NYC Fall Exhibitions 2024
Muys Snijders, CPRIA
Senior Vice President, Head of Art Services at Private Client Select (formerly AIG Private Client Group) | Founder | Board Member | Art Advisor
September
Lisson, 508 W 24th Street
Opening reception: September 5, 6 – 8 PM
·?????? Joanna Pousette-Dart: Centering
For her seventh exhibition with Lisson Gallery,?Joanna Pousette-Dart?returns to her native city with a major show of new paintings, entitled?‘Centering’. Since the 1970s, when the artist began moving away from traditional rectilinear formats – initially by intertwining unstretched canvas into soft grids and then by creating shaped canvases on which to paint in the 1990s –?Pousette-Dart has been utilizing dynamically shaped formats to suggest the expansive, visceral, and all-encompassing qualities of landscape. From these surfaces of vertically joined curvilinear panels, she has reimagined painting as an arena of depth and breadth, creating a light and space continuum where the inner drawing is in constant dialogue with the outer shape, and everything is in perpetual motion. To further enhance the living, breathing quality of these forms and the constantly shifting and expanding worlds within worlds, the artist bevels the edges of the paintings so that they appear to float off the walls.
·?????? Josh Kline: Social Media
Following announcement of representation in May 2024, Josh Kline will present his first solo exhibition with Lisson Gallery in New York in September. For the artist’s inaugural exhibition with Lisson Gallery, Josh Kline presents a series of self-portraits for the first time, building on previous bodies of work to examine employment and the changing, precarious workforce. Titled ‘Social Media’, Kline’s new suite of works approaches the selfie – one of the most common kinds of image on social media platforms – as a tool of critique, questioning our turbulent era’s obsession with the self. As he steps inside the 3D-scanning rig, Kline both turns the camera on himself and holds up a mirror to the conditions of artists in the third decade of the twenty-first century. The exhibition runs alongside ‘Climate Change’, Kline’s solo exhibition at The Museum of Contemporary Art, Los Angeles, until January 2025, and follows his major mid-career survey exhibition, ‘Project for a New American Century’ (2023), at the Whitney Museum of American Art in New York.
Lehmann Maupin, 501 West?24th Street
Opening September 5
‘Painting’ features a series of abstract works on canvas in which Lou explores the most singular feature of a painting—the brushstroke. Activating the intense chroma and refractive qualities of glass beads, Lou uses her signature material to flow and coagulate into a new form of paint, applying beads in free-form gestures through an intuitive approach. As they collide and overlap on the canvas, Lou’s beads reconstruct strokes of paint, an often-fetishized aspect of mid-century American Abstraction. Concurrent to this exhibition, Lou’s landmark?Trailer?(1998–2000), will be installed in the Brooklyn Museum lobby gallery; it is a recent addition to the permanent collection and will debut at the museum in September, offering an opportunity to experience the artist’s most recent work alongside this rarely-seen immersive sculpture.??
Perrotin, 130 Orchard Street
Opening reception: September 6, 5 – 8 PM
Lee Bae’s monochromatic practice is a formal and immersive journey into the abysses of blackness. Subtly blurring the lines between drawing, painting, sculpture, and installation, he has developed his abstract aesthetics across categories to imbue the noncolor with tangible depth and intensity. Charcoal, obtained by burning wood and used to revive fire, offers a powerful metaphor for the cycle of life that has further inspired him to expand his exploration to include the fourth dimension of time. Until the early-2000s, he worked exclusively with raw charcoal to create minimal, refined, mosaic-like assemblages of charred wooden shards or chunks on canvas, as well as larger sculptural arrangements of carbonized trunks. While he has moved on to solely working with carbon black, a substance close to soot, Lee Bae’s latest series of pictorial works crystallizes random elemental gestures, which he practices with charcoal ink on canvas and paper, recording his movement and time.
·?????? Zéh Palito: Cars, Pools, and Melanin
Zéh Palito is a storyteller and cultural observer who provides insight into contemporary African diasporic life. Adorned with gold and other jewels, shells, exotic fruits, and flowers, the figures in his paintings become the centre of attention and the protagonists of their own stories. Zéh Palito's practice seeks to promote a relationship of mutual respect and pleasure between humans and the natural world, often drawing inspiration from Brazilian and African cultures. The artist works across very different scales, from ambitious site-specific murals to small-scale figurative works on canvas. In parallel with his commitment to the environment, elevating, inspiring and celebrating marginalised communities and underrepresented voices is a fundamental element of his practice - an implicit suggestion that the two issues go hand in hand.
