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

Recommended:

A Human Extension
 curated by Amy Berger
 
The Lodge Gallery, 131 Chrystie St., NYC (bt Delancey & Broome)

Artists Include: Isaac Arvold, Erik Benson, Julie Elizabeth Brady, Paul Brainard, Monica Cook, Melissa Cooke, Peter Drake, MaDora Frey, Jane LaFarge Hamill, Aaron Johnson, Christian Johnson, Michael Kagan, Karl LaRocca, Francesco Logenecker, Daniel Maidman, Lindsay Mound, Reuben Negron, Javier Piñon, Colette Robbins, Jean-Pierre Roy, Michael Schall, Kristen Schiele, Andrew Smenos, Melanie Vote, Frank Webster, Eric White, Barnaby Whitfield, Mike Womack

a celebration of the accessory, the exhibition features twenty-eight artists who, through drawings, paintings, collage and mixed-media, explore the role of fashion in contemporary visual culture. The show re-conceptualizes the fashion accessory, here with geological accessory designs by Jacqueline Popovic, as both sculptural and utilitarian.  - thru Feb 16

opens tomorrow, Jan 17, 6-9p:“All My Work Is Posthumous” Alex KvaresMulherin + Pollard Gallery, 187 Chrystie St., NYCUkranian born artist Kvares drawings radiate a quietness and an equally hypnotic power. In one series of works, Kvares uses an old book of graph paper, working grid by tiny grid to make what appear to be intricate maps or blueprints of some magnificent, cosmic creation. there’s a system within these beautiful works, which seems adhered to and subsequently ignored, each careful decision can be felt, as well as the hours spent creating them. Another series, like the work pictured above, feature creatures, hikers, campers drawn with his signature delicate touch. - thru Feb 16

opens tomorrow, Jan 17, 6-9p:

All My Work Is Posthumous
 Alex Kvares

Mulherin + Pollard Gallery, 187 Chrystie St., NYC

Ukranian born artist Kvares drawings radiate a quietness and an equally hypnotic power. In one series of works, Kvares uses an old book of graph paper, working grid by tiny grid to make what appear to be intricate maps or blueprints of some magnificent, cosmic creation. there’s a system within these beautiful works, which seems adhered to and subsequently ignored, each careful decision can be felt, as well as the hours spent creating them. Another series, like the work pictured above, feature creatures, hikers, campers drawn with his signature delicate touch. - thru Feb 16

opens Thurs, Jan 16, 6-8p:

Gestos Urbanos | Urban Gestures
 Juan Fernando Herrán, Kevin Simón Mancera, Jaime Tarazona
 

Johannes Vogt Gallery, 526 W26th St., NYC (#205)

The works, by three Colombian artists, brought together for this show offer a range of approaches, from drawing to sculpture to overpainted etchings. Each artist alludes to an overlaying of historical and contemporary urbanism as a structure that binds inhabitants to territories, be it through architecture, public spaces, or local news. - thru Feb 22

opens tonight, Jan 1, 6-9p:“Hot Chicks” Adam Green The Hole Gallery, 312 Bowery, NYCan exhibition of new drawings that “explore the female form in unexpected ways, using oil crayons and an assortment of pencils and pens… Bordering on architecture or furniture design, the works are only recognizable as female as each has at least one boob; though most have way, way too many boobs… Green’s unconscious has a somewhat 8-bit sensibility. The bodies are often composed of proliferating blocks, with some including too many eye blocks, too many aforementioned boob blocks, too many mouth blocks, etc. It is as though the image inventory chip to his Nintendo cartridge was functioning properly, however the programming chip that assorted, organized and placed the blocks was malfunctioning.” - thru Jan 31

opens tonight, Jan 1, 6-9p:

Hot Chicks
 Adam Green
 

The Hole Gallery, 312 Bowery, NYC

an exhibition of new drawings that “explore the female form in unexpected ways, using oil crayons and an assortment of pencils and pens… Bordering on architecture or furniture design, the works are only recognizable as female as each has at least one boob; though most have way, way too many boobs… Green’s unconscious has a somewhat 8-bit sensibility. The bodies are often composed of proliferating blocks, with some including too many eye blocks, too many aforementioned boob blocks, too many mouth blocks, etc. It is as though the image inventory chip to his Nintendo cartridge was functioning properly, however the programming chip that assorted, organized and placed the blocks was malfunctioning.” - thru Jan 31

thru Mar 10:

