Currently on view

Nicolas Party: Pastel – The FLAG Art Foundation

The unusual qualities of pastel are explored in Nicolas Party: Pastel, where the artist has used the medium to create four mural backdrops for a carefully chosen selection of 18th through 21st century images. Pastel is a notoriously difficult medium to work with since it must be applied directly to the final surface without the benefit of blending colors on a palette so using it requires advanced technical drawing skill. Despite this, it remains popular because it creates a seamless transition between light and dark tones, creating a sense of realism that is unequalled. Referencing rococo themes and colors, the site-specific works compliment and highlight framed pieces from Rosalba Carriera (the artist who popularized pastel portraits in France), Mary Cassatt, Julian Martin, Chris Ofilli, Robin F. Williams, and Loie Hollowell, among others. Party’s own pieces are also on view, allowing viewers to appreciate his abilities with pastel in small and large formats.

On view October 10, 2019 – February 15, 2020

The FLAG Art Foundation, 545 West 25th Street, 9th Fl, Hours: Wed – Sat: 11-5, Admission: Free

Joe Overstreet, Selected Works: 1975 – 1982 – Eric Firestone Gallery

The sixteen works in Joe Overstreet, Selected Works: 1975 – 1982 have not been on view since they were made over forty years ago, but don’t feel dated, thanks to Overstreet’s ability to ignore artistic trends, instead focusing completely on what color and paint could do. These thoughtful works, with references to culture, geometry, nature, and personal history, give visitors a glimpse into the interests of Joe Overstreet during a peak time of creativity in his career. The sheer variety of techniques would be enough for at least three artists: the fact that it’s only one testifies to the boundless energy and curiosity he brought to his work and life. Manipulating canvas by suspending or loosely mounting it on the walls, applying paint directly or as specially prepared strips to those surfaces made his works tactile while also giving them emotional depth, an elegant linkage of the cerebral and physical forms that is the hallmark of memorable abstract art.

On view November 14, 2019 – January 11, 2020

Eric Firestone Gallery, 4 Great Jones Street, #4, Hours: Tue – Sat: 11-6, Admission: Free

Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection – Grey Art Gallery

It’s not often you find New York galleries showing modern art from the Middle East and Southeast Asia – which seems odd, given that the city is a major destination of immigrants from these nations. Fortunately, NYU’s Grey Art Gallery is addressing this lack of representation with the exhibit Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection. These works from the 1960s and 70s, assembled by Mrs. Grey to advance cultural understanding between these nations and the United States, range from drawing to sculpture, with notable works from Parviz Tanavoli, Fahrelnissa Zeid, and Francis Newton Souza. Her insistence on full documentation, creating an archive for academic study has made this collection an invaluable resource for NYU. The art itself captures a time of discovery and innovation, melding international ideas with cultural identity in a unique style instantly recognizable today.

On view September 10, 2019 – December 7, 2019

Grey Art Gallery, 100 Washington Square East, Hours: Tue: 11-6, Wed: 11-8, Thur – Fri: 11-6, Sat: 11-5, Admission: Suggested admission $5, NYU students, faculty, and staff: Free. The gallery will close early on Wed, 11/27 and reopen Tue, 12/3.

Illusions of the Photographer: Duane Michals at the Morgan – The Morgan Library and Museum

Lately we’ve noticed a tendency in museums to bring in an artist, let them look over the permanent collection, and put together a show with the help of a professional curator (who discreetly fades into the background so the artist can claim all the credit). These exhibits aren’t particularly scholarly, in fact they often seem to be an uncomfortable Pinterest mix of ‘I like this and you should too’ and ‘I claim this as an influence but don’t realize this is far better than my own work’. In a best case scenario, audiences will see some old favorites next to pieces rarely out of storage, with a visual dialogue informed by a certain level of intellectual and artistic knowledge. In the worst case, visitors get selfie moments and leave as ignorant as when they arrived.

The Morgan Library and Museum knows these potential pitfalls, which is why when they decided to do an artist-led exhibition, they asked Duane Michals to select items from their extensive collection and link them to his own work. The result is Illusions of the Photographer: Duane Michals at the Morgan, a retrospective of the artist’s photography and other works, curated by Joel Smith, the Richard L. Menschel Curator at the Morgan. The selections on view enhance understanding of Michals’ development as well as artistic influences and references from many eras. His technique has evolved over time, and the exhibit includes examples of staged tableaus, photographs altered through painting, with captions written on the print, or images created from manipulating exposure times or light. He also has a superb understanding of art history, putting in his work details that act as Easter eggs within the larger scene. When placed next to the original inspirations/sources, his photographs are even better: enhanced, not diminished by the association. Visitors understand his thinking and use it to stimulate their own imaginations, making this the rare exhibition that is more than the sum of its parts.

