Arts Summary

February 8, 2024

Marshall Arisman: Does That Make Sense? at School of Visual Arts Gramercy Gallery, through March 9, 2024

“School of Visual Arts (SVA) honors the late Marshall Arisman, prolific artist and founder of the College’s MFA Illustration as Visual Essay program, with ‘Does That Make Sense?,’ an exhibition—named for Arisman’s beloved idiom—of his lesserknown works. Designed and curated by Arisman’s recently appointed successor and program alumnus Riccardo Vecchio (MFA 1996 Illustration as Visual Essay), in collaboration with SVA Galleries and Arisman’s wife, writer Dee Ito, ‘Does That Make Sense?’ will be on view Thursday, January 25, through Monday, February 12, 2024, at the SVA Gramercy Gallery, 209 E 23rd St., New York City.

Carefully chosen by Vecchio and Ito from an enormous archive in his personal studio, works include a wide variety of drawings and prints ofArisman’s signature monkeys including from his illustrated novel The Divine Elvis and other books, a triptych from a series focused on the bombing of Hiroshima and Nagasaki in WWII, humorous and culturally skewering comic-style pieces, and even an array of unfinished projects. As a whole, they reflect an artist engrossed in his process. A mix of paintings, illustrations, writings and sketches in Arisman’s signature inky hues and scratchy fine lines, convey a limitless curiosity and an undying passion for his craft.” — School of Visual Arts

Installation views of Marshall Arisman:”Does That Make Sense?” at School of Visual Arts Gallery.

Of “Does That Make Sense?,” Vecchio notes, “As artists, we are grateful for the recognition and fame that come with cohesive, iconic and recognizable styles, yet at the same time the work that gives us fame can also hinder the many, often divergent, facets and curiosities we are eager to explore. In my journey through his archives, it was evident to me that Marshall never stopped questioning, searching, experimenting. Aside from the groundbreaking and well-documented works that brought him fame and defined an era, many of the folders were filled with work that defied chronology and dates; as Marshall passionately painted over works, retitling, changing dates or tearing them apart to create completely new pieces. This show will, I hope, reveal Marshall as the eternally curious, indefatigable artist that he was.”

Title image: Marshall Arisman, Monkey with Pencil, 1980s, ink and spray paint on paper, 33 x 25 inches.

Images courtesy School of Visual Arts.

February 7, 2024

Indian Skies: The Howard Hodgkin Collection of Indian Court Painting at The Met Fifth Avenue, February 6 – June 9, 2024

“Widely regarded as one of the finest of its kind, British artist Howard Hodgkin’s collection of Indian paintings includes works created at the Mughal, Deccan, Rajput, and Pahari courts dating from the 16th to the 19th century. Opening at The Metropolitan Museum of Art on February 6, 2024, the exhibition Indian Skies: The Howard Hodgkin Collection of Indian Court Painting will present a unique and personal vision of India’s great painting tradition through newly acquired works from the artist’s collection. In 2022, The Met announced a major acquisition of more than 80 drawings and paintings from the Howard Hodgkin Collection.” — The Met

Max Hollein, The Met’s Marina Kellen French Director and CEO, commented: “Howard Hodgkin’s extraordinary collection of Indian paintings features stunning portraits along with beautifully detailed text illustrations, studies of the natural world, and devotional subjects that are sure to captivate visitors to The Met. The collection was interwoven with the artist’s life—and his experiences in India and his relationships with scholars and artists of Indian art—and often inspired his own creative output. This exhibition celebrates the brilliance and power of these tremendous paintings and offers a glimpse into the artist’s unique vision and passion for one of the world’s great pictorial tradition. We are thrilled to present the works that have recently joined our collection and extend our thanks to The Howard Hodgkin Indian Collection Trust for lending additional important works.”

