Carla Camacho, who has acted as director of sales at Lehmann Maupin for the past seven years, is now a partner at the gallery. ”It’s been amazing to develop my career at the same time that Lehmann Maupin has had such tremendous growth,” said Ms. Camacho, who joined the gallery when it had a single location, in Chelsea. Since she arrived, Lehmann Maupin has opened branches on Chrystie Street on Manhattan’s Lower East Side and, last month, in Hong Kong.
Last Wednesday afternoon, the day before his solo show opened at Lehmann Maupin’s Chelsea space, Chinese artist Liu Wei could be found darting about the gallery, carefully examining his tall sculptures. He has a perfectly shaved head, and was wearing smart glasses, a sweater and a thin gold necklace. He looked a bit like a globetrotting architect as he held a black marker, signing the pieces.
Though Mr. Liu is widely acclaimed on the international art circuit, this is his first one-person show in the United States. “We decided to do more of an introductory exhibition that will let people get to know my work,” he told me through his translator, Jesse Coffino, who works regularly with the artist Xu Bing in Beijing.
South African-born, Berlin-based artist Robin Rhode crouches at the end of a parking space against a hard white wall. (They’re harder outside than in the gallery.) He holds his right hand at the top edge of the low black curb, next to a stenciled painting of a cross-shaped spider wrench. Or rather, since Mr. Rhode practices art as graffiti as performance as activism, using staged photos of himself or an actor in zoetrope-meets-comic-strip sequences at once facile and open-ended, satisfying and subversive, which reveal the mechanisms of reading and misreading by slowing them down, and which link art and politics without subordinating either to the other, it might be more accurate to say that he paints the wrench next to his hand. In the next panel, he’s up and leaning back to watch as the painted spanner spins up in the air and over his head; in the next seven panels, it spins back and in again, more quickly, and shrinks to form, by the end, an infinitely inwinding spiral. In the last panel, Mr. Rhode—knees bent, arms splayed—looks as if he’s been shot. This is A Spanner in the Works of Infinity. Other sequences find Mr. Rhode falling to his back under eight giant feathers in a fan (Twilight), following the arc of a bird’s flight over six strands of barbed wire in black Chucks and orange backpack (Bird on Wires), or using a giant Afro pick to tease out what would otherwise look like a circular pattern of abstract squiggles (Blackness Blooms).
Back in June, The New York Observer broke the news that Chelsea and Lower East Side gallery Lehmann Maupin was on the hunt for real estate in Hong Kong. Now they have found it.
After eight years at the Pace Gallery, most recently as public-relations manager, Jennifer Joy is moving to Lehmann Maupin to become its director of communications.
TUESDAY, JUNE 26
Opening: Hannah Weinberger, “Le Moi Du Toi,” at Swiss Institute
Basel–based artist Hannah Weinberger’s first show in the United States promises to be a supremely minimal affair, at least visually: just white curtains along the walls and multidirectional speakers spread throughout the space. Aurally, though, the gallery will be filled: those speakers will play electronic loops composed by Ms. Weinberger that viewers can navigate on their visits. “There is no beginning or end to the permutations that the exhibition incites,” the SI’s release states. Should be interesting to see how the opening goes with all of that sound playing. —Andrew Russeth
On a sunny afternoon two weeks ago, David Maupin, co-owner of Lehmann Maupin gallery, sat in his Rem Koolhaas-designed office in Chelsea looking over a spreadsheet of Hong Kong real estate listings. Last year his business partner, Rachel Lehmann, spent three months traveling in Asia. In the past five months, Mr. Maupin has gone there three times (no small feat considering that he and his partner, W magazine editor Stefano Tonchi, welcomed newborn twin girls a year ago), gallery partner Courtney Plummer has gone twice and two other employees made trips. “I enjoy it,” said Ms. Lehmann. “Hong Kong is interesting. It’s one of these cities that has this uplifting energy.” They are planning to open a branch in Hong Kong; along with global megadealer Larry Gagosian, they will be among the first New Yorkers to do so.
MONDAY, MARCH 26
Artist Talk: “Kara Walker on Andy Warhol,” at Dia Art Foundation
As part of its “Artists on Artists” series, the Dia Art Foundation invites Kara Walker to speak on the subject of Andy Warhol. Ms. Walker is known for her frank and often disturbing silhouettes that explore power dynamics along lines of race, gender and sexuality. Ms. Walker’s major survey exhibition, “Kara Walker: My Complement, My Enemy, My Oppressor, My Love,” which Dia director Philippe Vergne helped curate, premiered at the the Walker Art Center, Minneapolis, in February 2007, after which it was presented at the Whitney and many museums worldwide. —Rozalia Jovanovic
Dia Art Foundation, 535 West 22nd Street, 5th floor, New York, 6:30 p.m., $6
An eagle-eyed tipster just sent over a job listing for an “Artist/Ceramist” on the New York Foundation for the Art‘s website that was posted by the studio of artist Angel Otero, who is based in Ridgewood, Queens, and shows at Lehmann Maupin in New York.
WEDNESDAY FEBRUARY 8
Tour: ArtWalk Chelsea: David Zwirner, Gagosian and Gladstone
The American Federation for the Arts takes visitors on a tour of three exhibitions of three very different artists in Chelsea–Doug Wheeler, Damien Hirst and Shirin Neshat. –Michael H. Miller
Meet at David Zwirner, 519 West 19th Street, New York, 4–6 p.m., $25 for AFA members, $35 for non-members.
THURSDAY, FEBRUARY 9
Opening: “Happenings” at the Pace Gallery
Over 300 photographs document performance pieces from the movement, featuring work by Jim Dine, Simone Forti, Red Grooms, Allan Kaprow, Claes Oldenburg, Lucas Samaras, Carolee Schneemann, and Robert Whitman. Sounds like a stellar tribute to a too-short movement, and you never know, someone may stage a be-in right at the opening. –Dan Duray
The Pace Gallery, 534 West 25th Street, New York, 6-8 p.m.