Arts Summary

July 26, 2022

New York: 1962-1964 at Jewish Museum, July 22, 2022 – January 8, 2023

“The Jewish Museum presents New York: 1962-1964, an exhibition that explores a pivotal three-year period in the history of art and culture in New York City, examining how artists living and working in New York responded to their rapidly changing world. Installed across two floors, this immersive exhibition presents more than 150 works of art—all made or seen in New York between 1962-1964—including painting, sculpture, photography, and film, alongside fashion, design, dance, poetry, and ephemera.

New York: 1962-1964 is the last project conceived and curated by Germano Celant, the renowned art historian, critic, and curator who passed away in 2020. Celant was approached in 2017 by the Museum to address its influential role in the early 1960s New York art scene during a momentous period in American history. The result is New York: 1962-64, which uses the Jewish Museum’s role as the jumping-off point to examine how artists living and working in New York City responded to the events that marked this moment in time.” — Jewish Museum

Installation view of *New York: 1962-1964* at the Jewish Museum, NY. July 22, 2022-January 8, 2023. Photo © Frederick Charles.

The opening of *Robert Rauschenberg* at the Jewish Museum, NY, ca. March 31, 1963. Artworks © 2022 Robert Rauschenberg Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY.

Installation view of *Toward a New Abstraction* (1963) at the Jewish Museum, NY. Image courtesy the Jewish Museum. Artworks © Al Held. Image courtesy the Jewish Museum.

Installation view of *Jasper Johns* (1964) at the Jewish Museum, NY. Artworks © Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY. Image courtesy the Jewish Museum.

Installation view of the exhibition *Recent American Sculpture*, October 15-November 29, 1964. The Jewish Museum, New York.

Artists featured include Diane Arbus, Lee Bontecou, Chryssa, Merce Cunningham, Jim Dine, Martha Edelheit, Melvin Edwards, Dan Flavin, Lee Friedlander, Nancy Grossman, Jasper Johns, Donald Judd, Ellsworth Kelly, Yayoi Kusama, Norman Lewis, Roy Lichtenstein, Marisol, Agnes Martin, Louise Nevelson, Isamu Noguchi, Claes Oldenburg, Yvonne Rainer, Robert Rauschenberg, Faith Ringgold, Larry Rivers, James Rosenquist, Miriam Schapiro, Carolee Schneemann, George Segal, Jack Smith, Harold Stevenson, Marjorie Strider, Mark di Suvero, Bob Thompson, and Andy Warhol, among many others.

The exhibition and accompanying book have been developed by Studio Celant according to his curatorial vision in close collaboration with the Jewish Museum: Claudia Gould, Helen Goldsmith Menschel Director; Darsie Alexander, Susan and Elihu Rose Chief Curator; Sam Sackeroff, Lerman-Neubauer Associate Curator; and Kristina Parsons, Leon Levy Curatorial Assistant. The exhibition is designed by Selldorf Architects. The 350-page catalogue was developed by Celant and designed by Michael Rock from 2×4.

Title image: Marisol (Marisol Escobar), Self-Portrait, 1961-62. Wood, plaster, marker, paint, graphite, human teeth, gold, and plastic. 43 1/2 x 45 1/4 x 75 5/8 in. (110.5 x 114.9 x 192.1 cm). Museum of Contemporary Art Chicago, Chicago, IL. Gift of Joseph and Jory Shapiro © 2022 Estate of Marisol / Artists Rights Society (ARS), New York.

Images courtesy the Jewish Museum.

July 23, 2022

A Forest for the Trees in Downtown Los Angeles, through October 31, 2022

A Forest for the Trees is an immersive art show created and directed by visionary artist Glenn Kaino, together with The Atlantic and Superblue, that is designed to inspire audiences to reimagine their relationship with the natural world.

A Forest for the Trees is unlike anything that has come before it, taking visitors on a journey through a surreal forest of magic, music, and wonder—with animatronic performing trees, captivating illusions of fire that visitors can control with their hands, and multi-sensory storytelling, all hidden within a 28,000-square-foot space in downtown Los Angeles. The experience is steeped in histories inspired by the people closest to the forests and nearby neighborhoods: from an immersive interactive fire illusion referencing the controlled burns that are central to Native forest stewardship, to the symbolic resurrection of an iconic 144-year-old tree.