Sultan Muhammad ‘Adil Shah and Ikhlas Khan Riding an Elephant. Haidar ‘Ali (Indian), Ibrahim Khan (Indian), ca. 1645. Made in India, Deccan, Bijapur. Country of Origin India. Ink, opaque watercolor, and gold on paper. 28.6 × 32 cm. Howard Hodgkin Collection, Purchase, Florence and Herbert Irving Acquisitions, Harris Brisbane Dick, and 2020 Benefit Funds; Howard S. and Nancy Marks, Lila Acheson Wallace, and Friends of Islamic Art Gifts; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and funds from various donors, 2022

Marriage procession in a bazaar; from a Ramayana or Bhagavata Purana Series. Mandi, Himachal Pradesh, ca. 1640–50. Opaque watercolor and gold on paper. 32 × 49 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaj Bakhat Singh. India, Rajasthan, Nagaur, ca. 1735. Opaque watercolor and gold on paper. 43.5 × 30.5 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Attributed to The Stipple Master (Indian, active ca. 1690–1715). Sangram Singh Hawking. Rajasthan, Udaipur, ca. 1705–10. Opaque watercolor, gold and ink on paper. Image: 31 × 43.5 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange,

Maharao Ram Singh’s Marriage Procession at Udaipur Rajasthan, Kota, ca. 1851. Opaque watercolor and gold on cotton cloth. 92.6 × 69.5 cm.
Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaja Raj Singh Receives a Yogi in a Garden Rajasthan, Sawar, 1714. Opaque watercolor, gold and tin on paper. 48 × 53 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Attributed to Kota Master. Maharao Madho Singh Hunting Wild Boar. Rajasthan, Kota, ca. 1720. Opaque watercolor, gold and tin on paper. 49.8 × 62.3 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaja Kirpal Pal of Basohli Smoking. India, Punjab Hills, Mankot, ca.1690. Opaque watercolor, gold and silver on paper. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

Maharaja Raj Singh in a Garden Arcade. India, Rajasthan, Sawar, ca. 1710-15. Opaque watercolor and gold on paper. 29 × 39.2 cm. Howard Hodgkin Collection, Purchase, Gift of Florence and Herbert Irving, by exchange, 2022

John Guy, Florence and Herbert Irving Curator of South and Southeast Asian Art at The Met, said: “Two counterpoints are reflected and refracted in Hodgkin’s collection. First the quiet naturalism of the Persianate aesthetic of Mughal paintings, witnessed in portraiture and nature studies and second, as exemplified in the Rajput and Pahari court traditions, a celebration of the radiant energy of the Indian landscape. Here scenes are filled with the saturated colors of the earth and exuberant greenery, skies filled with the looming darkness of rain-laden monsoon clouds. These are vibrant emotive paintings, evocative of place and time, winter and summer, day and night.”

Indian Skies: The Howard Hodgkin Collection of Indian Court Painting is co-curated by John Guy, Florence and Herbert Irving Curator of South and Southeast Asian Art, and Navina Najat Haidar, Nasser Sabah al-Ahmad al-Sabah Curator in Charge of Islamic Art, at The Met.

Title image: An Elephant and Keeper. Attributed to Ilyas Khan Bahadur. India, Mughal, ca. 1650-60. Opaque color and gold on paper. Howard Hodgkin Collection, Purchase, Florence and Herbert Irving Acquisitions, Harris Brisbane Dick, and 2020 Benefit Funds; Howard S. and Nancy Marks, Lila Acheson Wallace, and Friends of Islamic. Art Gifts; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and funds from various donors, 2022.

Images courtesy The Metropolitan Museum of Art.

February 2, 2024

El Dorado: Myths of Gold at Americas Society, Part II on view January 24 – March 18, 2024

“The show, which explores the myth of El Dorado from the Pre-Hispanic period to the contemporary era, is co-curated by Aimé Iglesias Lukin, Director and Chief Curator, Art at Americas Society, Tie Jojima, Associate Curator, Manager of Exhibitions, Art at Americas Society and Edward J. Sullivan, the Helen Gould Sheppard Professor of Art History, New York University.

The exhibition brings together more than 100 objects and artworks that explore the myth as a foundational narrative of the Americas. It includes paintings, prints, photographs, sculptures, engravings, and videos that offer new interpretations and questions about the myth from a hemispheric lens.

Since the invasion of Europeans to the Americas, rumors spread quickly about a kingdom filled with gold, driving conquistadores to find it. Despite never being found, the mythical El Dorado defined the continent as an empty land up for grabs. El Dorado: Myths of Gold brings together artworks and artists that engage with the myth, sometimes offering a critical view and a path of resistance.” — Americas Society

Hew Locke, *Columbus, Central Park*, 2018. C-type photograph with mixed media, 72 x 48 inches (182.9 x 121.9 cm). Courtesy of the artist and P·P·O·W, New York. Photo: Angus Mill

Mazenett Quiroga, *Selva intervenida (Pacífico colombiano)* (Intervened jungle [Colombian Pacific]), 2018. Digital printing and gold leaf, 49 ¼ x 33 7/8 inches (125 x 86 cm). Courtesy of the artists and Instituto de Visión.

