On the occasion of the gallery’s 25th anniversary, David Zwirner will present a special exhibition celebrating the artists who have shaped the gallery’s program since its founding in 1993.  A few of the artist on view: Josef Albers, Ruth Asawa, Carol Bove, Dan Flavin, On Kawara, Jeff Koons, Yayoi Kusama, Richard Serra, Rose Wylie, etc.

Freight + Volume is pleased to present “Slow Hum,” New Works by Kelley Johnson. “Slow Hum” reveals new artworks by Miami-based artist Kelley Johnson. Johnson, an interdisciplinary artist whose work spans painting and sculpture, embraces a style simultaneously precise and deceptively minimal. The exhibition features new works from the artist’s Kite paintings series, which combines aspects of Op Art and Color Field Theory, intermingled with concepts from Rosalind Krauss’ theory of Sculpture in the Expanded Field.

Barry McGee is an artist who takes uncertainty and unpredictability as his guiding principles. Every exhibition is different. He arranges paintings, drawings, sculptures, found objects, and works by other artists into freely improvised installations that roam across the walls, floors, and ceilings of an exhibition space.

BIGGERCODE Gallery  and FOU Shop are pleased to announce our first collaborative exhibition - Ren Studio: Extraordinary Ordinary, which will be on view at the BIGGERCODE Gallery from December 20, 2017 to January 20, 2018. In the exhibition, Ren Studio will present the latest series of functional ceramic works including serving vessels (mugs, bowls, plates), teapots, jars, and vases. Each unique object connects the creator and the owner, and tells its own story in everyday life. 

This major retrospective—the exhibition's only North American venue—will honor David Hockney in his 80th year by presenting his most iconic works and key moments of his career from 1960 to the present.

Museum: The Met Fifth Avenue 

In this highly experiential exhibition, explore 11 funhouse-like spaces that dare you to trust your senses—then show you how what we perceive is not simply a window into the world around us but a product of our brains. Plus, discover why we have senses and what’s unique about human perception during an interactive session hosted by a live presenter.

Museum: American Museum of Natural History

New steel sculptures and drawings by Richard Serra.

Gallery: David Zwirner | W 20th Street  

For more than twenty years, Los Angeles–based artist Laura Owens has pioneered an innovative approach to painting that has made her one of the most influential artists of her generation. Her bold and experimental work challenges traditional assumptions about figuration and abstraction, as well as the relationships among avant-garde art, craft, pop culture, and technology. This mid-career survey, the most comprehensive of Owens’s work to-date, will feature approximately 60 paintings from the mid-1990s until today. 

Museum: The Whitney Museum of American Art 

Katz’s work, past and present, with a selection of new landscapes and portraits uptown plus his classic cut-outs from the ’60s through ’80s downtown.

Gallery: Gavin Brown Enterprise | 291 Grand Street, New York

Spanning four decades, Black Bodies highlights Amos’s continued celebration of the black body as a source and site of power and beauty.

Gallery: Ryan Lee Gallery | 515 West 26th Street

Ai Weiwei conceived this multi-site, multi-media exhibition for public spaces, monuments, buildings, transportation sites, and advertising platforms throughout New York City. Collectively, these elements comprise a passionate response to the global migration crisis and a reflection on the profound social and political impulse to divide people from each other. 

At more than 300 sites across New York City through through Feb. 11. Find the installations via Public Art Fund's Immersive Map

Smith established his key motif while perusing an athletic catalogue in the late 1940s. Examining the pencil drawings of baseballs and tennis balls in it, Smith began to imagine that from these simple shapes he could create a new kind of space. As he described:

“It was flat and the same time it was curved. It was like a sphere. The planes seemed to move in every direction, as space does. And so I thought, maybe that is because that’s on the tondo. I’ve got to find out if that is true or not. I’ve got to do some on a rectangle to see if the form and the space still moved in every direction. And it did. So it was exciting to do a painting on a rectangle that seemed to have a curved surface. It was the first time, you see, that I had made an important step myself, or contribution in art.”