P.P.O.W., 390 Broadway
Opening September 6
·?????? Robin F. Williams: Good Mourning
Known for her large-scale paintings of stylized, sentient, yet ambiguously generated female figures, Robin F. Williams (b. 1984) meticulously deploys oil, airbrush, poured paint, marbling, and staining to construct deeply textured and complex compositions that transcend an identifiable medium. With a masterful technical understanding and an innate sense of curiosity, Williams fuses imagery from social media channels with references to early modernism, pop culture, advertising, and cinema, to challenge the systemic conventions around representations of women.
·?????? Srijon Chowdhury: Tapestry
Tapestry is Srijon Chowdhury’s first solo exhibition with the gallery. Oscillating between a highly stylized technique and uncanny realism, the Portland-based artist’s prismatic compositions mine elements from daily life to find the universal in the quotidian. Combining interests in philosophy, religion, ecology, and art history, Chowdhury’s intensely detailed, saturated, and hypnotic narrative compositions transform the artist’s immediate environment into immersive dreamscapes where the boundaries between our physical reality and the metaphysical, mythological and the supernatural dissolve.??
Paula Cooper Gallery, 521 W 21st Street
Opening September 7
·?????? Flags: A Group Show
This exhibition will survey artworks made using or depicting the American flag and that exemplify the ambivalent nationalism, patriotic nostalgia, and social anxiety of the highly politicized motif. Works will date from the late 1950s––a period of huge historical significance for the United States and the global spread of capitalism––through to our contemporary moment of heightened political tension.?Featuring artists Hans Haacke, Jacob Lawrence, Louise Lawler, Jasper Johns, Sol LeWitt, Roy Lichtenstein, Robert Longo, Danny Lyon, Jaune Quick-to-See Smith, Faith Ringgold, Claes Oldenburg, and more.
The Metropolitan Museum of Art
September 12, 2024–January 5, 2025
·?????? Mexican Prints at the Vanguard
The rich tradition of printmaking in Mexico—from the eighteenth century to the mid-twentieth century—is explored in this exhibition of works drawn mainly from The Met collection. Among the early works presented are those by Mexico’s best-known printmaker, José Guadalupe Posada, whose depictions of skeletons engaged in different activities helped establish a global identity for Mexican art. Following the Mexican Revolution (1910–1920), printmaking proved to be the ideal medium for artists wanting to address social and political concerns and voice resistance to the rise of fascism around the world. Artists also turned to printmaking to reproduce Mexican murals from the 1920s and to create exhibition posters, prints for the popular press, and portfolios celebrating Mexican dress and customs. Featuring over 130 works, including woodcuts, lithographs, and screen prints, by artists such as Posada, Diego Rivera, José Clemente Orozco, and Leopoldo Méndez, the exhibition explores how prints were central to the artistic identity and practice in Mexico and highlights their effectiveness in addressing social and political issues, a role of the graphic arts that continues today.
Paula Cooper Gallery, 534 W 21st Street
Opening September 12
·?????? Christian Marclay, Subtitled
To open the fall season, Paula Cooper Gallery will present Christian Marclay’s recent video installation, Subtitled (2019). Previously exhibited as part of Marclay’s 2022-2023 survey at the Centre Pompidou, Paris, this will be the United States premiere of the work. Subtitled expands on Marclay’s virtuosic mastery of filmic collage, known from his previous video works Telephones (1995), The Clock (2010), 48 War Movies (2019), and Doors (2022), among others. In this work, twenty-two cinematic fragments, cropped from the bottom of the film’s frame, are stacked vertically and displayed on a stele-like freestanding LED screen soaring to a height of nearly 20 feet. Extracts of dialogue and closed captions appear intermittently as subtitles merge with visual themes and color palettes, briefly approaching cohesion before quickly dispersing into abstraction. Marclay’s masterpiece,?The Clock, will be on view at The Museum of Modern Art later this Fall.?