“I have worked my entire career to build the tools and relationships that have allowed me to embark upon a project of this unprecedented scale and ambition, both conceptually and formally,” Kaino said. “Intergenerational problems of this magnitude require new thinking and new models about how we bring together traditional ecological knowledge and advanced technology. It is my hope that this show can provide inspiration into how to connect and contribute to some of the most pressing issues of our time, in a dynamic and exciting way that our audience can take home with them.”

AnimatronicFaces. Photo by Aaron Mendez.

Inspired by The Atlantic’s influential body of work on the natural world, A Forest for the Trees reimagines our relationship to nature through the lens of experiential, time-based art. The immersive show is created and directed by artist Glenn Kaino in collaboration with the producer and musician David Sitek and the Lakota producer Laundi Keepseagle. The show is organized in collaboration with The Atlantic and Superblue.

Title Image: Olivera Tree. Photo by Aaron Mendez.

July 22, 2022

Summer 2022 Exhibitions at New Museum: Robert Colescott, Kapwani Kiwanga, Bárbara Wagner and Benjamin de Burca, and Doreen Lynette Garner

“Art and Race Matters: The Career of Robert Colescott”, through October 9, 2022

“Featuring approximately forty paintings, ‘Art and Race Matters: The Career of Robert Colescott’ highlights the sixty-year-long career of Robert Colescott. Colescott’s bold and richly rendered works traverse art history to offer a satirical take on issues of race, beauty, and twentieth century American culture. Often ahead of his time, Colescott explored the ways in which personal and cultural identities are constructed and enacted through the language and history of painting. He anticipated urgent contemporary discussions around the power of images and shifting political and social values, while asserting the continuing validity of painting as a critical medium for exploring these questions. This exhibition offers a long overdue celebration of Colescott as one of the most consequential artists of his time.” — New Museum

“Art and Race Matters: The Career of Robert Colescott” is co-curated by Lowery Stokes Sims and Matthew Weseley. It is organized by the Contemporary Arts Center, Cincinnati. The presentation at the New Museum is coordinated by Gary Carrion-Murayari, Kraus Family Curator.

“Kapwani Kiwanga: Off-Grid,” through October 16

“‘Kapwani Kiwanga: Off-Grid,’ is the first New York solo show of work by Kapwani Kiwanga (b. 1978, Hamilton, Canada). Over the past decade, the Paris-based artist has created complex installations, sculptures, performance lectures, and films that consider myriad subjects including marginalized histories and systems of power. Drawing on her training in anthropology and the social sciences, Kiwanga’s rigorously researched projects often take the form of installations that stage new spatial environments while exposing the ways in which bodies physically experience and inhabit structures of authority and control.” — New Museum

“Kapwani Kiwanga: Off-Grid” is curated by Massimiliano Gioni, Edlis Neeson Artistic Director, and Madeline Weisburg, Curatorial Assistant.

“Bárbara Wagner & Benjamin de Burca: Fives Times Brazil,” through October 16

“‘Bárbara Wagner & Benjamin de Burca: Fives Times Brazil,’ the first survey exhibition in the United States featuring works by Bárbara Wagner (b. 1980, Brasília, Brazil) and Benjamin de Burca (b. 1975, Munich, Germany). Working together for a decade, the duo produces films and video installations that feature protagonists engaged in cultural production, collaborating with nonactors to make their films—from writing scripts to staging performances on camera. The resulting works are marked by economic conditions and social tensions present in the contexts in which they are filmed, giving urgency to new forms of self-representation through voice, movement, and drama.” — New Museum

“Bárbara Wagner & Benjamin de Burca: Five Times Brazil” is curated by Margot Norton, Allen and Lola Goldring Curator, and Bernardo Mosqueira, ISLAA Curatorial Fellow.

“Doreen Lynette Garner: REVOLTED,” through October 16

“’Doreen Lynette Garner: REVOLTED,’ a solo presentation of new works by Doreen Lynette Garner (b. 1986, Philadelphia, PA), whose practice exposes the histories and enduring effects of racial violence in the United States through the frameworks of medicine and pathology by examining past and present examples of experimentation, malpractice, and exploitation enacted upon Black people. Drawing parallels to contemporary forms of displacement and neo-imperialism, her latest projects survey the forced spread of viruses and diseases to Indigenous lands in the Americas from Europe via the transatlantic slave trade and colonization.” — New Museum

“Doreen Lynette Garner: REVOLTED” is curated by Vivian Crockett, Curator.

Installation views of Summer 2022 Exhibitions at New Museum. Photos by Corrado Serra.

