’s show is a vibrant celebration of the cultural contributions of immigrants. Titled The British Library (2014), it consists of 6,000 books bound in Dutch wax cloth penned by individuals from Kazuo Ishiguro to
. Additional works by the British-Nigerian artist on view reflect upon ideas of “otherness,” including an installation of a Victorian philanthropist’s parlour and photographs inspired by persecuted writer Oscar Wilde.
Neel lived between Spanish Harlem and the Upper West Side for half a century, during which time she frequently captured her neighborhood and its residents in paint. Curated by Hilton Als, this marks the first major exhibition to focus on the American painter’s portraits of Harlemites. As Als writes, the show “is an attempt to honor not only what
asserted full control over her public persona, famously rejecting feminist readings of her flower paintings as vaginas and eschewing the label of a “woman artist.” This career-spanning exhibition will examine the enigmatic modernist’s carefully crafted identity through her art and clothing, as well as photographs by the likes of
presents an exhibition of sculpture and animated videos that envisions the circulation of global capital through endearing animated characters he’s created. Inspired by Japanese Tamagotchi creatures and
is his largest presentation to date, with some 900 works dispersed across three floors. For more than 30 years, Pettibon has been chronicling and critiquing the ills of post-war American politics and society in his work—anything from conflicts in the Middle East to the hypocrisy of organized religion.
“Leonhard Hurzlmeier: All New Women” at Rachel Uffner Gallery
Feb. 24–Apr. 23, 2017 • 170 Suffolk Street
Leonhard Hurzlmeier, Leisure, 2016–2017. Courtesy of the artist and Rachel Uffner.
Leonhard Hurzlmeier, The Stand, 2016–2017. Courtesy of the artist and Rachel Uffner.
presents a new series of paintings in his distinct, playful style—figures and faces crafted using angular shapes with rounded edges, all in eye-popping hues. Among the new works are jovial women engaged in physical activities: one woman achieves an impressive yoga inversion, while another giddily rides her bike with a small dog in the basket.
“Marisa Merz: The Sky is a Great Space” at The Met Breuer
’s work in the U.S., “The Sky Is a Great Place” looks at the Italian artist’s influential and expansive five-decade-long career. While Merz is often referred to as the only woman to figure prominently in the
has reconstructed the ornate Louis XIV furniture of a historical Fifth Avenue ballroom using the modern—and decidedly egalitarian—material of concrete. With this new Public Art Fund installation at the southeast entrance to Central Park, she confronts class divisions by transforming a once-exclusive space into one accessible by all.
arranges her numbered collections in three-dimensional spaces she labels “assemblages.” The fifth iteration of this series—and her first solo exhibition in the U.S.—takes inspiration from archaic shapes and elemental materials including cob composite, lithium-barium crystal, and silver nitrate bronze (representing earth, water, and moon, respectively).
“Sarah Morris: Finite and Infinite Games” at Petzel Gallery
Feb. 23–Apr. 8 • 456 West 18th Street
Sarah Morris, National Exhibition Center, 2017. Courtesy of the artist and Petzel, New York.
Sarah Morris, Nbad, 2017. Courtesy of the artist and Petzel, New York.
Long fascinated with relationships between place and politics, here
presents new drawings and paintings related to films she shot in Abu Dhabi and at the Elbphilharmonie, Hamburg. In her striking, graphic style of algorithmic grids, the artist addresses a wide swathe of issues—from the current U.S. president to QR codes to falconry.
shows new iterations of his “Plate Paintings” from the ’70s and ’80s, which were recently on view at the Aspen Art Museum. Atop broken plates adhered to his canvases, Schnabel has painted verdant garden scenes punctuated with pink roses, inspired by the flowers he saw growing by
make a striking pair. Both were expats—the Dutch de Kooning in New York and the Chinese Zao in Paris—and the show offers a compelling comparison of two masterful, gestural approaches to painting placed side by side.
Sascha Braunig at Foxy Production
Mar. 3–Apr. 2 • 2 East Broadway, 200
Sascha Braunig, Twist 1,
2016. Photo: Mark Woods. Courtesy the artist and Foxy Production, New York
Sascha Braunig, Study for 'Backbone' 2, 2016. Photo: Mark Woods. Courtesy the artist and Foxy Production, New York
Coinciding with her show at MoMA PS1, the Canadian, Brooklyn-based artist debuts new paintings and works on paper at this Chinatown gallery.
debuts his largest ceramic works to date, as well as new paintings that build upon previous works, combining cardboard, fabric, paint, detritus from his studio, to create compositions that resemble window panes, horizons, and grids. His ceramic works span giant, highly textural basins, and totemic works that stand in clusters.
“Lynn Hershman Leeson: Remote Controls” at Bridget Donahue
Jan. 27–Mar. 12 • 99 Bowery, 2nd Floor
Installation view of “Lynn Hershman Leeson: Remote Controls.” Photo by Jason Mandella. Courtesy of Bridget Donahue.
, which coincides with her first U.S. retrospective at Yerba Buena Center for the Arts in San Francisco, evidences her forward-thinking approach to new media technology and ideas, as well issues of identity, surveillance, genetic engineering, and the cyber world. Among highlights are Lorna (1979-82), her first interactive video disc work, which allows viewers to use a remote to traverse the apartment of an agoraphobic woman; and the recent Venus of the Anthropocene (2017), which collects DNA patterns from viewers in a mirror, and presents them with a mutated identity based on this data.
’s new series of sculptures, made from volcanic rock, marble, and concrete, reflect on traditions of stone sculpture from ancient times through modern art. Inspirations range from the mortar and pestle, ubiquitous in his native Mexico, to sculptors such as
, and Mishek created a spiritual environment meant to instill in the viewer feelings of love and happiness. Initially, viewers come face to face with a reflecting pool; further back, they are invited into a wooden shack to behold one of Sherer’s sought-after sculptures of a nude Emma Watson, glowing purple in a box.
“Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction” at the Museum of Modern Art
addresses power dynamics, effective communication, and even the structure of the gallery itself in this new show. Central to the exhibition is Structural Psychodramas #2 (2017), a large-scale installation of temporary walls that questions the architecture of art institutions. Neon text works, one of which reads “NO MORE MASTURBATION,” offer a cheeky commentary on the role of desire in the present moment.