As Frieze New York touches down on Randall’s Island, galleries all over the city are breaking out their big guns in hopes of luring out-of-town collectors to their spaces.
Here are some of the week’s biggest openings, plus a selection of shows we’re looking forward to later in the month.
Matthew Ronay, World of Joined Coupling (2018). Courtesy of the artist and Casey Kaplan Gallery.
In Matthew Ronay’s creepily, colorfully, bountifully weird show at Casey Kaplan, shapes bulge and penetrate one another—not necessarily in a sexual way, but sometimes, as the show’s title implies, in a distinctly corporeal way.
Casey Kaplan Gallery is at 121 West 27th Street.
“Jean-François Bouchard: In Guns We Trust.” Photo courtesy of Arsenal Contemporary.
Jean-François Bouchard journeyed deep into the heart of Arizona to document American gun culture and the tourism that has sprung up around it. The resulting photographs have a strong cinematic flavor, offering a dramatic view of the recreational use of military-grade weapons.
Arsenal Contemporary is at 214 Bowery.
An installation view of Jeff Wall’s show at Gagosian. Photo courtesy of Gagosian.
For Jeff Wall‘s debut show at Gagosian, many new and previously unseen works will be on display. In the latest issue of Gagosian’s quarterly magazine, Wall discusses how his foray into black-and-white photography edges toward “near documentary,” although he continues to create elaborately staged and lit tableaux that are more akin to film sets.
Gagosian is at 522 West 21st Street.
Installation view, courtesy of Elodie Blanchard.
Elodie Blanchard’s new installations at the French Institute create a whimsical landscape to engage visitors. Using a range of materials, such as plastic-textiles and soft fabrics, she creates upholstered furniture and sculptures. A series of graphic face masks are also on display, made of intricate layers of felt.
FIAF Gallery is at 22 East 60th Street, 1st floor.
Morgan O’ Hara, TIME STUDY IN VENICE Week 6. Courtesy of Anita Rogers Gallery.
Morgan O’Hara has been tracking how she spends each and every minute for the past 47 years, recording daily reports in small notebooks as part of an ongoing series called “Time Studies.” This careful documentation, complete with monthly summaries and annual reports, is being shown with the “Letter Press Editions” she has been making since 1978 and a selection of “Silverpoint Drawings” made on watercolor paper with black gesso. The artist also currently has solo shows in New York at Magdalena Keck through May 13 and at Mitchell Algus Gallery through June 2, collectively presenting six separate bodies of work.
Anita Rogers is at 15 Greene Street.
Chris Ofili, Calypso 15, (2019) (detail). © Chris Ofili, courtesy of David Zwirner.
Chris Ofili‘s new exhibition is filled with works inspired by historic artists and writers, including Magritte, Shakespeare, and Homer. The works share a similar composition with some of Marc Chagall‘s pastel and watercolor pieces, which the late artist also often made as companion pieces to literary works.
David Zwirner is at 34 East 69th Street.
Vanessa Thill, Plan for Tilting Up (2019), detail. Courtesy of Larrie.
Vanessa Thill lets alchemy take over when making her crystallized sculptures, for which she submerges paper into a primordial ooze of dollar-store cleaning supplies, foodstuffs, and other ingredients. As the mixture dries out, a hardened mass of paper, utterly transformed by forces beyond Thill’s control, emerges.
Larrie is at 27 Orchard Street.
“Louise Nevelson: Wood Assemblages From the 1970s.” Photo courtesy of Galerie Gmurzynska.
Galerie Gmurzynska pairs Louise Nevelson’s wood assemblages—monochromatic works that exist at the intersection of Abstract Expressionism, Surrealism, and Cubism—with her rarely seen collages.
Galerie Gmurkzynska is at 39 East 78th Street.
Ron Nagle, New Collusion (2018). © Ron Nagle. Courtesy of the artist and Matthew Marks Gallery.
The veteran artist Ron Nagle is getting some overdue recognition, thanks to a big new show at Matthew Marks and an accompanying profile in the New York Times. His quirky, off-kilter sense of humor is seen in the cheeky titles of his perfectly imperfect sculptures.
Matthew Marks Gallery is lat 522 West 22nd Street
Marina Adams, Cheops (2019). Photo courtesy of Salon 94.
With her largest works to date, including the eight-foot-tall Mambo, Marina Adams continues her use of bold color combinations and architectural compositions. On the occasion of this exhibition, the artist’s second at Salon 94, Adams is releasing a new catalogue documenting the past decade of her career.
Salon 94 (Bowery) is at 243 Bowery.
John Baldessari, Hot and Cold. Courtesy of the artist and Marian Goodman Gallery.
In this show, John Baldessari situates recognizable images side by side but confuses the comparisons by accompanying each with nonsensical texts. The dichotomies are further muddied by the show’s overarching banner (and title) of “hot and cold.”
Marian Goodman Gallery is at 24 West 57th Street.
Cecilia Paredes, Lily (2018). Photo courtesy of Ruiz-Healy Art.