July 11, 2022

Mirror Image: A Transformation of Chinese Identity at Asia Society Museum, through August 14, 2022

“Mirror Image: A Transformation of Chinese Identity poses the question ‘What remains of ‘Chinese-ness’ once China has become a fully globalized nation?’ Through the artworks of seven artists—all born after 1976 (the year of Mao Zedong’s death), all products of the one-child policy, and all having come of age in an emerging superpower, this exhibition posits that a new transnational sense of self has emerged. Barely considering the traditional East-West dichotomy that dominates discussions of older generations of Chinese artists, these younger artists are full-fledged participants of a global art world.

The title, Mirror Image, refers to the double reflection at the heart of this exhibition. The participants in this exhibition reject the nationalistic label of ‘Chinese artist’ and prefer the banner ‘global artist.’ Eschewing stereotypical iconography and self-Orientalizing, these artists create works that reflect a contemporary China, where Starbucks can be found in the Forbidden City and the internet permits access—albeit with the help of a VPN—to countless sources of influence beyond geographic boundaries. At the same time, as they examine themselves looking inward, they also anticipate the reception of a global audience and challenge distortions of identity that assume Chinese artists are exotic, isolated, or politically motivated. Like a hall of mirrors, there is no one way to interpret their work and no single way of seeing things. — Asia Society Museum

Tianzhuo Chen, *Trance*, 2019. Two single-channel videos with sound (continuous loop). Duration: 5 minutes, 1 second; 2 minutes, 51 seconds. Courtesy of the artist and BANK/MABSOCIETY. Image courtesy of the artist, BANK/MABSOCIETY, and Asia Society Museum, New York

Cui Jie, *Western City Gate, Belgrade*, 2020. Acrylic on canvas. Collection of Lisa and Steven Tananbaum. Image courtesy of the artist; Pilar Corrias, London; and Antenna Space, Shanghai

Pixy Liao, *I Push You*, 2021. Digital chromogenic print. Courtesy of the artist and Chambers Fine Art

Liu Shiyuan, *Almost like Rebar No. 7*, 2018. Chromogenic print, sandwich mounted, acrylic, and oak frame. Courtesy of the artist and Tanya Bonakdar Gallery, New York/Los Angeles. Image courtesy of the artist and Tanya Bonakdar Gallery, New York/Los Angeles

Miao Ying, *Surplus Intelligence*, 2021-2022. Single-channel film with sound. Duration: 33 minutes, 27 seconds. Courtesy of the artist. Image courtesy of the artist

Nabuqi, *How to Be “Good Life,”* 2019. Mixed media. Courtesy of the artist and Kiang Malingue, Hong Kong and Shanghai. Image courtesy of the artist and Kiang Malingue, Hong Kong and Shanghai

Tao Hui, *Similar Disguise Stills*, 2021. Archival pigment prints, mounted on aluminum panels. Courtesy of the artist; Kiang Malingue, Hong Kong and Shanghai; Esther Schipper, Berlin; and Macalline Art Center, Beijing. Images courtesy of the artist; Kiang Malingue, Hong Kong and Shanghai; Esther Schipper, Berlin; and Macalline Art Center, Beijing

Organized by Barbara Pollack, guest curator, with Han Hongzheng, guest curatorial assistant.

July 9, 2022

Virgil Abloh: “Figures of Speech” at Brooklyn Museum, July 1, 2022 – January 29, 2023

“The Brooklyn Museum presents Virgil Abloh: “Figures of Speech”, a sweeping exhibition tracing two decades of the late artist and designer’s visionary work. ‘Figures of Speech’ is the first museum exhibition devoted to Abloh and was originally developed by the Museum of Contemporary Art Chicago. The Brooklyn Museum presentation features important objects from his multifaceted career, including collaborations with artist Takashi Murakami, musician Kanye West, and architect Rem Koolhaas; material from his fashion label Off-White; and designs from Louis Vuitton, where he served as the first Black menswear artistic director until his death in November 2021. The exhibition highlights how Abloh’s emphasis on collaboration reshaped popular notions of, and contemporary taste in, fashion, art, commerce, design, and youth culture.” — Brooklyn Museum

Anne Pasternak, the Brooklyn Museum’s Shelby White and Leon Levy Director, says, “We’ve been working with Virgil and his exceptional team on the Brooklyn Museum presentation of his exhibition for more than three years, and throughout we’ve had a single goal: to celebrate his explosive talent and the ways he kicked open doors for young BIPOC artists.”

