nyc art scene

a carefully curated calendar & cumulative catalog of new york city's most interesting art exhibitions and events. hand picked by Arthur Seen & Team

continues:

last supper” & “mermaid, pig, bro w/ hat
 Urs Fischer

Gagosian Gallery’s Park & 75, 821 Park Ave., NYC
Gagosian Gallery temporary space, 104 Delancey St., NYC

The exhibition is in two parts, uptown and downtown. The uptown exhibition inaugurates the opening of a new Gagosian space, Park & 75, the downtown exhibition is in a former Chase bank branch on the Lower East Side. The uptown gallery contains a single large-scale sculpture last supper, Fischer’s take on the classical religious theme. At the downtown exhibit, features of the bank’s architecture and decor have been retained, from the corporate signage to the vaults—an incongruous setting for Fischer’s guilelessly expressionistic and exuberant sculptures. The cast bronze works, some of which are silver- and gold-plated, are a heterogenous bunch that includes a one-legged boy in an armchair, a big foot, a fireplace, some columns, a bust of Napoleon, a Louis XIV chair, a mermaid (conceived as a functional fountain), a depiction of sleep, a man copulating with a pig, a man and woman embracing, a hat on rocks, a man in a boat, a faceless cat, a pile, a Pièta, a lion in chains, and so on.

“Say what you will about the overall conceit — the bluest of blue-chip dealers slumming it, the whole affair some sort of astroturf DIY effort to seem scrappy and relevant — but Gagosian’s pop-up is actually pretty damn cool. The pieces are plopped throughout the gutted interior, next to water fountains or empty safes, tucked inside the upper shelves of empty closets.” - Scott Indrisek (photos & quote), ARTINFO

opens Sat, Apr 19, 5-7p:“The Real Estate Show, What Next: 2014” John Ahearn, Stefan Eins, Peter Fend,  Coleen Fitzgibbon, Bobby G, Tom Otterness, Ann Messner and Laurie Arbeiter, and Alan Moore Cuchifritos Gallery, 120 Essex St., NYC (inside Essex Street Market)“An extension of The Real Estate Show of 1979/1980, this exhibition will serve as a living project space, presenting new work that continues to question the impending re-development of the Seward Park Urban Redevelopment Area (SPURA) sites. By addressing certain issues that have both united and polarized the neighborhood over the last 30+ years, the exhibition will encourage artists and community members to become an active part of the conversation by focusing on the particular insights and experimental processes that artists bring to imagining new urban spaces. All of the projects, contributed by former Colab members and participants in the original Real Estate Show, take form through audience engagement, as Cuchifritos becomes a flexible site for the active processes unfolding throughout the duration of the exhibition.” - thru May 18Corresponding Exhibitions:The Real Estate Show, Was Then: 1980 at James Fuentes, 55 Delancey Street, April 4 – 27RESx: The Real Estate Show Extended at ABC NoRio, 156 Rivington Street, April 9 – May 8NO CITY IS AN ISLAND at The Lodge Gallery, 131 Chrystie Street, April 10 – May 11

opens Sat, Apr 19, 5-7p:

The Real Estate Show, What Next: 2014
 John Ahearn, Stefan Eins, Peter Fend,
 Coleen Fitzgibbon, Bobby G, Tom Otterness,
 Ann Messner and Laurie Arbeiter, and Alan Moore
 
Cuchifritos Gallery, 120 Essex St., NYC (inside Essex Street Market)

“An extension of The Real Estate Show of 1979/1980, this exhibition will serve as a living project space, presenting new work that continues to question the impending re-development of the Seward Park Urban Redevelopment Area (SPURA) sites. By addressing certain issues that have both united and polarized the neighborhood over the last 30+ years, the exhibition will encourage artists and community members to become an active part of the conversation by focusing on the particular insights and experimental processes that artists bring to imagining new urban spaces. All of the projects, contributed by former Colab members and participants in the original Real Estate Show, take form through audience engagement, as Cuchifritos becomes a flexible site for the active processes unfolding throughout the duration of the exhibition.” - thru May 18

Corresponding Exhibitions:

The Real Estate Show, Was Then: 1980
at James Fuentes, 55 Delancey Street, April 4 – 27