Mathias Goeritz, *Cruz en la caja* (Cross in a box), 1960-61. Wood, gesso, gold leaf, paint, brass, steel and magnets, 28 ¼ x 22 x 3 1/8 inches (71.8 x 55.9 x 8 cm). Tate Americas Foundation, courtesy of the Latin American Acquisitions Committee 2015

Bruno Baptistelli, *Untitled (Pedites)*, 2023. Resin, copper, and nickel, plated in 18-karat gold, foot: 2 x 4 inches (5 x 10 cm), anklet: 2 x 4 inches (5 x 10 cm). Courtesy of Galeria Luisa Strina and the artist. Photo: Ana Pigosso

Carlos Motta, *Contra natura*, 2019. Gold and copper figure and magnifying glass on wooden shelf, 0.78 x 0.39 inches (2 x 1 cm). Courtesy of the artist and mor charpentier

Harmonia Rosales, *Our Lady of Regla*, 2019. Oil, iron oxide, and 24k gold on wood panel, 40 x 40 inches (101.6 x 101.6 cm). Private Collection

Unknown artist, Ecuador, *Nuestra Señora de Passau* (Our Lady of Passau), eighteenth century. Oil on canvas, 21 x 18 inches (53.2 x 45.8 cm). Colección Patricia Phelps de Cisneros

Jaime Lauriano, *Colonização #2*, 2022. Apoti (bench used in Candomblé terreiros), cattail straw mat, bowl, and twenty-eight Portuguese stones cast in brass, 20 7/8 x 13 3/8 x 13 3/8 inches (53 x 34 x 34 cm). Courtesy of the artist and Nara Roesler Gallery

Ronny Quevedo, *el guarda meta de los cosmos (from the abyss)* (Meta guardian of the cosmos [from the abyss]), 2022. Mixed media in three parts, 60 x 179 ¾ x 60 inches (152.4 x 456.6 x 152.4 cm). Courtesy of the artist and Alexander Gray Associates

“Through their use of gold, both physical and metaphorical, the artists in this exhibition emphasize to us the ambivalent power of myth in conditioning who we are as a region, opening space for us to resist extractive systems and to reconsider what we are seeking,” writes the exhibition curatorial team.

Organized in collaboration with Fundacio n PROA in Buenos Aires (Argentina) and Museo Amparo in Puebla (Mexico), the exhibition takes place in two parts: Part I from September through December 2023 and Part II from January through May 2024.

Title image: Juan Covelli, Tesoros especulativos (Speculative treasures), 2020-22. Video, 5 minutes. Courtesy of the artist.

Images courtesy Americas Society.

January 28, 2024

RBG Collars: Photographs by Elinor Carucci at Jewish Museum, through May 27, 2024

“The Jewish Museum presents RBG Collars: Photographs by Elinor Carucci, an installation of two dozen photographs of former US Supreme Court Justice Ruth Bader Ginsburg’s collars and necklaces taken by the contemporary photographer Elinor Carucci (Israeli, b. 1971) shortly after Ginsburg’s death in 2020. The suite of photographs is being shown at the Jewish Museum for the first time since they were acquired for the Museum’s collection in 2021. The installation will also include jewelry from the collection, reflecting freely on the expressive possibilities as well as the cultural and religious aspects of adornment. RBG Collars: Photographs by Elinor Carucci will be on view from December 15, 2023, through May 27, 2024, in Scenes from the Collection on Floor Three of the Museum.

