New Museum | Mariana Castillo Deball: Finding Oneself Outside

January 22 - April 14, 2019

Working in sculpture, printmaking, photography, and installation, Mariana Castillo Deball (b. 1975, Mexico City, Mexico) examines how knowledge and cultural heritage are produced, organized, measured, and authenticated. Her works often take inspiration from Mesoamerican iconography and narratives, considering their early-colonial transformations and their presence in Central America today. Exploring her philosophical interest in time and space as well as cosmology and depictions of natural order, Castillo Deball has engaged a diverse range of scholars in her research. Her works and installations often reflect Surrealist writer Roger Caillois’s notion of “diagonal sciences”—unusual cross-sections of the world that reveal what he called “neglected correlations,” and “tissues of thought.”

Website

Whitney Museum of American Art | Andy Warhol – From A to B and Back Again

November 12, 2018 - March 31, 2019

Few American artists are as ever-present and instantly recognizable as Andy Warhol (1928–1987). Through his carefully cultivated persona and willingness to experiment with non-traditional art-making techniques, Warhol understood the growing power of images in contemporary life and helped to expand the role of the artist in society. This exhibition—the first Warhol retrospective organized by a U.S. institution since 1989—reconsiders the work of one of the most inventive, influential, and important American artists. Building on a wealth of new materials, research and scholarship that has emerged since the artist’s untimely death in 1987, this exhibition reveals new complexities about the Warhol we think we know, and introduces a Warhol for the 21st century.

Website

The Morgan Library | Treasures from the Vault

November 13, 2018 - March 10, 2019

The Morgan is home to some of the world's finest collections of medieval manuscripts, literary and historical manuscripts, printed books and bindings, letters, and autograph music manuscripts. Treasures from the Vault, an ongoing exhibition series, features works drawn from these diverse collections in the sumptuous setting of Pierpont Morgan's 1906 Library.
Special Exhibition: American Writings from the Gilder Lehrman Collection

Documents from the Gilder Lehrman Institute of American History—one of the country's foremost archives of Americana—are on view in the Library’s Rotunda. The selection represents significant moments and figures from U.S. history, spanning the American Revolution, the Civil War, the Civil Rights movement, and the war in Vietnam. Items on display include one of the first stand-alone printings of Lincoln’s Gettysburg Address (1864) and a letter written in 1782 on behalf of the Revolutionary War soldier, Molly Corbin, who fought in battle wearing men’s attire.

Website

Planthouse | Naho Taruishi, Papyrus

January 24 - March 3, 2019

Using the language of drawings, paintings and prints, Naho Taruishi’s work evokes the sense of expeditions that constantly overwrite our perceptions of things around us, and questions the uncertainty of historical events that are recorded and preserved in visual forms. Her references range from ancient documentations to maps, mechanical inventions, photography, films and architecture.

Website

Pace Prints |Celestial

January 18 - February 23, 2019

Celestial features works by Kiki Smith, James Turrell, Tara Donovan, Leonardo Drew, Shahzia Sikander, Loie Hollowell, and Lucas Samaras, which reference the planetary, ethereal, otherworldly and astronomical.  Highlights of the exhibition are the large scale Aten Reign, created by James Turrell in 2015; Kiki Smith’s diptych etching entitled Trinity Heaven and Earth; and Tara Donovan’s Untitled from 2010, created by inking sewing pins in their galactic and radial composition.

Website


New York Public Library | Blue Prints: The Pioneering Photographs of Anna Atkins

Through February 17, 2019

Anna Atkins (1799–1871) came of age in Victorian England, a fertile environment for learning and discovery. Guided by her father, a prominent scientist, Atkins was inspired to take up photography, and in 1843 began making cyanotypes—a photographic process invented just the year before—in an effort to visualize and distribute information about her collection of seaweeds. With great daring, creativity, and technical skill, she produced Photographs of British Algae: Cyanotype Impressions, the first book to be illustrated with photographs, and the first substantial application of photography to science. Ethereal, deeply hued, and astonishingly detailed, the resulting images led her and her friend Anne Dixon to expand their visual inquiry to flowering plants, feathers, and other subjects. This exhibition draws upon more than a decade of careful research and sets Atkins and her much-admired work in context, shedding new light on her productions and showcasing the distinctive beauty of the cyanotype process, which is still used by artists today.