“During our years of collaboration, Virgil and I have sought to think about his expansive practice in new ways,” says Sargent. “The exhibition includes objects and materials from his archive that touch on the ways he blurred the boundaries of different mediums to make something entirely his own. The show also includes a new monumental sculpture, designed by the artist, that emphasizes how Virgil’s creativity made space for young people to explore their own ideas in ways that re-center art and design.”

Installation views of Virgil Abloh: “Figures of Speech”. Photos by Corrado Serra.

Virgil Abloh: “Figures of Speech” is organized by Michael Darling, former James W. Alsdorf Chief Curator, Museum of Contemporary Art Chicago. The Brooklyn Museum presentation is organized by guest writer and curator Antwaun Sargent.

July 7, 2022

AILEY MOVES NYC! Summer Dance Celebration in Five Boroughs, July 23 – August 1, 2022

The Ailey organization presents Ailey Moves NYC!, a free summer dance celebration in all five boroughs, featuring Alvin Ailey American Dance Theater, Ailey II, Ailey Extension—which provides dance and fitness classes for all experience levels—and Ailey Arts In Education programs. Ailey Moves NYC! offers performances, dance classes, Revelations workshops, and screenings of Jamila Wignot’s acclaimed 2021 documentary Ailey.

Robert Battle, artistic director of Alvin Ailey American Dance Theater, said, “Everyone at Ailey is mindful that we have so much to be grateful for. Our two companies have completed their first tours since the pandemic, and our recent Lincoln Center season brought us back home for the first time since last winter. Now is the time for us to give back to the city that does so much to sustain us. We are offering Ailey Moves NYC! in the spirit of Mr. Ailey himself, who said, “Dance comes from the people and should always be delivered back to the people” and in doing so we honor and carry forward his legacy.”

AILEY Documentary still Alvin Ailey. Photo courtesy of NEON.

Alvin Ailey American Dance Theater in Alvin Ailey’s Revelations. Photo by Paul Kolnik.

Alvin Ailey American Dance Theater in Rennie Harris’ Lazarus. Photo by Nan Melville.

Ailey II 2022 Season Image. Brena Thomas, Hannah Richardson, and Jamaris Mitchell. Photo by Nir Arieli.

Renee Robinson leading Revelations Celebration Workshop in Bryant Park. Photo by Christopher Zunner.

Ailey Extension Dance in Times Square – Revelations with Lisa Johnson-Willingham. Photo by Joe Papa.

Ailey Extension Dance in Times Square – West African with Maguette Camara. Photo by Joe Papa.

Nasha Thomas leading Revelations Residency at Richmond Heights Middle School. Photo by Justin Namon. Courtesy of Arsht Center.

Detailed Schedule of Ailey Moves NYC!: https://www.alvinailey.org/ailey-moves-nyc

Title Image: Ailey Moves NYC! with Alvin Ailey American Dance Theater’s Jeroboam Bozeman. Photo by Andrew Eccles.

Images courtesy Alvin Ailey American Dance Theater.

July 1, 2022

Biennale Gherdëina: Persones Persons at Val Gardena, Italy, through September 25, 2022

“BIENNALE GHERDËINA ∞ PERSONES PERSONS opened on 20 May 2022 with a series of new installations, performances, sculptures, sound pieces, textile works, walks, and participatory experiences alongside existing and historical works that reverberate the Biennale’s themes, passions and lines of intensity while responding to the unique landscape and setting of the Val Gardena territory. It is the eighth edition of the biennale. This edition includes new locations in Ladinia: Ortisei, Castel Gardena, Vallunga and a range of newly commissioned works. Works range from an immersive walk to installations, performances, installations and performances, all across and in response, to the landscape.” — Biennale Gherdëina

Doris Ghetta, founder and Director of Biennale Gherdëina says: “All around the world, art biennials usually take place in large urban centres, so the Biennale Gherdëina represents the exception to the rule. Its distinctiveness gives the event a strong identity – with factors such as the mountain landscape, rurality, language and cultural history hugely influencing its structure and content – and a uniqueness impossible to find in the same form in other places. We are living in what has been described as ‘the era of living creatures’….this means that, if we are to plan a sustainable society, we can no longer incline towards an anthropocentric worldview but need to centre our way of seeing reality around all living things: from air to plants, water, snow, animals and, of course, human beings. The fact that Biennale Gherdëina ∞ has decided to focus its artistic reflection on this particular subject makes this edition of the event particularly topical.”