RESx: The Real Estate Show Extended
at ABC NoRio, 156 Rivington Street, April 9 – May 8

NO CITY IS AN ISLAND
at The Lodge Gallery, 131 Chrystie Street, April 10 – May 11

recommended:

The Real Estate Show, Was Then: 1980

James Fuentes Gallery, 55 Delancey St., NYC

a historical exhibition revisiting Colab’s infamous 1980 “The Real Estate Show” with original archived artworks. “During the late 1970s and early 1980s the art world underwent rapid change. More and more artists found inspiration by engaging the real world while simultaneously discovering the power of banding together either to confront or circumvent the established order… on New Years’ Eve 1980 a group of Colab members and friends started the new decade off with a bang by squatting an empty, city-owned building on Delancey Street and mounting ‘The Real Estate Show,’ an exhibition about greed, gentrification, eviction, and dislocation. Although the police quickly shut down the show, the guerrilla exhibition attracted so much media attention that as a compromise the city offered the artists the use of another abandoned building on nearby Rivington Street.” (Alan Moore and Marc Miller, 98Bowery.com)

opens Apr 17, 6-8p:

Day by Day, Good Day
 Peter Dreher

Koenig & Clinton Gallery, 459 W19th St., NYC

a historical exhibition presenting paintings from 1974-2012. Dreher began his series Tag um Tag Guter Tag (Day by Day, Good Day) after painting his first glass in 1972. Dreher continued rendering a single empty water glass repeatedly, by day and by night, and has continued doing so over the course of several decades. The title of the series is linked to a Zen Buddhist maxim that espouses the equanimity of all things and objective perception of the world. Schooled as a figurative painter, the artist has remained steadfast to this commitment over the years, painting the same glass, within the same surroundings, from the same angle every day. To date, the series includes nearly 5,000 individual paintings. - thru May 24

Opens Tonight, 6-8p:

Are Your Motives Pure? Raymond Pettibon Surfers 1987-2012”
 Raymond Pettibon
 
Venus Over Manhattan Gallery, 980 Madison Ave., NYC

first exhibition ever organized to focus exclusively on Raymond Pettibon’s ‘surfer paintings,’ bringing together forty works spanning a quarter century of the artist’s career. Since the 1970s, Los Angeles-based artist Raymond Pettibon has been metabolizing America - its history, literature, sports, religion, politics, and sexuality - in a barrage of drawings and paintings in a style born of comic books and the “do-it-yourself” aesthetic of Southern California punk rock album-covers, concert flyers, and fanzines. Limning a dizzying array of topics with his distinctive combinations of image and text, Pettibon has created a vocabulary of symbols that reappear consistently if enigmatically across his oeuvre. - thru May 17

Opens Tonight, 6-8p:“The Super Can Man and Other Illustrated Classics” Kristen Morgin Zach Feuer Gallery, 548 W22nd St., NYCThe exhibition is populated with sculptures, composed primarily of unfired clay and paint, of super heroes and heroines found in comic books, fairy tales and popular culture.  Some work is re-created as a single object, such as a Little Golden Book edition of Hansel and Gretel.  Other work, like The Ugly Duckling, is seemingly reimaged from repurposed materials one may have on hand -  the stub of a pencil, a Skippy peanut butter jar top and two painted pieces of wood.

Opens Tonight, 6-8p:

The Super Can Man and Other Illustrated Classics
 Kristen Morgin
 
Zach Feuer Gallery, 548 W22nd St., NYC

The exhibition is populated with sculptures, composed primarily of unfired clay and paint, of super heroes and heroines found in comic books, fairy tales and popular culture.  Some work is re-created as a single object, such as a Little Golden Book edition of Hansel and Gretel.  Other work, like The Ugly Duckling, is seemingly reimaged from repurposed materials one may have on hand -  the stub of a pencil, a Skippy peanut butter jar top and two painted pieces of wood.