Nancy Lee Katz, *Ruth Bader Ginsburg*, 1994, printed later. Gelatin silver print. Sheet: 13 15/16 × 10 15/16 in. (35.4 × 27.8 cm). Image: 9 15/16 × 9 3/4 in. (25.2 × 24.8 cm). The Jewish Museum, NY. Gift of Michael S. Sachs

Elinor Carucci, *South African Collar: Ginsburg’s favorite collar, worn in her official portrait*, 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Husband Marty Ginsburg’s words, “It’s not sacrifice, it’s family”*, 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Pride Collar* (2016), 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *University of Hawaii Jurist in Residence Collar* (2017), 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Majority Collar*, 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Elinor Carucci, *Dissent Collar* (2012), 2020. Archival pigment print. Framed: 10 1/2 × 10 1/2 × 1 in. (26.7 × 26.7 × 2.5 cm). The Jewish Museum, NY. Purchase: Horace W. Goldsmith Foundation Fund

Ruth Bader Ginsburg (1933-2020), who was the second-ever woman to sit on the US Supreme Court, wore collars not just to emphasize the long overdue feminine energy she brought to the court, but also to encode meaning into her dress—a sartorial strategy practiced by powerful women throughout history. Her early penchant for traditional lace jabots was later joined by necklaces made of beads, shells, and metalwork from around the world, many of them gifts from colleagues and admirers. Seen as a whole, the photographs of these collars offer a collective portrait of the late Justice through these objects imbued with her personal style, values, and relationships. While Ginsburg often chose them on a whim, she occasionally used them as a form of wordless communication; in every instance, they served as a reminder that her august responsibilities were carried out by a particular human being. Towards the end of her life, Ginsburg’s style helped to make her a feminist pop culture icon: collared and bespectacled, she adorned tote bags, t-shirts, and tattoos as ‘the Notorious RBG.'” — Jewish Museum

The installation is organized by Shira Backer, Leon Levy Associate Curator, the Jewish Museum.

Images courtesy Jewish Museum.

January 19, 2024

National Gallery of Art Receives Major Gift of Works by Joseph Cornell. On view from January 18, 2024

“The National Gallery of Art announced a historic gift of 20 box constructions and 7 collages by Joseph Cornell, one of the most important figures of 20th-century art, from Robert and Aimee Lehrman. This transformative gift, joining four boxes, eight collages, and several other works already in the National Gallery’s collection, makes the museum one of the world’s leading repositories of Cornell’s art. Some 35 years in the making, the Lehrman collection was inspired both by renowned curator Walter Hopps, who introduced Robert Lehrman to Cornell’s work, and by the Lindy and Edwin Bergman Joseph Cornell Collection at the Art Institute of Chicago. The Lehrman collection includes boxes from all of Cornell’s major series as well as the collages that concluded his career. Beginning January 18, 2024, several box constructions and collages from this gift will be on view in the East Building’s Upper Level galleries.” — National Gallery of Art

Joseph Cornell. *L’Egypte de Mlle. Cleo de Merode: cours elementaire d’histoire naturelle (Miss Cleo de Merode’s Egypt: Elementary Natural History Course)*, 1940, box construction, overall: 11.75 x 26.99 x 18.42 cm (4 5/8 x 10 5/8 x 7 1/4 in.). National Gallery of Art, Washington.
Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Lynda Hartigan.

Joseph Cornell. *L’Humeur Vagabonde (Restless Mood)*, 1955, box construction, overall: 36.83 x 26.35 x 6.99 cm (14 1/2 x 10 3/8 x 2 3/4 in.). National Gallery of Art, Washington. Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Jake, Jason and Juliette Lehrman.

Joseph Cornell. *A Parrot for Juan Gris*, winter 1953–1954,
box construction, overall: 45.09 x 30.96 x 11.75 cm (17 3/4 x 12 3/16 x 4 5/8 in.). National Gallery of Art, Washington. Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Aimee Lehrman.

Joseph Cornell. *Variétés Apollinaris*, 1953, box construction, overall: 52.07 x 29.21 x 11.43 cm (20 1/2 x 11 1/2 x 4 1/2 in.). National Gallery of Art, Washington. Collection of Robert and Aimee Lehrman, Washington, D.C., in honor of Isabelle Scott and Heidi Berry.

“The National Gallery is thrilled to receive this remarkable gift from Robert and Aimee Lehrman, which significantly enhances the museum’s collection of modern art and will also engage visitors and inspire wonder and awe for years to come,” said Kaywin Feldman, director of the National Gallery of Art. “Together with the Smithsonian American Art Museum, which houses the vast Cornell archive of source materials and notes for the boxes, collages, and films, this gift to the National Gallery now makes Washington, DC, the world’s leading destination for Cornell scholars, students, and art lovers.”