Stanley Whitney has been exploring the formal possibilities of color within ever-shifting grids of multi-hued blocks and all-over fields of gestural marks and passages, since the mid-1970s. His exhibition at Lisson Gallery New York will be the first major presentation of his drawings, highlighting important works from 1989 to the present. Whitney’s works on paper are a critical component of his practice, in which he develops his spatial structure and experiments with the placement of color.

Apfelbaum draws inspiration from graphic designer Rudolph deHarek’s cover design for The Potential of Woman, which features a flattened, stylized view of a female figure’s head. Her appropriation of this image, chosen as an icon, is consistent with her ongoing interest in applied design and popular culture. Apfelbaum was also fascinated by the book’s provocative and ultimately patronizing message. The book and its related symposium imagined a future in which women might be useful contributors; Apfelbaum instead reflects the desire for a broader appreciation and empowerment of legions of capable women in the present. In the exhibition’s title, Apfelbaum changes the word ‘woman’ to ‘women’ to reinforce an inclusive communal narrative around feminism.

A pioneer of West Coast conceptualism since the 1960s, Allen Ruppersberg mines the aesthetics and ephemera of popular culture and mass media, reorganizing the substance of collective memory to conjure a uniquely personal narrative. Reanimating various forms of printed matter and the written word, he engages language both as formal element and social artifact.

8th Floor

Over the past six years, Lin has collected around 2,000 words and expressions about women in various languages. Pulling from popular novels, newspapers, the internet, and colloquial dialogues, she has gathered phrases such as “divinité,” “Mori girl,” and “leftover women.” Some are predictably derogatory to women, demonstrating the continued ubiquity of sexist attitudes reinforced by language, while others are directly recovered from obsolescence, representing the nuanced mix of confusion, humor, self-deprecation, and empowerment that accompanies the shifting consciousness of women. This lexicon is woven into thickly raised wool forms so that viewers can feel the visceral and literal protruding patterns while touching and walking on the carpets.

Levinthal’s paintings are about feeling, family, and living in the real world. She confronts familial interaction and varied accompanying emotions simply and directly. She freely and openly without apology allows us to view the intimate and personal exchanges in her own life which, in turn, provokes us to examine and confront them in our own. The everyday fleeting moments delivered in her paintings convey with humor, freshness, and reflection a great deal about this artist, and the life she lives.

In his fifth solo show at Anton Kern Gallery, the California-based painter Brian Calvin presents a new body of work featuring tightly-cropped portrait paintings, colored pencil drawings, and anthropomorphic wooden sculptures.

Through repetition of his archetypal female figure, the artist invites us to look past the inviting face we are confronted by, and consider the idiosyncrasies of his formal choices. By reducing the face to its essential features, and isolating eyes, lips, hair, each work offers pieces of a code for the viewer to interpret.

All About This Side invokes this other side of human existence through an intense examination of the nominally protective barriers and constructs we have erected around it. A fence against unaccepted current realities and an unacceptable future is already well under construction. The architects of our generation are more inclined to put their creative energies into making this fictional barrier as permanent as possible as opposed to building a sustainable habitat for modernity’s survivors. However, this side of the ‘mind’ is nearly at the verge of exhaustion, and is unable to continue propping up its clusters of ‘cultural enactment’. There must be another, very different, mind watching every short-sighted, selfish action we commit to prolong our own existence from the other side of the wall; the wall we believe will protect us from our own nature. Or, in the artist’s words, “the future of this present has become the past of any ‘past’ we could ever imagine.”

OPEN  TUES-SAT 10AM-6PM

A presentation of Italian architect and designer Ettore Sottsass (1917–2007). Including architectural drawings, interiors, furniture, machines, ceramics, glass, jewelry, textiles and pattern, painting, and photography. The exhibition presents Sottsass's work in dialogue with ancient and contemporaneous objects that inspired him, as well as his influence on designers working today. 

Museum: Met Breuer | 945 Madison Ave. 