Alex Cecchetti, *SENTIERO*, 2022. Project supported by the Italian Council (10th edition, 2022) by the Directorate General for Contemporary Creativity of the Italian Ministry of Culture. Ph. Tiberio Sorvillo

Gabriel Chaile, *Brenda*, 2022. View of Piazza Sant’Antonio, Ortisei. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Thaddäus Salcher, *Spiedl dl’ana*, 2022. View of Strada Rezia, Ortisei. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Angelo Plessas, *The Hand of the Noosphere*, 2022. View at Hotel Ladinia, Ortisei. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Ana Vaz and Nuno da Luz, *Wolves howling – In choir – Evening snow*, 2022. Exhibition view at Hotel Ladinia, Ortisei. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Biennale Gherdëina ∞. Martina Kyriaki Goni and Giles Round. Exhibition view at Sala Trenker, Ortisei, 2022. Ph. Tiberio Sorvillo

Biennale Gherdëina ∞. Exhibition view at Sala Trenker, Ortisei, 2022. Ph. Tiberio Sorvillo

Biennale Gherdëina ∞. Etel Adnan and Simone Fattal. Exhibition view at Sala Trenker, Ortisei, 2022. Ph. Tiberio Sorvillo

Biennale Gherdëina ∞. Jimmie Durham. Exhibition view at Sala Trenker, Ortisei, 2022. Ph. Tiberio Sorvillo

Bruno Walpoth, *Pinocchio*, 2022. View at Castel Gardena, Selva Gardena. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Chiara Camoni, *Sister*, 2022. View at Castel Gardena, Selva Gardena. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Ignota, *Memory Garden*, 2022. View at Castel Gardena, Selva Gardena. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Eduardo Navarro, *Spathiphyllum Auris*, 2022. View at Vallunga, Selva Gardena. Commissioned by Biennale Gherdëina ∞. Ph. Tiberio Sorvillo

Curated by Lucia Pietroiusti and Filipa Ramos, BIENNALE GHERDËINA ∞ PERSONES PERSONS features artists Etel Adnan, Chiara Camoni, Alex Cecchetti, Gabriel Chaile, Revital Cohen and Tuur Van Balen, Jimmie Durham, Simone Fattal, Barbara Gamper, Kyriaki Goni, Judith Hopf, Ignota (Sarah Shin and Ben Vickers), Karrabing Film Collective, Lina Lapelyte, Britta Marakatt-Labba, Eduardo Navarro, Elizabeth A. Povinelli, Angelo Plessas, Tabita Rezaire, Sergio Rojas, Giles Round, Thaddäus Salcher, Martina Steckholzer, Hylozoic/Desires (Himali Singh Soin and David Soin Tappeser), Ana Vaz and Nuno da Luz, and Bruno Walpoth.

Images courtesy Biennale Gherdëina.

June 30, 2022

Elemental Matters: The Sculpture of Jonathan Prince at Chesterwood, July 1- October 24, 2022

Elemental Matters: The Sculpture of Jonathan Prince, will be on view July 1 – October 24, 2022 at Chesterwood in Stockbridge, Massachusetts. Featuring 12 monumental outdoor sculptures by Prince, sited throughout the landscape, Elemental Matters is Chesterwood’s 44th annual contemporary sculpture show.

A site of the National Trust for Historic Preservation, Chesterwood is the former summer home and studio of sculptor Daniel Chester French in Stockbridge, MA. French (1850-1931), best known for his statue of Abraham Lincoln in the Lincoln Memorial in Washington, D.C., which is celebrating its 100^th anniversary this year.

Chesterwood’s Guest Curator, Cassandra Sohn, Director of Sohn Fine Art, was drawn to the way Prince’s metal works are often mistaken for wood, stone or liquid. “Though monumental in structure, rooted in geometry and made of metal, Prince’s sculpture’s possess an innate vulnerability. They are a meditation both in process and concept.” states Sohn, “The cracks and breaks remind us of the fragility in nature and humanity.”

*Torus 340*, CorTen / stainless steel, 162 x 144 x 96 in. Property of the artist

*Shatter I, II, III*, CorTen and mirror polished marine grade stainless steel, 86 x 46 x 46 in.

*Alembic Cube*, CorTen and mirror polished marine grade stainless steel, 100 x 96 x 96 in.