“This remarkable, world-class gift instantly makes the National Gallery an indispensable site for anyone wanting to appreciate and study the art of Joseph Cornell, one of the most unusual and influential American artists of the 20th century,” said Harry Cooper, senior curator and head of the department of modern and contemporary art at the National Gallery of Art. “Cornell’s works are delicate, precious worlds unto themselves, and we are honored to preserve, study, and display this meticulously assembled collection of his art for posterity.”

“One of art’s greatest powers and enduring qualities is that it speaks to us through time, about the continuum of creativity and culture. I know of no better place for Cornell’s art than the National Gallery of Art, where Cornell’s work will join and speak to some of the greatest art of all time,” said Robert Lehrman.

Images courtesy National Gallery of Art.

January 5, 2024

Sarah Crowner: Around Orange at Pulitzer Arts Foundation, through February 4, 2024

“A bold red, orange, blue, and black abstract painting installation nearly as long as a tennis court, glazed red terracotta tiles, and a pale birchwood floor structure are among the building blocks of a major three-part commission project by the artist Sarah Crowner (b. 1974) that will transform the ground level of the Pulitzer Arts Foundation this fall. On view September 8, 2023, through February 4, 2024, Sarah Crowner: Around Orange is organized by Stephanie Weissberg, Curator, Pulitzer Arts Foundation.

As specially commissioned by the Pulitzer, the three-part installation represents an intergenerational visual dialogue between Crowner–an artist whose buoyant abstractions engage the history of art–and the late Ellsworth Kelly (1923–2015)–painter, sculptor, and printmaker–whose wall sculpture Blue Black (2000) hangs permanently in the main gallery of the Pulitzer and has become an emblem of the museum.” — Pulitzer Arts Foundation

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 144 inches (182.88 X 365.76 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo by Charles Benton.

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 120 inches (182.88 X 304.8 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo by Charles Benton.

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 72 inches (182.9 x 182.9 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo: Farzad Owrang.

Sarah Crowner. *Untitled (Around Orange)*, 2023. Acrylic on canvas, sewn 72 x 48 inches (182.9 x 121.9 cm) © Sarah Crowner; Courtesy of the artist, Luhring Augustine, New York, and Galerie Nordenhake, Berlin, Mexico City and Stockholm. Photo: Farzad Owrang.

“Through subtle placement and the strategic selection of color and tactility of material, Sarah illuminates core elements of the Pulitzer’s identity. Her choices derive from careful research into the Pulitzer’s own architecture, designed by Tadao Ando, and to Ellsworth Kelly’s Blue Black,” notes Pulitzer Executive Director Cara Starke.

Starke continues, “The Pulitzer has a tradition of commissioning works of art and presenting exhibitions responding to the museum’s architecture and collection. In 2017, Blue Black was the inspiration for an exhibition of the same title organized by the artist Glenn Ligon.”

“Around Orange is both refined and exuberant,” suggests Weissberg. “Sarah draws attention to the nuanced decisions that Ellsworth Kelly made in responding to Tadao Ando’s interior. She also retains evidence of her own production process by leaving visible the stitching of sections of canvas or the color variations between tiles.”

Title image: Installation view of Sarah Crowner: Around Orange at the Pulitzer Arts Foundation, Sep 8, 2023–Feb 4, 2024. Photograph by Alise O’Brien Photography, © Pulitzer Arts Foundation and Alise O’Brien Photography.

Images courtesy Pulitzer Arts Foundation.

January 2, 2024

Women Dressing Women at The Met Fifth Avenue Costume Institute, through March 3, 2024

“The Costume Institute’s fall 2023 exhibition, Women Dressing Women, celebrates the creativity and artistic legacy of women designers. Comprising approximately 80 objects that document the work of more than 70 makers, the exhibition traces a lineage of influential women-led fashion houses from the 20th century to the present, highlighting the pioneering designers who led them. Designers whose work is on view include Rei Kawakubo for Comme des Garçons, Adèle Henriette Nigrin Fortuny, Gabriela Hearst, Ann Lowe, Claire McCardell, Pia Davis and Autumn Randolph for No Sesso, Miuccia Prada, Madeleine Vionnet, and Vivienne Westwood, among many others.