On view October 25, 2019 – February 2, 2020

The Morgan Library and Museum, 225 Madison Avenue (36th Street), Hours: Tues – Thur: 10:30-5, Fri: 10:30-9, Sat: 10-6, Sun: 11-6, Mon: Closed, Admission: Adults: $22, Seniors (65 years and older): $14, visitors with disabilities: $13 (with their caregivers having free admission), Students: $13 (with valid id), Children (12 years and younger, accompanied by an adult): Free, Members: Free. On Fridays between 7pm-9pm, admission is free.

Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971, 1971. Installation view: 38th Venice Biennale, 1978. © Hans Haacke / Artists Rights Society (ARS), New York. Courtesy the artist and Paula Cooper Gallery, New York. Photo: Hans Haacke

Hans Haacke: All Connected – New Museum

Conceptual art is an art movement that many people seem to misunderstand, either accidentally or deliberately. In its essence, the idea of an artist is labelled art, whether the idea has a physical form or not. Other ways to express a conceptual art piece is to use audience participation as directed by the artist, taking public information or data and organizing it for open discussion, or presenting pre-made items as worthy of aesthetic observation. It’s a difficult method but in Hans Haacke: All Connected, the New Museum shows why it’s valid and necessary aspect of contemporary art. As a pioneer in various types of contemporary art, from environmental to institutional critique, Hans Haacke has consistently questioned the relationship between money, power, corporate and arts institutions, the public, and artists for decades. His work has been held up as an example of speaking truth to power by examining connections between policies of big business and repressive regimes. But it’s also functioned as a warning to other artists not to cross the line (as institutions saw it) regarding political and social commentary the way he did, resulting in the infamous 1971 cancellation by the Guggenheim of a career retrospective, which also cost the curator his job. Even now, Haacke’s works can make corporations uncomfortable, while inspiring people to start changing the status quo – which makes this a perfect exhibition for today’s concerns.

On view October 24, 2019 – January 26, 2020

New Museum, 235 Bowery (between Stanton and Prince Streets), Hours: Tue – Wed: 11-6, Thur: 11-9 (between 7-9 pm, admission is pay-what-you-wish), Fri – Sun: 11-6, Admission: Adults: $18, Seniors: $15, People with disabilities: $15 (accompanying caregivers free admission), Students (with id): $12, Members: Free, Children 15-18 years: Free, Children under 15 years (accompanied by an adult): Free

Edith Halpert at the Downtown Gallery, wearing the 13 watch brooch and ring designed for her by Charles Sheeler, in a photograph for Life magazine in 1952. She is joined by some of the new American artists she was promoting that year: Charles Oscar, Robert Knipschild, Jonah Kinigstein, Wallace Reiss, Carroll Cloar, and Herbert Katzman. Photograph © Estate of Louis Faurer

Edith Halpert and the Rise of American Art – The Jewish Museum

There are many reasons why people chose to work in the arts. Maybe they have talent in some aspect of performance or in a field that supports performance, maybe they’re just drawn to the creativity of those in that sphere. Or maybe they just think that everybody outside that world should know that some great artistic work is happening and by the way, it’s being done by people right here in the US. Edith Halpert had all these qualities: spotting artistic talent in a variety of time periods, genres, and individuals, then promoting and selling to everyone from museums to the middle class. The gallery, in operation for over 40 years, sold or represented Stuart Davis, Edward Hicks, Jacob Lawrence, Georgia O’Keeffe, Yasuo Kuniyoshi, Raphaelle Peale, Horace Pippin, Ben Shahn, and Max Weber, among others. An early promotional brochure says it best: “The Downtown Gallery has no prejudice for any one school. Its selection is driven by quality—by what is enduring—not by what is in vogue.” In Edith Halpert and the Rise of American Art, these artists, as well as unknown makers in the genre of American folk art, demonstrate the depth and breadth of a visionary, determined to show collectors and the general public the art world didn’t begin and end with European works. Her success ensured that generations of students and professionals came to value art movements and work created in the US, changing the course of art history studies across the world.