Isa Genzken: Retrospective
 

MoMA, 11 W53rd St., NYC

Isa Genzken is arguably one of the most important and influential female artists of the past 30 years. This exhibition, the first comprehensive retrospective of her diverse body of work in an American museum, and the largest to date, encompasses Genzken’s work in all mediums over the past 40 years. Although a New York art audience might be familiar with Genzken’s more recent assemblage sculptures, the breadth of her achievement—which includes not only three-dimensional work but also paintings, photographs, collages, drawings, artist’s books, films, and public sculptures—is still largely unknown in this country. Many of the roughly 150 objects in the exhibition are on view in the United States for the first time.

Opens Tonight, Dec 12, 6-8p:“Domenico Zindato: Recent Drawings”Andrew Edlin Gallery, 134 Tenth Ave., NYC (bt 18th & 19th st)Zindato’s work has evolved since he presented his first solo exhibition in New York, at the Phyllis Kind Gallery, in 2000. At that time, his drawings were smaller. Large patches of color and his signature, symbol-like motifs figured in those earlier pictures, but they were less densely compacted than they appear today. As his drawing surfaces grew bigger, the images he created on them did not automatically grow larger in scale, too; that is, he enlarged his compositions’ background swaths of solid colors but he continued to render the lines and sizes of his repeated, random-pattern motifs—hands, eyes, snakes, heads, birds and more—as tiny and as meticulously as ever. As a result, seen from a distance, Zindato’s works of recent years read visually as rhythmic plays of abstract, colored forms. Up close, they pull viewers into thickets of finely elaborated patterns, made up of the artist’s tiny motifs, which are set against those dynamic fields of color.  - thru Jan 18

Opens Tonight, Dec 12, 6-8p:

Domenico Zindato: Recent Drawings”

Andrew Edlin Gallery, 134 Tenth Ave., NYC (bt 18th & 19th st)

Zindato’s work has evolved since he presented his first solo exhibition in New York, at the Phyllis Kind Gallery, in 2000. At that time, his drawings were smaller. Large patches of color and his signature, symbol-like motifs figured in those earlier pictures, but they were less densely compacted than they appear today. As his drawing surfaces grew bigger, the images he created on them did not automatically grow larger in scale, too; that is, he enlarged his compositions’ background swaths of solid colors but he continued to render the lines and sizes of his repeated, random-pattern motifs—hands, eyes, snakes, heads, birds and more—as tiny and as meticulously as ever. As a result, seen from a distance, Zindato’s works of recent years read visually as rhythmic plays of abstract, colored forms. Up close, they pull viewers into thickets of finely elaborated patterns, made up of the artist’s tiny motifs, which are set against those dynamic fields of color.  - thru Jan 18

Opens Fri, Nov 15, 6-8p:

Mequitta Ahuja

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

Opens Tonight, Oct 19, 6-8p:“the room had an imposing dominance over the man” Adam HayesCindy Rucker Gallery, 141 Attorney St., NYCHayes’ drawings carefully elucidate scenes stroke by stroke. Constructed in a manner that always reminds us that we are looking at parts, even as the subject itself sparks to life. Rodinesque figures loom over the fading remains of what were once possibly great halls occupied by a ruling few. Echoing his work with line and form on paper, Hayes’ written series presents a selection of abstractly recognizable directions. Each builds a visceral scene of light and shadow populated by an undifferentiated cast- thru Nov 24

Opens Tonight, Oct 19, 6-8p:

the room had an imposing dominance over the man
 Adam Hayes

Cindy Rucker Gallery, 141 Attorney St., NYC

Hayes’ drawings carefully elucidate scenes stroke by stroke. Constructed in a manner that always reminds us that we are looking at parts, even as the subject itself sparks to life. Rodinesque figures loom over the fading remains of what were once possibly great halls occupied by a ruling few. Echoing his work with line and form on paper, Hayes’ written series presents a selection of abstractly recognizable directions. Each builds a visceral scene of light and shadow populated by an undifferentiated cast- thru Nov 24