Through the exploration of four key notions—anonymity, visibility, agency, and absence/omission—Women Dressing Women offers a new interpretation of the traditional canon of fashion history and examines the ways in which the industry has served as a powerful vehicle for women’s social, financial, and creative autonomy. Discoveries about the identities, mentorship histories, and connections between women makers throughout history are explored, providing new insights and an enhanced understanding of their work.” — The Met

Installation views of Women Dressing Women at The Met Fifth Avenue, Women, December 7, 2023 – March 3, 2024. All photos © The Metropolitan Museum of Art.

Gallery View, Agency: Liminal Spaces of Fashion

Gallery View, Agency: Appropriating Menswear

Gallery View, Agency: The Boutique Generation

Gallery View, Agency: Reclaiming the Body

Gallery View, Agency: Empowerment Through Practice

Mellissa Huber, Associate Curator, The Costume Institute stated: “Our fall exhibition provides an opportunity to engage with the critical histories of innovative women designers, all of whom played pivotal roles in the conception of fashion as we know it today. In recognizing that the contributions of women to fashion are unquantifiable, our intention with this show is to celebrate and acknowledge through a focus on The Costume Institute’s permanent collection, which represents a rich timeline of Western fashion history. We hope that this exhibition fosters impactful conversations between our visitors and across the designers’ larger bodies of work, highlighting the plurality and diversity of women’s important contributions to the field.”

The exhibition is organized by Mellissa Huber, Associate Curator, The Costume Institute, and guest co-curator Karen Van Godtsenhoven. Headpieces are created for the exhibition by artist Caitlin Keogh.

Title image: Gallery View: Atmosphere.

Images courtesy The Metropolitan Museum of Art.

December 26, 2023

James Lee Byars at Pirelli HangarBicocca, through February 18, 2024

“Pirelli HangarBicocca is pleased to present an exhibition of James Lee Byars, one of the most enigmatic and legendary figures in 20th-century art. The show, the first retrospective in Italy dedicated to the American artist since his death in 1997, journeys through his layered work, which developed as a continuous exploration of the deepest meanings of the existing world, poised between mysticism, spirituality, and corporality.

The retrospective of works by James Lee Byars (Detroit, Michigan, 1932 – Cairo, 1997), curated by Vicente Todolí and organized by Pirelli HangarBicocca and Museo Nacional Centro de Arte Reina Sofía in Madrid (where a version of the exhibition project will be presented from April 25 to September 1, 2024, at the Palacio de Velázquez), will be held in the Navate spaces at Pirelli HangarBicocca. Bringing together a vast selection of sculptural works and monumental installations created from 1974 to 1997, and coming from international museum collections, it features works that have rarely been exhibited, and that are presented in Italy for the first time.” — Pirelli HangarBicocca

James Lee Byars. Exhibition view at Pirelli HangarBicocca, Milan, 2023. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. Exhibition view at Pirelli HangarBicocca, Milan, 2023. Foreground: *The Door of Innocence*, 1986-89. Background: *The Figure of Question is in the Room*, 1986. Toyota Municipal Museum of Art. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. *Byars is Elephant*, 1997. Installation view at Pirelli HangarBicocca, Milan, 2023. Pinault Collection. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. *The Diamond Floor*, 1995. Installation view at Pirelli HangarBicocca, Milan, 2023. The Estate of James Lee Byars and Michael Werner Gallery, New York, London and Berlin. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

James Lee Byars. *Red Angel of Marseille*, 1993. Installation view at Pirelli HangarBicocca, Milan, 2023 FNAC 99316, Centre national des arts plastiques. On deposit at Centre Pompidou, Paris. Courtesy Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Todolí states: “We usually conceive site-specific retrospectives that dialogue with the architecture of Pirelli HangarBicocca. In his practice James Lee Byars used to adapt his corpus of works to the space in which it was displayed, thus creating an exhibition that was an overall installation in itself. Therefore, our selection of artworks interacts with the former-industrial building of the Navate, challenging us to interpret the space according to the artist’s own conceptual approach.”

