Last chance to see NYC art exhibits closing soon

Make sure to consult our list of the best art exhibitions at galleries and museum that are closing soon
Photograph: Courtesy Acquavella Galleries
By Howard Halle |

New York hosts some of the world’s best art exhibitions, but all good things must come to an end, and eventually those shows will be closing—whether they’re at The Met, MoMA, the Guggenheim, not to mention at one of many of the city’s myriad galleries in Chelsea, on the Lower East or Uptown. It’s hard to remember them all, and to keep track of when they finally finish up, and so, to avoid having you kick yourself in the head for missing the work of your favorite artists, we offer our weekly reminder of the top shows you’ll want to get to before they shutter for good.

Last chance to see NYC art exhibits, Monday, Nov 19–Sunday, Nov 25

Richard Pettibone, Heart Attack #4, 2018
Photograph: Courtesy Castelli Gallery
Art, Contemporary art

Richard Pettibone

icon-location-pin Castelli Gallery, Lenox Hill

Now in his eighties, Pop-Art miniaturist Richard Pettibone was an early-adapter of Duchampian aesthetics who went Warhol on Warhol himself, replicating Andy’s work and that of other artists (Stella, Lichtenstein and Duchamp himself) in exquisitely small canvases that were often repeated serially. Pettibone—along with coeval copyist Elaine Sturtevant—would later be hailed during the 1980s as harbingers of Appropriation Art. He continues in a similar, if more personal vein for this show, memorializing his 2016 heart attack by replicating Marcel Duchamp’s 1936 cover for the magazine, Cahiers D’Art, a design that featured three concentric hearts in red and blue.

Mary Corse, Untitled (Octagonal Blue), 1964
Art, Contemporary art

Mary Corse

icon-location-pin Whitney Museum of American Art, Meatpacking District

Corse is one of the few women associated with the California Light and Space movement, a Left Coast school of Minimalism that, as it name suggests, focused on the transient qualities of light and its effects on perception. Corse, for the most part, chose painting as her medium, most familiarly with geometric abstractions limned in pigments mixed with glass microspheres—the same material used to make reflective highway signs. This survey brings together the artist’s key bodies of work for the first time.

Enrico David, Untitled, 2018
Photograph: Courtesy Michael Werner Gallery, New York/London
Art, Contemporary art

Enrico David

icon-location-pin Michael Werner, Lenox Hill

A short-lister for the 2009 Turner Prize, this Italian artist who lives and works in London traffics in a kind of surreal poetry that finds expression in drawings and sculptures which harken back to early-20th century modernism. The selection here, which includes textiles, puts you in mind of any number of art-historical giants: Arp, Brancusi, De Chirico, Dubuffet, Ernst, Giacometti and so on. David uses his sources adeptly, synthesizing them into figural forms with dreamlike, spectral presences.  

Jack Whitten, The Afro American Thunderbolt, 1983-84
Photograph: © The Estate of Jack Whitten, courtesy The Estate of Jack Whitten and Hauser & Wirth
Art, Contemporary art

“Odyssey: Jack Whitten Sculpture, 1963–2017”

icon-location-pin The Met Breuer, Lenox Hill

For much of his career the veteran African-American artist Jack Whitten (1939–2018) was somewhat under appreciated by the art world, even though he had major shows at the Whitney (1974), the Studio Museum in Harlem (1983) and the New Museum (1993). A moment of “re-discovery” about a dozen years finally put him on the map as an artist to contend with, as appreciation grew for his over-all abstracted paintings that touched on themes from race to cosmology. This show introduces viewers to his sculptures, a heretofore, little-known aspect of his practice notable for its frequent references to African art.  

Franz Gertsch, At Luciano’s House, 1973
Photograph: Courtesy The Sander Collection
Art, Contemporary art

“Franz Gertsch: Polyfocal Allover”

icon-location-pin Swiss Institute, East Village

Swiss painter Franz Gertsch made his mark in ’70s Europe with photorealistic paintings defined by bright, snapshot-y colors and countercultural flair. His subject matter drew from the underground milieu of the period, with images of Patti Smith and scenes of young artists milling about in a commune. A series of canvases featuring the latter are presented here, along with a later suite of large woodcut prints featuring portraits of women and bodies of water that share an icy, preternatural calm.

James Rosenquist, Lanai, 1964
Photograph: Ryobi Foundation, © Estate of James Rosenquist / Licensed by VAGA at ARS, New York
Art, Contemporary art

“James Rosenquist: His American Life”

icon-location-pin Acquavella Galleries, Upper East Side

This major loan exhibition collects paintings from Rosenquist’s ‘60s heyday, the same period in which he created his unalloyed masterpiece, F-111. Like that piece, the works here offer hallucinogenic meditations on America at the zenith of its mid-century prosperity. Both critical and celebratory, these compositions reflect on a culture defined by a voracious appetite for mass consumption stimulated by advertising images.

