Last chance to see NYC art exhibits, Monday, Nov 19–Sunday, Nov 25
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.
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.
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.
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.
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.
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.
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.
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.
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’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.
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.
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.
Looking for more art exhibits?
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.