Opens Fri, Nov 15, 6-8p:
Thierry Goldberg Gallery, 103 Norfolk St., NYC
“Ahuja references a variety of cultural traditions, including the arts of Africa, Asia, and America… she suggests that identity is not only fluid, but that it represents a layering of different guises—both real and fictional, historic and contemporary. Her work also demonstrates an interest in different types of marks and materials. She employs hand stamps, paints with brushes, and draws directly onto the collaged ground.” - National Portrait Gallery
“My self-portraits are “auto-mythic.” I define automythography as a process of identity formation that combines the real with the self-invented. I position myself within a history of Eastern and Western representation, reflecting my identity as an African American and South Asian American woman. My sources include Buddhist wall paintings and Mughal manuscript art.” - Mequitta Ahuja
ongoing thru Jan 12:
“The Mystery of the Ordinary, 1926–1938”
MoMA, 11 W53rd St., NYC (5th/6th Aves)
Bringing together some 80 paintings, collages, and objects, along with a selection of photographs, periodicals, and early commercial work, the exhibition is the first to focus exclusively on the breakthrough Surrealist years of René Magritte, creator of some of the 20th century’s most extraordinary images. Beginning in 1926, when Magritte first aimed to create paintings that would, in his words, “challenge the real world,” and concluding in 1938—a historically and biographically significant moment just prior to the outbreak of World War II—the exhibition traces central strategies and themes from the most inventive and experimental period in the artist’s prolific career. Displacement, transformation, metamorphosis, the “misnaming” of objects, and the representation of visions seen in half-waking states are among Magritte’s innovative image-making tactics during these essential years.
“A Future Moment Here”
Eric Ernest Johnson
Mulherin + Pollard, 187 Chrystie St., NYC
Kindler creates collages made from hand-cut magazines on Mylar assembled into dense thickets of intersecting layered geometric forms, drawing from faintly familiar images of domestic interiors, ornamental details, stairwells, and repurposed machinery punctuated with well-placed jabs of brilliant-colored light spills.
Johnson describes his works as “both a celebration and protest of our modern age, of what we’ve made and done on this earth— with the knowledge that underneath us is dirt, fire, and brimstone; [that] all around us are incredible insects, flowers, beasts and in the sky are birds, clouds and stars, and the great beyond.”