On view October 18, 2019 – February 9, 2020

The Jewish Museum, 1109 Fifth Avenue at 92nd Street, Hours: Thur: 11-8, Fri – Tue: 11-5:45, Wed: Closed, Admission: Adults: $18, Seniors (65 years and older): $12, Students: $8, Children (18 years and younger): Free, Members: Free. On Saturdays, admission is free. Visitors with Federal Disability identification may obtain free admission. In addition, the museum is a member of Blue Star Museums and has year-round free admission for active duty military personnel and their families.

Gunnar S. Gundersen, Untitled, 1961, Oil on canvas, 100 x 120 cm

Cutting Edges: Nordic Concrete Art from the Erling Neby Collection – Scandinavia House Gallery

From the outstanding collection of Erling Neby, a choice selection representing a Nordic take on the abstract movement known as Concrete Art, one of Abstract Art’s many branches, with paintings focused on a removal of references to representation or emotion and emphasizing formal, geometric compositions often using flat planes of color to create illusions of depth. Over time, the definition was relaxed to include works of sculpture, photography, and poetry, forms that worked well within the strictures of the theory. Cutting Edges: Nordic Concrete Art from the Erling Neby Collection brings together artists from Denmark (Richard Mortensen, Robert Jacobsen), Finland (Lars-Gunnar Nordström, Sam Vanni, Paul Osipow, Matti Kujasalo, Juhana Blomstedt), Iceland (Kristján Guðmundsson), Norway (Gunnar S. Gundersen, Arne Malmedal, Kristin Nordhøy, Aase Texmon Rygh, Bjørn Ransve), and Sweden (Olle Bærtling, Lars Erik Falk, Lars Englund) showing various interpretations on a style more commonly associated with Latin America and Italy.

On view October 12, 2019 – February 15, 2020

Scandinavia House, 58 Park Avenue (38th Street), Hours: Tue: 12-6, Wed: 12-7, Thur – Sat: 12-6, Admission: Free

Model wearing the “Déesse” dress by Callot Soeurs, shown at the “Fête Parisienne” in New York, 1915. Photographed by Philippe Ortiz. Silver gelatin print. Diktats bookstore.

French Fashion, Women, and the First World War – Bard Graduate Center

In times of turmoil, fashion is the last thing on anyone’s mind. Who cares how clothes look when a country is at war? Well, historians care because looking at fashion can be a surprisingly useful way to examine the cultural landscape of a nation. In the Bard Graduate Center’s fall show, French Fashion, Women, and the First World War, curators Maude Bass-Krueger (PhD, BGC and Postdoctoral Fellow, Leiden University) and Sophie Kurkdjian (PhD, Université Paris I, Panthéon-Sorbonne and Research Associate, Institut d’Histoire du Temps Présent [CNRS]) examine and explain French fashion in the early 20th century, describing various cultural, economic, and social forces that influenced women’s lives for decades to come.

On view: September 5, 2019 – January 5, 2020

Bard Graduate Center, 18 West 86th Street, Hours: Tue: 11-5, Wed – Thur: 11-8, Fri – Sun: 11-5, Suggested Admission: General: $7, Students (with valid ID) and Seniors (over age 65): $5, People who identify as disabled: Pay what you wish; their caregivers: Free. On Wednesdays, admission is free all day, on Thursdays, admission is free only from 5-8pm.

Jean Paul Gaultier, dress, spring/summer 1998, France. Lent by Jean Paul Gaultier. IL2019.4.1 Paris, Capital of Fashion Photograph by Eileen Costa The Museum at FIT

Paris, Capital of Fashion – Museum at FIT

Paris, France is famous for many things: art, history, literature, music, theater…and fashion. From the 17th century, the city was the place to see, buy or copy the latest trends in clothing but how was this status achieved? The answer is at The Museum at FIT and their exhibit Paris, Capital of Fashion. From the royal court of Versailles with its obsession for the new in dress and entertainment to modern haute couture’s extravagant designs, the show examines how the fashion industry keeps Paris’ reputation on top.

In addition to this exhibit, on October 18 the museum will present Fashion Symposium: Paris, Capital of Fashion, a one day event from 10am-5pm. There will be several speakers discussing aspects of Paris’ place and history as a center for fashion. Reservations are required but the tickets are free with seating on a first come-first serve basis. Click here for more information.

On view: September 6, 2019 – January 4, 2020

Museum at FIT, Seventh Avenue at 27th Street, Hours: Tue – Fri: Noon-8pm, Sat: 10-5, Admission: Free