Pace, 540 West 25th Street
Opening reception: September 12, 6 – 8 PM
·?????? Mary Corse: Presence in Light
This presentation marks Corse’s first solo show in the city since 2019. The body of work that Corse will debut in her presentation at Pace in New York this fall centers on a new series of diamond-shaped paintings, which continue her longstanding practice of incorporating glass microspheres into the painted surface.?Over the course of her six-decade career, Corse has explored phenomena of light, space, and perception in sublime and boundary-crossing abstractions across mediums. A key member of the Los Angeles artist community from the 1960s to the present, she is often associated with the Light and Space movement but has always been committed to the possibilities of painting, which remains her primary concern. As part of her empirical and highly tactile approach to art making, Corse has continually investigated the ways in which light can be both subject and material.
·?????? Joel Shapiro
The artist’s first solo show with Pace in New York since 2014, this presentation, which will be accompanied by a new catalogue from Pace Publishing featuring an essay by poet and scholar Vincent Katz, will run from September 13 to October 26, spotlighting three never-before-exhibited painted wood sculptures. One of America's most renowned artists, Shapiro has pushed the boundaries of sculptural form over the course of his 55-year career with a body of work distinguished by its dynamism, complexity, and formal elegance. Over the past two decades, the kinetic, often cantilevered compositions that defined Shapiro’s work throughout the 1980s and 1990s have been torn apart and reassembled into newly rapturous, chromatic combinations.
Spanierman Modern, 958 Madison Avenue, Second Floor
Opening September 12
Louise P. Sloane (b. 1952) has been active as an abstract painter since 1974, infusing her works with personal text that motivates her own experimentation. The visual language of her paintings continues the legacy of reductive and minimalist ideologies, while celebrating color and the human inclination towards mark making. Sloane’s detail-oriented works are typically divided into rectangles or squares. The quadrangle has become a repetitive motif, often centrally featured within the context of a grid. In contrast with her iterative geometries, it is important to Sloane that the works present themselves as human made objects. Thick paint constructs repetitive handmade patterns, the physical motion of her brush strokes revealing the humanity of her practice. The surface holds Sloane’s signature extrusions. Painstakingly written and overwritten, Sloane’s inscribed text is a form of private meditation. Turned into a relief, and abstracted through color blocking, the text is interpreted through its physicality, not its meaning.?
David Zwirner, 537 West 20th Street
Opening reception: September 12, 6 – 8 PM
·?????? Doug Wheeler: Day Night Day
Over the past six decades, Wheeler has become known for his innovative constructions and installations that engage with the experience of light, space, and sound. On view will be an immersive environment by the artist that further expands on his groundbreaking investigations of the possibilities of luminous space. This will be Wheeler’s fifth solo exhibition with the gallery and the first major presentation in the United States of his work since his 2020 exhibition at David Zwirner New York. The exhibition presents DN ND WD 180 EN - NY 24 (2024), which is among Wheeler’s most ambitious installations to date. Upon entering the gallery, the viewer first encounters two luminous, rectangular thresholds or “walls” of light, which function as points of entry into an expansive environment that simulates the experience of limitless space, or a “ganzfeld,” where light appears to shift from day to night and back again. The viewer’s perception is heightened to a degree in which, as the artist articulates, “space appears as a volume, almost as matter.”
领英推荐
?·?????? Ad Reinhardt: Print—Painting—Maquette
Curated by Jeffrey Weiss and organized in collaboration with the Ad Reinhardt Foundation, the exhibition will explore Reinhardt’s screenprints—a group of works that the artist created toward the end of his life—and his interest in translating the subtleties of his painted work into the print medium. ?In addition to being the first solo exhibition to focus on the artist’s screenprints, the exhibition will include a number of small paintings, demonstrating the similarities and differences between painting and printmaking during Reinhardt’s all-important late period.
David Zwirner, 525 West 19th Street
Opening reception: September 12, 6 – 8 PM
Featuring a new photographic series,?The Enemy of All Mankind: Nine Scenes from John Gay’s Polly, this will be the artist’s eighteenth solo exhibition with the gallery. In this stand-alone group of nine images, Douglas stages scenes from the eighteenth-century comic opera?Polly, written by English dramatist John Gay (1685–1732), using the narrative as a vehicle through which to engage a wide range of themes that remain highly relevant today, including race, class, gender, and media. One work from the series debuted in?David Zwirner: 30 Years, on view through August 3 in Los Angeles, and this will mark the first presentation of the body of work in its entirety.