Hélio Oiticica: To Organize Delirium is the first full-scale U.S. retrospective in two decades of the Brazilian artist’s work. One of the most original artists of the twentieth century, Oiticica (1937—1980) made art that awakens us to our bodies, our senses, our feelings about being in the world: art that challenges us to assume a more active role. Beginning with geometric investigations in painting and drawing, Oiticica soon shifted to sculpture, architectural installations, writing, film, and large-scale environments of an increasingly immersive nature, works that transformed the viewer from a spectator into an active participant. The exhibition includes some of his large-scale installations, including Tropicalia and Eden, and examines the artist’s involvement with music and literature, as well as his response to politics and the social environment. The show captures the excitement, complexity, and activist nature of Oiticica’s art, focusing in particular on the decisive period he spent in New York in the 1970s, where he was stimulated by the art, music, poetry, and theater scenes. While Oiticica engaged at first with many of the city’s artists, he ended up living in self-fashioned isolation before returning to Brazil. He died in Rio de Janeiro, in 1980, at the age of 42.

Calder: Hypermobility focuses on the extraordinary breadth of movement and sound in the work of Alexander Calder. This exhibition brings together a rich constellation of key sculptures and provides a rare opportunity to experience the works as the artist intended—in motion.

Daily gallery activations of Calder exhibition works will occur at the following times.
 

Monday–Thursday: 12 pm, 2 pm, 4 pm
Friday: 12 pm, 2 pm, 4 pm, 7:30 pm, 8 pm, 9 pm
Saturday: 11 am, 12 pm, 1 pm, 2 pm, 3 pm, 4 pm, 5 pm, 6 pm, 7 pm, 8 pm
Sunday: 11 am, 12 pm, 1 pm, 2 pm, 3 pm, 4 pm

At its core, KRIWET’s work embraces principles of Concrete Poetry, in which visual strategies such as typographical composition and repetition of text are employed to create meaning in a poem. Expanding on these concepts he took a uniquely political and avant-garde approach to art making. Though not formally trained as a writer or artist, he infused his work with a varied body of influences, such as Constructivism, Beat Poetry, Pop Art, as well as the writings of Walter Benjamin.

Gallery: Luhring Augustine | 531 West 24th Street

NY-based Nari Ward will debut a series of new work comprised of mixed media paintings, sculptures, and installations. These works examine the ways value is assigned throughout society. 

Gallery: Lehmann Maupin Chelsea | 536 W 22nd Street 

For this show, Buren will completely transform the gallery space, using both colored filters and with new in situ works. In his over 50-year career, Daniel Buren is best known for his use of contrasting stripes as a visual tool that reveals the specific features and dimensions of a site, often transforming the environment for which it was specifically designed. 

Gallery: Bortolami Gallery | 39 Walker Street

Blurring the lines between LED and projections, Leo Villareal uses modern technology to create an ethereal experience at Pace Gallery. 

Gallery: Pace Gallery | 537 W 24th Street 

The Costume Institute's spring 2017 exhibition examines the work of fashion designer Rei Kawakubo, known for her avant-garde designs and ability to challenge conventional notions of beauty, good taste, and fashionability. The thematic show features approximately 140 examples of Kawakubo's womenswear for Comme des Garçons dating from the early 1980s to her most recent collection.

Museum: The Met NY | 1000 Fifth Avenue

The exhibition features eleven new paintings by Carmen Herrera. Drawing lies at the core of Herrera’s practice, wherein she uses arithmetic guidelines and careful calculations on tracing paper to create a meticulous framework. 

Gallery: Lisson Gallery | 138 10th Avenue 

Pettibon's work embraces a wide spectrum of American high and low culture, from the deviations of marginal youth to art history, sports, religion, politics, sexuality, and literature. Taking their point of departure in the Southern California punk-rock scene of the late 1970s and 1980s and the do-it-yourself aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement, his drawings have come to occupy their own genre of potent and dynamic artistic commentary.

Gallery: David Zwirner | 519 W. 19th Street