On View

On View

‘Displayed’ at Anton Kern Gallery


“Displayed” has my vote for the most seductive group show of the season—an easy choice, given its treasures and the fact that, in a sense, it takes seduction itself as its subject, with work that examines and exploits the “possibilities inherent to the processes of selection, arrangement and presentation,” as its organizer, White Columns Read More

On View

‘Purple States’ and ‘Cafe Dancer Pop-Up’ at Andrew Edlin Gallery

Installation view of 'Purple States' at Edlin. (Courtesy Andrew Edlin Gallery)

“Sometimes more is better,” Martha Stewart Living crows of its recent recipe for chocolate ice cream cake with hazelnuts and marshmallow swirl. Agreed, when it comes to ultra-decadent desserts. However, that almost never holds true for summer group shows. “Purple States,” though, is the rare and wonderful exception: a jam-packed smorgasbord of artistic delights that feels like even more than the sum of its excellent parts. Organized by the artist Sam Gordon, it includes a shambolic, multigenerational mixture of some 60 outré-minded artists, who are cleverly presented in pairs—one, a non-mainstream or folk figure, the other, a more mainstream practitioner with shared interests. Sans checklist, I had trouble telling some of them apart, which lays bare the false and silly (but long-held) “insider-outsider” dichotomy that now finally seems to be waning. Read More

On View

Garry Winogrand at the Metropolitan Museum of Art and ‘The Photographic Object, 1970’ at Hauser & Wirth

'New York' (1950) by Winogrand. (© The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco)

It’s been 25 years since the last Garry Winogrand retrospective, and now is a great time to reflect on his polarizing photography. Through Winogrand’s prints, the current divide between what might be called “abstract” and “street” photography can be brought into clearer focus. This posthumous display of new work presents Winogrand as the father of the photography taught in many MFA programs across the country—a practice in which taking a picture means capturing what happens in front of a lens. Read More

On View

‘James Lee Byars: 1/2 an Autobiography’ at MoMA PS1

'The World Flag' (1991) by James Lee Byars. (Courtesy Michael Werner Gallery)

In an art world painfully short on eccentricity, James Lee Byars (1932–1997) stands out as an exemplar of outré thinking—an unrelenting performer, sculptor, writer, flâneur, operator, mystic … the list could go on. A master of fly-by-night beauty—ephemeral performances and is-that-art? activities—he ensured that no show will ever entirely encapsulate his protean career, but this elegant and spacious retrospective, organized by Peter Eleey of MoMA PS1 and Magalí Arriola of Mexico City’s Museo Jumex (where the show originated), offers a piquant look at his thrilling achievements. Read More

On View

‘Daughter of Bad Girls’ at Klaus von Nichtssagend Gallery

'Untitled (Hag)' (2012) by Vaginal Davis. (Courtesy the artist and Klaus von Nichtssagend)

The compact spread of this nine-artist group show, inspired by a bicoastal “Bad Girls” exhibition organized by Marcia Tanner and Marcia Tucker in 1994, manages to suggest both the diversity of the conversations currently taking place about the experience of being a woman and the need, unfortunately almost as urgent now as it was 20 or even 50 years ago, for those conversations to be louder. Read More

On View

‘A Dialogue With Nature: Romantic Landscapes From Britain and Germany’ at the Morgan Library & Museum

'Lucerne From the Lake' () by Turner. (Courtesy the Morgan Library & Museum)

Summer may bring you stretches in the Swiss Alps, weeks on Nantucket, or just a day at Rockaway beach, but for while you are in town, this exhibit—organized by Matthew Hargraves of the Yale Center for British Art, Rachel Sloan from the Courtauld, and Jennifer Tonkovich, now the Morgan Library & Museum’s newly endowed Eugene and Clare Thaw Curator of Drawings and Prints—emphasizes the almost spiritual effects of getting out into nature through some 30 landscapes by 18th- and 19th-century British and German artists.  Lapidary works on paper by familiar romantic artists like J.M.W. Turner, Caspar David Friedrich and Thomas Gainsborough depict the natural world with giddy verve. Read More

On View

‘My Old Friend, My New Friend, My Girlfriend, My Cousin and My Mentor’ at Shoot the Lobster

A work by John Ingiaimo. (Courtesy Shoot the Lobster)

After the kegger as après le déluge. An untitled, seven foot high transparent Chinese screen of hollow steel girders by Carol Bove snakes through the middle of Shoot the Lobster’s basement space on Eldridge Street, around a drain in the concrete floor, between two duffel bags fabricated by JPW3, the young painter who also organized the show, and Sara Gernsbacher, working together under the name “Patches,” from discarded canvases of his, almost scraping the ceiling. Next to it is RPT1, a debauched popcorn maker installation by JPW3. Read More

On View

‘Under the Same Sun: Art From Latin America Today’ at the Guggenheim

'A ∩ B ∩ C' (2013) by Amalia Pica. (Photo by Daniela Uribe, courtesy the artist, Marc Foxx Gallery and Museo Tamayo Arte Contemporáneo)

The Guggenheim’s exhibition of works recently acquired from Latin American artists is of great interest, not solely because of the art it puts on view, but also because of the various ways in which that art’s politics rub up against the ambitions of global art museums like the Guggenheim and large corporations like the show’s sponsor.

On display are works by 40 artists from some 15 countries in Latin America, including Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Guatemala, Honduras, Mexico, Panama, Peru, Uruguay and Venezuela. A similar show at the Guggenheim last year covered acquisitions of art from South and South-East Asia; the next installation, in 2015, will encompass art from the Middle East and North Africa. Read More