The Brooklyn Museum ???????
September 13, 2024–January 19, 2025
A defining Black woman artist of the twentieth century, Elizabeth Catlett (1915–2012) has not received the mainstream art-world attention afforded many of her peers. The Brooklyn Museum, in partnership with the National Gallery of Art, closes this gap with Elizabeth Catlett: A Black Revolutionary Artist and All That It Implies, an exhibition of over 150 works that gives this revolutionary artist and radical activist her due. A deft sculptor and printmaker, devout feminist, and lifelong social justice advocate, Catlett was uniquely committed to both her creative process and political convictions. Growing up during the Great Depression, she witnessed class inequality, racial violence, and U.S. imperialism firsthand, all while pursuing an artistic education grounded in the tenets of modernism. Catlett would protest injustices for nearly a century, via both soaring artworks and on-the-ground activism.
In her paintings, sculptures, and installations rigorously assembled from glass beads, Lou interrogates notions of power, myth, and gender in the United States. Marshaling time itself as a material, the artist both illuminates acts of invisible labor and encourages discovery: in Trailer, an eerie narrative emerges. On public view for the first time in a decade, Trailer is a major addition to the Brooklyn Museum’s collection. The work fills the interior of a 1949 Spartan Royal Mansion mobile trailer stationed in the Museum’s entry pavilion. Inside, the colors are limited to replicate the allure and intensity of Hollywood film noir. Everything is rendered in glass beads, from the furniture, typewriter, and glossy men’s magazines to the guitar, guns, and shots of whiskey. Trailer thus demands close looking—at both its intricacy and its allusions, questioning what is revealed and what is hidden. Like pixels, the beads dazzle and coalesce into shapes and patterns, forming a sinister spectacle that examines masculinity, despair, isolation, and obsession.
Pen + Brush, 29 East 22nd Street
Opening reception: September 17 6 – 8 PM
·?????? Michela Martello: Just Love
JUST LOVE?features a new immersive installation inspired by the writings of Japanese author Haruki Murakami.??These large-scale translucent fiber panels which will be torqued into sculptural forms for viewers to walk within to experience both the painting and its ghost image for the reverse side.?Martello’s practice is an open exploration of history, belief systems, and their corresponding symbols, and she is driven by the discovery and rediscovery of meanings that lyrically transcend boarders, centuries, belief systems, and dimensions.?
Pace, 540 West 25th Street
Opening reception: September 19, 2024, 6 – 8 PM
·?????? Jiro Takamatsu
Engaging with histories of Dadaism and Surrealism through a minimalist visual language, Jiro Takamatsu’s art centers on metaphysical ideas and concepts related to time, space, and emptiness. Over the span of his four-decade career, the artist engaged with a wide range of mediums, including sculpture, photography, painting, drawing, and performance art through which he explored concepts related to perception, space, and objecthood. Takamatsu nurtured an interest in mathematics and physics, especially quantum mechanics, as evidenced in his early “point” and “string” works, which meditate on the relationships between elementary particles, probing the ways in which they are at once material and immaterial, tangible and imaginary, present and absent.
October
Neue Galerie, 1048 5th Ave
Opening October 17
·?????? Egon Schiele: Living Landscapes
“Egon Schiele: Living Landscapes” will investigate the importance of landscape in the Austrian artist’s work. Plants, natural environments, and townscapes determine the spaces Egon Schiele created in his paintings, and they also reflect the rich symbolism he employed that is centered around the human condition.
