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.
thru Dec 1:
Muriel Guépin Gallery, 83 Orchard St., NYC
a collection of fantastical buildings, homes, tents and trailers removed from their backgrounds and suspended in the sky as if permanently airborne.
continues thru Jan 22:
Guggenheim, 1071 5th Ave., NYC
“Over a career that spans three decades, Christopher Wool has conducted a riveting investigation into the question of how to make a painting at a time when new possibilities for the medium might seem exhausted… Wool was born in 1955 and grew up in Chicago. By the time that he turned eighteen he had moved to downtown New York City, where the anarchic energy of the punk and No Wave scenes were a defining influence on his creative development. At the outset of his mature career in the mid-1980s, Wool abstained from the seductive expressionism of color and the gestural brushstroke in favor of stark, monochrome compositions that employed commercial tools and imagery appropriated from mass culture. His breakthrough body of work used rollers and stamps to transfer decorative patterns in severe black enamel to a white ground. His “word paintings” from the same period focused on language as image, confronting the viewer with anxious, enigmatic imperatives even as the stenciled letters disintegrate into abstract geometries. In both cases, Wool used unexpected breakdowns in his formal systems—slips and glitches, fractured text and erratic spacing—to convey emotional states ranging from pathos to aggression… Since the early 2000s, Wool has worked almost entirely with abstract forms, at once mediating and renewing the expressive potential of painting through strategies of replication, erasure, and digital manipulation.”