December 26, 2023

Thao Nguyen Phan “Reincarnations of Shadows” at Pirelli Hangar Bicocca, through January 14, 2024

“Pirelli HangarBicocca presents ‘Reincarnations of Shadows,’ Thao Nguyen Phan’s first solo show in Italy. Internationally recognized for her combined use of painting, moving image, and sculpture, the Vietnamese artist creates dreamlike and poetic narratives that trace the history of her country in relation to contemporary environmental and social changes. The exhibition, conceived as a layering of audio, visual, and tactile references among videos, sculptures, watercolors, silk and lacquer paintings, explores Phan’s practice, highlighting its symbolic and imaginative qualities. For the occasion, the artist has created a series of new productions and presents for the first time the video installation Reincarnations of Shadows (moving-image-poem) (2023): a personal reflection on the transformative and regenerative potential of art.” — Pirelli HangarBicocca

Thao Nguyen Phan, “Reincarnations of Shadows”, exhibition view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Reincarnations of Shadows (moving-image-poem)*, 2023. Installation view at Pirelli HangarBicocca, Milan, 2023. Commissioned by Pirelli HangarBicocca and co-produced by Fondazione In Between Art Film. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *First rain, Brise-soleil*, 2021 – ongoing. Installation view at Pirelli HangarBicocca, Milan, 2023. Produced by the Han Nefkens Art Foundation in collaboration with Kochi Biennale, with additional support from Tate St Ives. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Voyages de Rhodes*, 2014-2017. Installation view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Dream of March and August*, 2018 – ongoing. Installation view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist; Galerie Zink Waldkirchen and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

Thao Nguyen Phan, *Man Looking Towards Darkness*, 2016. Installation view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

The title of the exhibition is based on the new video, Reincarnations of Shadows (moving-image-poem) (2023), commissioned by Pirelli HangarBicocca and co-produced by Fondazione In Between Art Film.

“Reincarnations of Shadows,” curated by Lucia Aspesi and Fiammetta Griccioli is organized by Pirelli HangarBicocca in collaboration with Kunsthal Charlottenborg, Copenhagen (where a version of the exhibition project will be presented from March 13 to August 11, 2024).

Title image: Thao Nguyen Phan, “Reincarnations of Shadows”, exhibition view at Pirelli HangarBicocca, Milan, 2023. Courtesy the artist and Pirelli HangarBicocca, Milan. Photo Agostino Osio.

December 17, 2023

Natalie Ball: bilwi naats Ga’niipci exhibition at Whitney Museum of American Art, November 17, 2023 through February 19, 2024

“Natalie Ball: bilwi naats Ga’niipci is Natalie Ball’s (b. 1980, Portland, Oregon) first solo exhibition at a New York museum. The exhibition presents a group of never-before-seen sculptural assemblages that deepen and destabilize understandings of Indigenous life in the United States. Drawing from various sources and including found, hunted, purchased, and gifted objects, Ball explores how the lives and meanings of materials interconnect with the artist’s sense of self through the layering of quilt tops and T-shirts; animal hides and bones; synthetic hair, shoes, beads, and newspapers, among other commercially produced items.

Ball, who is Black, Modoc, and Klamath, lives and works in her ancestral homelands in Southern Oregon/Northern California, where she serves as an elected official on the Klamath Tribes Tribal Council. The exhibition’s title, which translates to ‘we smell like the outside,’ is a variation on an expression that Ball associates with her childhood and family in both Black and Indigenous spaces. With this phrase she highlights her artistic aims: to channel her ancestors while reflecting her lived experience, including as a future ancestor.” — Whitney Museum of American Art

Installation views of Natalie Ball: bilwi naats Ga’niipci at Whitney Museum of American Art, New York, November 17, 2023 – February 19, 2024). Photographs by Ron Amstutz.

From left to right: *Sponge Bobby & The Fork-ed Horn Dancers*, 2023; *Dance Me Outside*, 2009/2023; *Baby Board*, 2023; ...with a hat to match!, 2023.

From left to right: *Sponge Bobby & The Fork-ed Horn Dancers*, 2023; *Baby Board*, 2023; *Burden Basket*, 2023; *…with a hat to match!*, 2023.

From left to right: *Burden Basket*, 2023; *…with a hat to match!*, 2023; *Baby Board*, 2023.

This exhibition is organized by Jennie Goldstein, Jennifer Rubio Associate Curator of the Collection, with Rose Pallone, Curatorial Assistant.

Title image: Installation view of Natalie Ball: bilwi naats Ga’niipci at Whitney Museum of American Art, New York, November 17, 2023 – February 19, 2024). Dance Me Outside, 2009/2023. Photograph by Ron Amstutz.