Opens Oct 30, 6-8p:“The Swimming Lessons (1981), Translating Duchamp’s Green Box” Robert C. MorganRooster Gallery, 190 Orchard St., NYCfirst New York showing of this complete work, which has remained in storage since its first venue at the Ulrich Museum of Art in Wichita, Kansas (1981). Morgan became involved in studying the work of Duchamp and was taken by the following passage excerpted from an interview with Pierre Cabanne: “…I didn’t just float along! I had eight years of swimming lessons.” Morgan decided to use a phrase from this quote for his conceptually based work. The project involved working in many mediums, ranging from drawing to artists’ books, from painting to performance (many of which occurred in swimming pools), from super-8 film to video. One of his most important works was a series of ten drawings completed in 1981, involving photographs taken systemically from a videotape of two young women translating Duchamp’s Green Box notes. Although the original tape of this translation apparently disappeared, the still photographs, taken by the artist, were used to create a conceptual work, titled The Swimming Lessons. - thru Dec 1

Opens Oct 30, 6-8p:

The Swimming Lessons (1981), Translating Duchamp’s Green Box
 Robert C. Morgan

Rooster Gallery, 190 Orchard St., NYC

first New York showing of this complete work, which has remained in storage since its first venue at the Ulrich Museum of Art in Wichita, Kansas (1981). Morgan became involved in studying the work of Duchamp and was taken by the following passage excerpted from an interview with Pierre Cabanne: “…I didn’t just float along! I had eight years of swimming lessons.” Morgan decided to use a phrase from this quote for his conceptually based work. The project involved working in many mediums, ranging from drawing to artists’ books, from painting to performance (many of which occurred in swimming pools), from super-8 film to video. One of his most important works was a series of ten drawings completed in 1981, involving photographs taken systemically from a videotape of two young women translating Duchamp’s Green Box notes. Although the original tape of this translation apparently disappeared, the still photographs, taken by the artist, were used to create a conceptual work, titled The Swimming Lessons. - thru Dec 1

recently opened:“Change and Horizontals” Sean ScullyThe Drawing Center, 35 Wooster St., NYC$5 (admission is free on Thursdays, 6–8pm)This intensely focused survey comprises Sean Scully’s acrylic, ink, graphite, and masking-tape drawings from 1974–75—presented together for the first time in over 30 years—as well as two large-scale paintings from the same period and one of the artist’s personal notebooks. Scully’s maturation as a painter can easily be traced back to innovations in his early drawings. These drawings are marked by refined geometries that re-imagine the history of abstraction as an art rooted in experience—“something felt and something seen,” as the artist has said. Executed in London and New York City respectively, the Change and Horizontals drawings, along with their preparatory sketches and never-before-seen experimental typewriter drawings from the same period, highlight Scully’s core concern with line and color’s relation to place. Viewed together, the works chart an evolution of composition and gesture that provides unique insight into this artist’s singular aesthetic. This New York exhibition is the last stop on a tour that included the UK, Germany, and Italy. - thru Nov 3

recently opened:

Change and Horizontals
 Sean Scully

The Drawing Center, 35 Wooster St., NYC
$5 (admission is free on Thursdays, 6–8pm)

This intensely focused survey comprises Sean Scully’s acrylic, ink, graphite, and masking-tape drawings from 1974–75—presented together for the first time in over 30 years—as well as two large-scale paintings from the same period and one of the artist’s personal notebooks. Scully’s maturation as a painter can easily be traced back to innovations in his early drawings. These drawings are marked by refined geometries that re-imagine the history of abstraction as an art rooted in experience—“something felt and something seen,” as the artist has said. Executed in London and New York City respectively, the Change and Horizontals drawings, along with their preparatory sketches and never-before-seen experimental typewriter drawings from the same period, highlight Scully’s core concern with line and color’s relation to place. Viewed together, the works chart an evolution of composition and gesture that provides unique insight into this artist’s singular aesthetic. This New York exhibition is the last stop on a tour that included the UK, Germany, and Italy. - thru Nov 3