*G2V*, CorTen and mirror polished marine grade stainless steel, 114 x 96 x 48 in. Property of the artist.

*Rumination*, CorTen steel, 144 x 16 x 16 in.

*Turbulence Column*, High chromium stainless steel, 85 x 19 w x 19 in. Property of the artist.

Images courtesy Jonathan Prince.

June 21, 2022

PLEASE SEND TO REAL LIFE: Ray Johnson Photographs at The Morgan Library & Museum, June 17 – October 2, 2022

“The Morgan Library & Museum presents PLEASE SEND TO REAL LIFE: Ray Johnson Photographs, opening June 17 and running through October 2, 2022. This exhibition explores the previously unknown camera work of the widely connected downtown New York figure, Pop art innovator, and pioneer of collage and mail art. At his death on 13 January 1995, Ray Johnson (1927–1995) left behind a vast archive of art in his house, including over five thousand color photographs made in his last three years. Small prints, neatly stored in their envelopes from the developer’s shop, the photographs remained virtually unexamined for three decades. Now they can be seen as the last act in a romance with photography that had begun in Johnson’s art some forty years earlier. After retracing the story of Johnson’s use of photography throughout his career, PLEASE SEND TO REAL LIFE offers an in-depth look at the late work the artist called ‘my career in photography’.” — The Morgan Library & Museum

Ray Johnson (1927–1995). Bill and Long Island Sound, winter 1992. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). Shadow and manhole, spring 1992. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). Path of headshots and back steps, spring 1992. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). Andy Warhol life dates on flowers, July 1992. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). RJ silhouette and wood, Stehli Beach, autumn 1992. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). Jasper John, February 1993. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). Headshot and Elvises in RJ’s car, February 1993. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.(ARS), New York.

Ray Johnson (1927–1995). Outdoor Movie Show on RJ’s car, February 1993. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). Four Movie Stars, Locust Valley Cemetery, 31 March 1993. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). Harpo Marx bunny, headshot, and payphone, February 1994. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

Ray Johnson (1927–1995). RJ with *Please Send To Real Life* and camera in mirror, 23 December 1994. Commercially processed chromogenic print. The Morgan Library & Museum, Gift of the Ray Johnson Estate, courtesy of Frances Beatty. © Ray Johnson / Artists Rights Society (ARS), New York.

“These photographs show that in his last years, Ray Johnson remained irrepressibly, explosively creative,” said Smith, the Richard L. Menschel Curator of Photography at the Morgan. “It’s his last great body of work, and its very casualness is prophetic: ten years later, smart phones and social media turned daily life into a constant exchange of personal photographs and commentary. Johnson was still making collages right up to the end—but now he made them in a camera, and the ‘real life’ all around him was his medium.”

Exhibition was curated by Joel Smith.

Images courtesy The Morgan Library & Museum.

June 9, 2022

William Klein: YES at International Center of Photography (ICP), June 3 – September 12, 2022

“This summer, the International Center of Photography (ICP) presents a major retrospective exhibition of the work of the multifaceted artist William Klein. On view at ICP from June 3 through September 12, 2022, William Klein: YES; Photographs, Paintings, Films, 1948–2013 features nearly 300 works, filling ICP’s museum building with photographs, paintings, films, photobooks, and other media from Klein’s expansive and boundary-pushing six-decade career.

The first U.S. exhibition devoted to Klein’s work in more than a generation, William Klein: YES is curated by David Campany, ICP’s Curator-at-Large. Campany has worked with Klein for over a decade to bring together the diverse strands of Klein’s global practice in painting, graphic design, street photography, fashion photography, documentary film, fiction film, and books. A fully illustrated book, written by Campany and published by Thames & Hudson, will be published at a later date.” — ICP

William Klein, *Moves and Pepsi, Harlem, New York*, 1955. © William Klein, Courtesy Howard Greenberg Gallery

William Klein, *Watchman, Cinecittà, Rome*, 1956. © William Klein, Courtesy Howard Greenberg Gallery

William Klein, Backstage “Who Are You, Polly Maggoo?”, 1966. © William Klein, Courtesy Howard Greenberg Gallery

William Klein, *Karl Lagerfeld and Klein*, 2006. © William Klein, Courtesy Howard Greenberg Gallery

William Klein, *Auto-Portrait*, 1993. © William Klein, Courtesy Howard Greenberg Gallery

“For a long time, Klein was known as either a fashion photographer or a street photographer or a filmmaker, as different audiences knew and valued different aspects of his work. Only in recent years has the scope of his achievements begun to be recognized,” said curator David Campany. “Versatility runs against the idea that artistic significance is based on single themes and recurring preoccupations. But artists like Klein, who ranged freely and avoided specialism, are key to understanding the culture of the last century.”