San Antonio’s Ruiz-Healy Art opens its first New York outpost with a show of photography by Peruvian artist Cecilia Paredes, who considers questions of home and identity in her camouflaged portraits, as well as work by San Antonio graphic designer Chuck Ramirez, an HIV positive artist whose work explores Mexican American and queer experiences.
Ruiz-Healy Art is at 74 East 79th Street.
“Evariste Richer: Fool’s Gold” at Emmanuel Barbault
May 3–June 16
Evariste Richer, Pinching the Blue. Photo courtesy of Emmanuel Barbault.
All that glitters is not gold in Evariste Richer’s exhibition at Emmanuel Barbault, the title of which refers to the deceptively bling-y mineral pyrite. Among other faux-gold works, Richer has made a miniature, Monopoly-esque landscape of pyrite homes, a commentary on the value of American real estate.
Emmanual Barbault is at 325 Broome Street.
Joan Mitchell, Edrita Fried (1981). ©Estate of Joan Mitchell. Collection of the Joan Mitchell Foundation, New York. Courtesy David Zwirner.
As the great Abstract Expressionist Joan Mitchell‘s market has exploded over the past year or so, mega-dealer David Zwirner has begun exclusively representing the Joan Mitchell Foundation. The gallery’s first show of her work spans four decades, and is the first to focus on Mitchell’s multipaneled canvases.
David Zwirner is at 537 West 20th Street.
Diamond Stingily, Kaa (2016). Courtesy of the artist and Queer Thoughts.
Diamond Stingily’s star continues to rise since featuring in the New Museum’s 2018 Triennial and its recent “Trigger” survey about gender. In the artist’s new show “Death,” Stingily is showing death masks created in collaboration with her friends, as a sort of metaphorical farewell to a phase in her life.
Queer Thoughts is at 373 Broadway #C9
“Carolee Schneemann: Tooth and Paw” at P.P.O.W.
May 9–June 1
Carolee Schneemann, CS feeds La Nina, 2 months old, photo–Andy Archer (2016). Courtesy of P.P.O.W.
The late, great Carolee Schneemann lives on in the delightful correspondences that she gathered during her final years, and are now being published in a posthumous show at P.P.O.W. The works are accompanied by photographs of Schneemann’s cat, La Nina, sometimes pictured with Schneemann and sometimes alone, which will be accompanied by sculptures of La Nina in the gallery.
P.P.O.W is at 535 West 22nd Street
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Phoenix Lindsey-Hall, Sitting on the edge of my blanket watching every touch (2018). Courtesy of the artist and VICTORI + MO.
Brooklyn’s VICTORI + MO has moved to Chelsea, where the inaugural exhibition features work from Phoenix Lindsey-Hall based on five years of research in the Lesbian Herstory Archives. The artist has incorporated text, images, and objects from the archives into mixed-media artworks that tell stories of everyday life from the lesbian community of the 1950s through the ’80s.
VICTORI + MO is at 242 West 22nd Street.
Claudette Schreuders, Hair (2017). Courtesy of the artist and Jack Shainman Gallery.
Claudette Schreuders continues to populate her artistic oeuvre with awkward, hollow-eyed, but lovable figurines presented in various states of intimacy. The show’s title, “In the Bedroom,” sets the stage for the characters, who are pictured performing a range of acts, sometimes alone, and sometimes with company.
Jack Shainman Gallery is at 513 West 20th Street.
“Leonardo Drew” at Galerie Lelong & Co.
Leonardo Drew, Number 215 (2019), detail. Courtesy of the artist and Galerie Lelong & Co.
Ahead of his first public work, a sculpture coming to New York’s Madison Square Park in June, Leonardo Drew will construct a wooden installation, titled Number 215
, at Galerie Lelong.
Galerie Lelong & Co is at 528 West 26th Street.
Elaine Reichek, Oedipus Rex (2019). Courtesy of the artist and Marinaro Gallery.
Elaine Reichek has been making embroidery samplers of words and pictures for decades, long before it was a hipster trend and popular Instagram fodder. Reichek’s show of 30 works, made over the past three years, envision a world that still relies on the primacy of literal printed text. Here, each individual word is its own miniature sculpture whose importance only grows when it becomes a piece of a larger textual work.
Marinaro is at 1 Oliver Street.
Native American artist Wendy Red Star’s first New York gallery exhibition coincides with a solo show at the Newark Museum, on view through June 16. At Sargent’s Daughters, Red Star presents new collage works pairing photographs of attendees of the annual Crow Fair in Montana with copies of hand-painted Works Progress Administration-era documentation of Crow Nation artifacts from the Denver Art Museum. The images serve to celebrate Crow artistry, and illustrate the tribe’s lasting cultural legacy.
Sargent’s Daughters is at 179 East Broadway.
“Frank Stella: Recent Work” at Marianne Boesky. Courtesy of the artist and Marianne Boesky Gallery. © 2019 Frank Stella / Artists Rights Society (ARS). Photo Credit: Object Studies.
Frank Stella presents selection of new sculptures, including monumental works and intimately scaled pieces. A master of color and form who successfully translates his paintings into three dimensions, blending abstraction and geometric shapes, Stella shows no signs of slowing down even at age 82.
Marianne Boesky is at 507 and 509 West 24th Street.