Images courtesy Whitney Museum of American Art.

December 15, 2023

Mark Rothko at Fondation Louis Vuitton, Paris, October 18, 2023 – April 2, 2024

“The Fondation Louis Vuitton presents the first retrospective in France dedicated to Mark Rothko (1903-1970) since the exhibition held at the musée d’Art moderne de la Ville de Paris in 1999. The retrospective brings together some 115 works from the largest international institutional and private collections, including the National Gallery of Art in Washington D.C., the artist’s family, and the Tate in London. Displayed chronologically across all of the Fondation’s spaces, the exhibition traces the artist’s entire career: from his earliest figurative paintings to the abstract works that he is most known for today.” — Fondation Louis Vuitton

“I became a painter because I wanted to raise painting to the level of poignancy of music and poetry.” — Mark Rothko

Mark Rothko, *Slow Swirl at the Edge of the Sea*, 1944. Oil on canvas. 191.1 x 215.9 cm. Museum of Modern Art, New York. Bequest of Mrs. Mark Rothko through The Mark Rothko Foundation, Inc. © 1998 Kate Rothko Prizel & Christopher Rothko – Adagp, Paris, 2023.

Mark Rothko, *No. 21*, 1949. Oil on canvas. 238.8 x 135.6 cm. The Menil Collection, Houston. Acquired in honor of Alice and George Brown with support from Nancy Wellin and Louisa Sarofim © 1998 Kate Rothko Prizel & Christopher Rothko – Adagp, Paris, 2023.

Mark Rothko, *Light Cloud, Dark Cloud*, 1957. Oil on Canvas. 169.6 x 158.8 cm. Modern Art Museum of Fort Worth Museum purchase, The Benjamin J. Tillar Memorial Trust © 1998 Kate Rothko Prizel & Christopher Rothko – Adagp, Paris, 2023.

Mark Rothko, *Black On Maroon*, 1958. Oil on canvas. 266.7 x 365.7 cm. Tate, London. Presented by the artist through American Foundation of Arts, 1969 © 1998 Kate Rothko Prizel & Christopher Rothko – Adagp, Paris, 2023.

Mark Rothko, *The Ochre (Ochre, Red on Red)*, 1954. Oil on canvas. 235.3 x 161.9 cm. The Phillips Collection, Washington DC. Acquired 1960 © 1998 Kate Rothko Prizel & Christopher Rothko – Adagp, Paris, 2023.

Mark Rothko, *No. 14*, 1960. Oil on canvas. 290.83 cm x 268.29 cm. San Francisco Museum of Modern Art – Helen Crocker Russell Fund purchase © 1998 Kate Rothko Prizel & Christopher Rothko – Adagp, Paris, 2023.

The exhibition was curated by Suzanne Pagé and Christopher Rothko with François Michaud and Ludovic Delalande, Claudia Buizza, Magdalena Gemra, Cordélia de Brosses.

Images courtesy Fondation Louis Vuitton.

December 11, 2023

Narrative Threads: Works by Eight Nordic Artists at Scandinavia House, through February 17, 2024

“On view now at Scandinavia House: The Nordic Center in America, Narrative Threads: Works by Eight Nordic Artists presents multi-media artwork by Nordic artists, each distinguished by their innovative use of natural, synthetic, and digital materials. Exploring Nordic craft traditions through a contemporary lens, the works in the exhibition engage with material experimentation, and digital technology, with textile design, ceramics, stitching, painting, audio recording, and assemblage offering diverse narrative expressions and perspectives. The exhibition opened Octo- ber 14 with the work of eight internationally celebrated artists: Margrethe Aanestad (Norway), Hrafnhildur Arnardóttir / Shoplifter (Iceland), Hildur Ásgeirsdóttir Jónsson (Iceland), Hildur Bjarnadóttir (Iceland), Astrid Krogh (Denmark), Heidi Hankaniemi (Finland), Marianne Huotari (Finland), and Kristina Riska (Finland).” — Scandinavia House

Installation views of Narrative Threads: Works by Eight Nordic Artists at Scandinavia House: The Nordic Center in America. Gallery images by Eileen Travell/ASF.

Images courtesy Scandinavia House: The Nordic Center in America.