Opens Apr 18, 6-9p:“Nude Dudes” René Smith Storefront Ten Eyck Gallery, 324 Ten Eyck St., Brooklyn, NYCRené Smith’s paintings, Nude Dudes, are complicated and radical. Forty years after Playgirl popularized the idea that women could enjoy the male nude, we do not expect to see penises. These are feminist paintings. The subject is important, privileged by its relative absence from our visual culture.  Smith’s work is a sincere ode to longing and the beauty of men’s bodies, but it also addresses the imbalance between the ubiquitous depiction of women’s bare bodies and the dearth of male nakedness.  The paintings depict men’s bodies through a woman’s eyes. The man’s body is presented as a landscape with hills and valleys to roam.  The work also abounds in art historical references, our relationship to photography and formal and painterly ideas about the physical and sensual quality of the pieces themselves.  Friends and professional models posed for Smith’s camera in her studio. She works from these photographs to create her large-scale paintings.

Opens Apr 18, 6-9p:

Nude Dudes
 René Smith
 
Storefront Ten Eyck Gallery, 324 Ten Eyck St., Brooklyn, NYC

René Smith’s paintings, Nude Dudes, are complicated and radical. Forty years after Playgirl popularized the idea that women could enjoy the male nude, we do not expect to see penises. These are feminist paintings. The subject is important, privileged by its relative absence from our visual culture.  Smith’s work is a sincere ode to longing and the beauty of men’s bodies, but it also addresses the imbalance between the ubiquitous depiction of women’s bare bodies and the dearth of male nakedness.  The paintings depict men’s bodies through a woman’s eyes. The man’s body is presented as a landscape with hills and valleys to roam.  The work also abounds in art historical references, our relationship to photography and formal and painterly ideas about the physical and sensual quality of the pieces themselves.  Friends and professional models posed for Smith’s camera in her studio. She works from these photographs to create her large-scale paintings.

recently opened:“Overculture” William Powhida Postmasters Gallery, 54 Franklin St., NYCYou know William Powhida and his colorful painted lists of rants, instructions, jokes and truths. Here they are supersized and in oil paint. “My studio practice is based in drawing, which I like to think of more as a thought process than a way of working.  My work tends to draw out a concept, often a critique, through some formal means. Primarily, I’m known for drawings of trompe l’oeil lists and letters authored in the voice of “Powhida,” a sensationalist, self-loathing and unreliable narrator… While it doesn’t take much to get me drawing, following a critical inquiry to unusual and uncomfortable ends is where the energy is, like having a long conversation about coyotes with a taxidermist.” - William Powhida to The L Magazine’s Paul D’Agostinophoto by Jason Andrew

recently opened:

Overculture
 William Powhida
 
Postmasters Gallery, 54 Franklin St., NYC

You know William Powhida and his colorful painted lists of rants, instructions, jokes and truths. Here they are supersized and in oil paint.

“My studio practice is based in drawing, which I like to think of more as a thought process than a way of working.  My work tends to draw out a concept, often a critique, through some formal means. Primarily, I’m known for drawings of trompe l’oeil lists and letters authored in the voice of “Powhida,” a sensationalist, self-loathing and unreliable narrator… While it doesn’t take much to get me drawing, following a critical inquiry to unusual and uncomfortable ends is where the energy is, like having a long conversation about coyotes with a taxidermist.” - William Powhida to The L Magazine’s Paul D’Agostino

photo by Jason Andrew

opens Tonight, Mar 16, 6-8p:“Everything Under the Sun: Moon and Stars” Summer Wheat Pocket Utopia, 191 Henry St., NYCIn collaboration with Hansel and Gretel Picture Garden

opens Tonight, Mar 16, 6-8p:

Everything Under the Sun: Moon and Stars
 Summer Wheat
 
Pocket Utopia, 191 Henry St., NYC

In collaboration with Hansel and Gretel Picture Garden

Recommended
Opens Sun, Mar 2nd, 6-8p:

Crosseyed and Painless
 Daniel Rios Rodriguez

Sargent’s Daughters, 179 East B’Way, NYC


Daniel Rios Rodriguez’s work combines the intensely personal with the historical in a manner both humorous and dark.  The paintings begin with drawing into a thick layer of oil paint, and can include collage elements of raw canvas, linen and the scraps of old t-shirts onto the canvas. This is a means of recovery and reinstating a fresh surface, exploring the materiality and variety of textures a painting’s surface can have.

The subject matter of the work spans the immediate and classical: skulls, lemons and tall grass along a river are repeated- calling to mind the traditional vanitas pieces. The search is ongoing and the images are abundant.
- thru Mar 30