Perrotin, 130 Orchard Street
Opening October 29
·?????? Jesper Just, Interfears
In his new film?Interfears, Jesper Just explores the emotional topography of an actor’s brain. Encaged in an fMRI scanner, the actor (Matt Dillon) is reciting a monologue while the machine captures and presents his brain waves in two and three-dimensional representations. By combining enactments of feelings with fMRI technology, the film turns a clinical gaze at emotions as cultural artifacts and on emotional representations as artificial, whether played out by an actor or depicted by a machine. The claim that emotions are always produced in a?socioculturally?contaminated?environment leads to the major point that emotions in general are in fact to a large degree performatives – we can learn to do them right, and we follow protocol because we like to be readable as emotional subjects. The film takes this statement further by letting the actor present a character who has trouble feeling emotions, while at the same time monitoring the actor’s actual brain as it goes through pretended emotions. Here, fiction and anatomy come together highlighting connections between role-playing and everyday affects. If feelings are cultural objects, they can be staged and exhibited; here, they come as moving pictures.
Lisson, 504 West 24th Street
Opening reception: October 29, 6 – 8PM
·?????? Sean Scully: Duane Street, 1981-1983
This exhibition presents historic pieces from the early 1980s including a legendary, 11-panel work entitled Backs and Fronts, which was last exhibited in New York at MoMA PS1 in 1982, a year after it was made. This monumental composition was extended from an earlier work, known as Four Musicians (painted after Picasso’s Three Musicians of 1921), which Scully combined using reclaimed wooden struts, in the loft space of an old textile warehouse on Duane Street, in the then unfashionable and run-down neighborhood of Tribeca. Seven such constructions from this period, all made at the Duane Street studio, are included in this show, marking a significant break from Scully’s earlier, tighter striped canvases, as well as from the strictures of mainstream, hard-edged Minimalist painting of the 1970s. A tripartite work, Araby (1981), named after a short story by James Joyce, represents a midway point between his use of masking-taped lines and the removal of such aids in favor of more fluid gestures, leading Scully to describe this piece as being “in a fight with itself.” This move, towards a freer, rougher and more architectural series, enabled him, as the artist has said himself, to slice and cut through the staid field of abstract art and allowed these works to literally “stand up for themselves”.
?November
Guggenheim
November 8, 2024–March 9, 2025
Featuring over 90 artworks to be presented in the museum’s iconic rotunda, this major exhibition will examine the vibrant abstract art of Orphism. It will explore the transnational movement’s developments in Paris, addressing the impact dance, music, and poetry had on the art, among other themes. Orphism emerged in the early 1910s, when the innovations brought about by modern life were radically altering conceptions of time and space. Artists connected to Orphism engaged with ideas of simultaneity in kaleidoscopic compositions, investigating the transformative possibilities of color, form, and motion. Selected works by artists including Robert Delaunay, Sonia Delaunay, Marcel Duchamp, Mainie Jellett, Franti?ek Kupka, Francis Picabia, and Amadeo de Souza-Cardoso, and by the Synchromists Stanton Macdonald-Wright and Morgan Russell, will be on view.
MoMA
November?3, 2024–February?22, 2025
·?????? Vital Signs: Artists and the Body ?
Throughout the 20th century, artists have imagined the body and ideas of the self as fluid and open to ongoing transformations.?Vital Signs?includes over 100 works by artists who question what it means to be an individual within a larger society—and how socially sustained categories such as gender, race, and sexual identity are rooted in?abstraction. Much of the work in?Vital Signs?was made by women or gender-expansive artists. The exhibition suggests fresh perspectives on celebrated works from MoMA’s collection by artists such as?Frida Kahlo,?Ana Mendieta,?Louise Bourgeois, and?Senga Nengudi, as well as works on view at the Museum for the first time by artists including?Belkis Ayón, Ted Joans, and?Rosemary Mayer.
The Metropolitan Museum of Art
November 17, 2024–February 17, 2025
Flight into Egypt: Black Artists and Ancient Egypt, 1876–Now examines how Black artists and other cultural figures have engaged with ancient Egypt through visual art, sculpture, literature, music, scholarship, religion, politics, and performance. In a multisensory exploration of nearly 150 years of artistic and cultural production—from the 19th century to the Harlem Renaissance to the Black Arts Movement of the 1960s and 1970s to the present day—the exhibition includes nearly 200 works of art in a wide range of media. Thematic sections featuring works from The Met collection and international loans from public and private collections trace subjects including how Black artists and other agents of culture have employed ancient Egyptian imagery to craft a unifying identity, the contributions of Black scholars to the study of ancient Egypt, and the engagement of modern and contemporary Egyptian artists with ancient Egypt.
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