Images courtesy International Center of Photography.

June 4, 2022

At the Dawn of a New Age: Early Twentieth- Century American Modernism at Whitney Museum of American Art, May 7, 2022 – March 2023

“At the Dawn of a New Age: Early Twentieth-Century American Modernism brings together works by lesser-known modernists and familiar icons, created between 1900 and 1930. It uncovers how these artists used abstraction and responded to the realities of a rapidly modernizing world. Featuring artworks drawn primarily from the Whitney’s collection, including new acquisitions and rarely seen works, the exhibition represents over 60 works by more than 45 artists working in various styles and media, including paintings, drawings, sculptures, prints, photographs, and woodcuts. At the Dawn of a New Age offers a broader perspective on early twentieth-century American modernism by including groundbreaking, historically overlooked artists like Henrietta Shore, Charles Duncan, Yun Gee, Manierre Dawson, Blanche Lazzell, Ben Benn, Isami Doi, and Albert Bloch in addition to well-known artists like Marsden Hartley, Oscar Bluemner, Elie Nadelman, Charles Burchfield, Aaron Douglas, and Georgia O’Keeffe.” — Whitney Museum of American Art

Installation views of At the Dawn of a New Age: Early Twentieth-Century American Modernism at Whitney Museum of American Art. Photos by Corrado Serra.

“In the Whitney’s early days, the Museum favored realism over abstract styles,” said Curator Barbara Haskell. “It wasn’t until the mid-1970s that the Museum expanded its focus and began acquiring nonrepresentational works from the period. Gaps remain, but the Museum’s holdings of early twentieth-century modernism now rank among the collection’s strengths. By bringing together familiar icons, works that have been in storage for decades, and new acquisitions, At the Dawn of a New Age gives us an opportunity to reassess how we tell the story of this period of American art and celebrate its complexity and spirit of innovation.”

At the Dawn of a New Age: Early Twentieth-Century American Modernism is organized by Whitney Curator Barbara Haskell.

May 28, 2022

Cecilia Vicuña: Spin Spin Triangulene at Solomon R. Guggenheim Museum, May 27 – September 5, 2022

“The Solomon R. Guggenheim Museum presents an exhibition devoted to Chilean artist, poet, activist, and filmmaker Cecilia Vicuña (b. 1948, Santiago), who has been based in New York for the last forty years. Showcasing Vicuña’s artistic production from the late 1960s to today, this focused exhibition will feature the breadth of her multidisciplinary practice, including paintings, works on paper, textiles, films, a site-specific Quipu (Knot) installation, and a one-time performance of a “living” Quipu, commissioned by the museum’s Latin American Circle. The exhibition will also include new paintings and works on paper created specifically for this presentation. The title, Spin Spin Triangulene, is a poetic creation based on new scientific discoveries the artist relates to the Guggenheim’s spiral rotunda and the quipu, to stress the connection between science and Indigenous knowledge Vicuña has observed since her early encounter with cybernetics as a young student in Chile. Long anticipated, this is the first solo exhibition of Vicuña’s work in a New York museum and will bring renewed and overdue national and international attention to a pioneering contemporary Latin American artist.” — Guggenheim Museum

Installation views of Cecilia Vicuña: Spin Spin Triangulene, May 27, 2022 – September 5, 2022, Solomon R. Guggenheim Museum, New York. Photos by David Heald © Solomon R. Guggenheim.

This exhibition is organized by Pablo León de la Barra, Curator at Large, Latin America, Solomon R. Guggenheim Museum and Foundation, and Geaninne Gutiérrez-Guimarães, Associate Curator, Guggenheim Museum Bilbao, Solomon R. Guggenheim Museum and Foundation.

Title Image: Cecilia Vicuña, Autobiografía (Autobiography), 1971. Oil on canvas, 23 1/2 × 25 1/4 in. (59.7 × 64.1 cm). Collection Museum of Contemporary Art San Diego, Museum purchase, Elizabeth W. Russell Foundation Fund, 2019. Photo: Matthew Herrmann, courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London. © Cecilia Vicuña.

Images courtesy Solomon R. Guggenheim Museum.