Maika Pollack

On View

‘Mel Bochner: Strong Language’ at the Jewish Museum

'Dollar Hash Exclamation Plus' (2011) by Bochner. (©Mel Bochner, courtesy the artist and Peter Freeman)

Mel Bochner is certifiably a smart artist—he cites Ludwig Wittgenstein in his catalog texts, and the philosopher Stanley Cavell has written about his work. He was a pioneer of conceptual art photography and in the 1960s used new media to elegant effect. His first job in New York, in 1964, was as a guard at the Jewish Museum, so it is fitting that that museum should host this handsomely curated survey of his work. Read More

On View

‘Life in Death: Still Lifes and Select Masterworks of Chaim Soutine’ at Paul Kasmin Gallery

'Plucked Goose' (1932–33) by Soutine. (Courtesy Kasmin Gallery)

This small, museum-quality show, organized by scholars Esti Dunow and Maurice Tuchman, is composed of just 16 paintings. All are loans from private collections, and none, miraculously, are for sale. Many are being shown for the first time since Russian-Jewish painter Chaim Soutine’s 1950 MoMA retrospective. Soutine is a painter’s painter, and it is worth going to Kasmin to see in person his particular mastery of the medium. Read More

On View

‘Lygia Clark: The Abandonment of Art, 1948–1988’ at the Museum of Modern Art

'Planes in Modulated Surface 4' (1957) by Clark. (Courtesy MoMA)

An overdue retrospective of the paintings, drawings, sculptures and participatory artworks of Lygia Clark, curated by Luis Pérez-Oramas and Connie Butler, fills in the gaps in our understanding of the Brazilian artist’s work and brings out its continued radicality. Ms. Clark is often represented in exhibitions through her sculptures entitled Bichos (creatures), made from 1959 to 1966. She is accused of “abandoning” art in the late 1960s for object-based psychoanalysis. This career-spanning survey of 300 works from late 1940s to early 1980s takes us beyond her most iconic work to better understand her project as a whole and reunites the later performance and participatory projects with Ms. Clark’s earlier paintings and sculptures. Read More

On View

‘Carl Andre: Sculpture as Place, 1958–2010’ at Dia:Beacon

Installation view. (© Carl Andre/Licensed by VAGA, New York, NY. Photo by Bill Jacobson Studio, New York. Courtesy Dia Art Foundation, New York)

Wear shoes you like to the Carl Andre show that just opened at Dia:Beacon. You’ll be looking at them a lot. From Mr. Andre’s trademark checkerboard copper or steel floor pieces to less-familiar works like Sand-Lime Instar (1966), in which you walk through eight low arrangements of white bricks, the average height of works in the show is around 3 inches, and your gaze is often focused downward. Read More

On View

‘13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair’ at the Queens Museum

'Most Wanted Men No. 11, John Joseph H., Jr.' (1964) by Warhol. (Photo by Axel Schneider/© 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York)

Andy Warhol’s most celebrated period, during the mid-1960s, included his only public work: a vast 20 by 20-foot mural entitled 13 Most Wanted Men, put on display at the World’s Fair in Queens in 1964. The painting was only visible for 48 hours before it was destroyed, a casualty of political censorship. Just in time for the 50th anniversary of the World’s Fair, the Queens Museum of Art has reopened the incident with a sinewy but glamorous exhibit, beautifully researched and curated by Larissa Harris. Read More

On View

‘Alibis: Sigmar Polke 1963–2010′ at the Museum of Modern Art

'Raster Drawing (Portrait of Lee Harvey Oswald)' (1963) by Polke. (Estate of Sigmar Polke/ Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn)

This retrospective of the German artist Sigmar Polke finds profound coherence in what is often termed his eclectic style. Unlike previous Polke surveys it mixes mediums: alongside painting and drawing there’s photography, sound, video, film and collage.Their combination proves key in assessing Polke’s reinvention of painting. From his rasterized halftone dot paintings, to paintings in photographic silver bromide (a light-sensitive chemical that darkens over time) on Bubble Wrap, and even uranium-exposed photographs, Polke effected a tectonic shift in how we think about what a painting can be. Read More

On View

Maria Lassnig at MoMA PS1

'Self-Portrait Under Plastic'  (1972) by Lassnig. (Photo ©Peter Cox, courtesy Collection de Bruin-Heijn)

At nearly 95 years of age, Austrian-born painter Maria Lassnig is having her first museum show in the United States. Like Philip Guston, Ms. Lassnig turned to figuration in the 1960s after a period of abstraction. Like Alice Neel, she has painted herself as a naked old woman holding a paintbrush; unlike Neel, Ms. Lassnig is usually alone in her paintings and brutally self-lacerating in her art. Read More

On View

‘Other Primary Structures’ at the Jewish Museum

Rasheed Araeen, 'First Structure,' 1966-67. (Aicon Gallery/© Rasheed Araeen)

Costa Rican-born German curator Jens Hoffmann’s first effort as deputy director of the Jewish Museum takes on the legacy of one of New York’s most important modern art exhibitions: his museum’s 1966 “Primary Structures.” Organized by Kynaston McShine, “Primary Structures” exhibited works by American and British artists—Donald Judd, Sol LeWitt and Robert Morris among them—who were defining the art we now call Minimalism. Mr. Hoffmann, uninterested in simply recreating the iconic show, instead presents “Other Primary Structures.” Read More