B. Wurtz, Kitchen Trees, 2018, detail
Photograph:Timothy Schenck, Courtesy Public Art Fund, NY, Metro Pictures, New York, Kate MacGarry, London, Maisterravalbuena Madrid/Lisboa; Richard Telles Fine Art, Los Angeles and the artist
Art, Contemporary art

“B. Wurtz: Kitchen Trees”

icon-location-pin The Public Art Fund at City Hall Park, Financial District

Known for creating whimsical, spindly assemblages that draw upon the legacies of Marcel Duchamp and Alexander Calder, B. Wurtz ventures into public art for the first time in his 50-year career with this installation of five outdoor sculptures at City Hall Park. Often made out of bits and pieces of wire, fabric wood, buttons and other sorts of detritus, his work frequently assumes plantlike forms, and here, it literally grows to the size of trees: Cobbled out of kitchen utensils, and hung with plastic fruits and vegetables, the pieces rise from 15 to 18 feet in height and span 10 to 12 feet in diameter.

Olga Chernysheva, Autoradio, 2018
Photograph: Courtesy Foxy Production
Art, Contemporary art

Olga Chernysheva, “Autoradio”

icon-location-pin Foxy Production, Chinatown

The Russian artist boils down the ennui of existence into painted vignettes portraying snatches of Moscow life (people in cars stuck in traffic; passengers crowding subway escalators; beachgoers at the water’s edge) with quick, cartoonish brushstrokes.

Tala Madani, Mother Figure, 2018
Photograph: Courtesy 303 Gallery
Art, Contemporary art

Tala Madani

icon-location-pin 303 Gallery, Chelsea

Abjection as the path to enlightenment is as good of a mission statement as any for the darkly comic work of L.A. artist Tala Madani, a Teheran native who was one of the standouts of the 2017 Whitney Biennial. Her paintings there included scatological depictions of a baby reaching for a pair of breasts made of feces, as well as a stygian disco interior lit by naked men, seated in the rafters, shooting spotlights out of their rectums. Indeed, Madani’s scenes often play out against black backgrounds illuminated by cones of light that narrowly issue from one source or the next—including, yes, other assholes. Animations are also part of her toolkit, and, along with new paintings, they be can be found in her gallery debut.

Katya Tepper, Gaping Candle Tripod, 2018
Photograph: Courtesy the artist
Art, Contemporary art

Katya Tepper

icon-location-pin White Columns, West Village

Katya Tepper’s semi-abstract wall constructions may put you in mind of Philip Guston’s late-career paintings, not only because Tepper’s style recalls the funky, cartoonish quality of Guston’s own, but also because her work, like his, is a self-study in suffering from a debilitating condition—depression and alcoholism in Guston’s case; severe auto-immune disease in Tepper’s. Viewers have a chance to judge for themselves in her NYC solo debut.

Andy Warhol, Shadows, 1978–79, detail
Photograph: Photograph: Bill Jacobson Studio, New York, © The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York
Art, Contemporary art

Andy Warhol, “Shadows”

icon-location-pin Calvin Klein, Inc., Midtown West

Created between 1978 and 1979, Shadows is one of Andy’s most abstract and enigmatic pieces, consisting of variously colored silk screened canvases hung edge-to-edge in a site-specific installation. Some 102 paintings were produced in all, though the total number of panels varies from one location to the next, depending on the dimensions of a given space. Each silk screen is limited to a palette of two contrasting colors, while the picture itself—which flips between positive and negative—comes from the same photo of the eponymous subject taken at Warhol’s Factory studio. Taken together, Shadows resembles a film strip capturing an indeterminate play of light.

Michael Krebber, Herbes de Provence, Le drapeau américain, 2018
Photograph: Courtesy Greene Naftali
Art, Contemporary art

Michael Krebber

icon-location-pin Greene Naftali, Chelsea

Now 64, Krebber is part of a postwar generation of German painters who questioned the efficacy of their medium in the wake of Conceptual Art. Krebber tackled the issue in canvases that were often little more than isolated gestures stranded against expansive white backgrounds. In some cases, these marks were readable as images, but more often than not, they were abstract, the expressions of an economy of hand which Krebber used to tilt at our preconceptions of what a painting is suppose to be—and what, if anything, it represents. In his latest work, Krebber restricts himself, for the most part, to a creamy mustard-y palette, as daubs, strokes and passages made with a roller alternately coalesce and deliquesce into things like a baguette, a streetscape and even an American flag. Where Krebber is going with all of this is, as usual, hard to say, though the phrase “Herbes de Provence” (herbs of Provence), which prefaces many of the painting titles, suggests memories of an idyllic sojourn in the South of France.

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Looking for more art exhibits?

Photograph: Courtesy Perrotin New York

The top five New York art shows this week

With New York’s art scene being so prominent yet ever changing, you’ll want to be sure to catch significant shows. Time Out New York rounds up the top five art exhibitions of the week, from offerings at the best photography and art galleries in NYC to shows at renowned institutions like the Metropolitan Museum of Art, the Museum of Modern Art and the Guggenheim.

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