivers, James Rosenquist, Ed Ruscha, George Segal, Marjorie Strider, Wayne Thiebaud, Andy Warhol, and Tom Wesselmann.