On View

‘Christopher Williams: The Production Line of Happiness’ at Museum of Modern Art

Cutaway model Nikon EM. Shutter (2007).

The first time I saw a Christopher Williams photograph, what struck me was how much it showed—it managed to be at once a photograph and to pull back and show a number of usually invisible things about a photograph being made. Call it a super wide-lens effect. Take, for example, one of his pictures of a camera lens bisected, like Cutaway Model Zeiss Distagon T* 2.8/15 ZM, 2013. The title, which has been shortened here, goes on to describe the specs of the lens—its focal range, and its weight and serial number. The c-print is rich with the detail of the mechanics of a camera: concatenate ground-glass chambers pinned in place with precision steel and copper. The image speaks not just to the object on display but to the origins of photography—the portable camera obscura, the camera lucida and those earliest cameras by Louis Daguerre. Read More

Happenings

8 Things to Do in New York’s Art World Before July 27

8 Photos

SATURDAY | Performance: Mahmoud Ahmed at Pioneer Works

MONDAY, JULY 21

Premiere: “Kurt Vonnegut’s Galápagos” at the Parrish Art Museum
The artists Tucker Marder and Christian Scheider will debut a performance based on the expansive 1984 play by that rascally Vonnegut, a former resident of nearby Sagaponack. —Nate Freeman
Parrish Art Museum, 279 Montauk Highway, Water Mill, 6 p.m.

TUESDAY, JULY 22Read More

human resources

MoMA Names Michelle Elligott Chief of Archives

Elligott. (Courtesy MoMA)

The Museum of Modern Art has tapped Michelle Elligott to be its chief of archives, a newly created position that will be in charge of “acquiring, preserving, and making accessible archival and primary source collections related to 20th- and 21st-century art,” according to a news release from the museum. Milan Hughston, the current chief of library and museum archives, will take on the title chief of library, which is also a new position. 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

‘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