Website

Tabla Rasa Gallery | Tom Bennett: Paintings and Master Prints

January 16 - February 9, 2019

Tom Bennett’s artwork is recognizable for its impassioned brushwork, bold compositions, and rich subject matter. His work embraces art history, abundant with homages to heroic works, bucking horses and classical nudes.
In addition to his dynamic paintings, Tabla Rasa will feature a series of unframed mono-types for acquisition by both the seasoned and novice collector. Among them are images of figures that seem to breathe with life force, and storms that roil on the horizon. Mono-types, a form of print in which an image is created on a plate and then transferred to paper, is an ideal vehicle for the spontaneity of Mr. Bennett’s drawing talents. The inked plate yields only one “unique” image, not an edition of multiples as in other printmaking techniques.
Website

Marlborough Gallery | Art Spiegelman: Prints

January 8 - February 2, 2019

Marlborough is excited to present a solo exhibitions of prints by the legendary comics artist Art Spiegelman. A towering figure in the underground comix scene of the 1960s and 70s, Spiegelman broke into the mainstream with his 1992 graphic novel Maus, a Holocaust allegory that became an international bestseller and a defining work of the medium. Subsequently, his work has been featured on the cover of the New Yorker magazine and countless other publications including the seminal avant-garde comix magazine RAW which he co-founded in 1980.
The exhibition encompasses over 30 years of editioned works in silkscreen, lithography, and offset printing, and engages his favored themes—comics as a medium of self-expression, the personal and political in history, and the triumphs and tragedies of New York. While the graphic style varies from subject to subject, a mixture of humor and gravity are a hallmark. Not one to shy from the sensational (and the urge to keep comics once-dangerous reputation alive) there is an edge of provocation and grotesquerie, but also a tenderness. It is his unflinching humanity that connects us so deeply with his work and he manifests it powerfully with his deft hand and inventive compositions.

Website

The Morgan Library | IT'S ALIVE! FRANKENSTEIN AT 200

October 12, 2018 - January 27, 2019

Commemorating the two hundredth anniversary of Frankenstein—a classic of world literature and a masterpiece of horror—a new exhibition at the Morgan shows how Mary Shelley created a monster. It traces the origins and impact of her novel, which has been constantly reinterpreted in spinoffs, sequels, mashups, tributes and parodies. Shelley conceived the archetype of the mad scientist, who dares to flout the laws of nature, and devised a creature torn between good and evil. Her monster spoke out against injustice and begged for sympathy while performing acts of shocking violence. In the movies, the monster can be a brute pure and simple, yet he is still an object of compassion and remains a favorite on stage and screen.

For the first time it will be possible to view art and artifacts (including comic books, film posters, publicity stills, and movie memorabilia) that explain how Frankenstein caught the popular imagination in the course of two hundred years. Portions of the original manuscript will be on display along with historic scientific instruments and iconic artwork such as Henry Fuseli’s Nightmare, a six-sheet poster advertising the Boris Karloff movie in 1931, and the definitive portrait of the author. The modern myth of Frankenstein is based on a long cultural tradition, also recounted in the exhibition with a vivid display of books, manuscripts, posters, prints, and paintings.

Website

Joseph K. Levene Fine Art, Ltd. | Masterworks on Paper

June 9, 2018 - February 26, 2019

View unique & limited edition Masterworks on Paper at Joseph K. Levene Fine Art, Ltd., including works by Marina Abramović, Keith Haring, Jasper Johns, Roy Lichtenstein, Richard Pettibone, Gerhard Richter, Thomas Ruff, Cindy Sherman, Donald Sultan, Andy Warhol & Tom Wesselmann.

Website

Carolina Nitsch | Mel Bochner, Recent Monoprints

November 8, 2018 - January 26, 2019

Mel Bochner was one of the most influential pioneers of Conceptual art emerging in 1960’s New York; a time of radical change in society as well as art. He was part of a generation of artists looking to break from tradition and the weight of Abstract Expressionism by employing new methods and ideas to push the boundaries of art. As the curator Achim Borchardt-Hume wrote, “Bochner has consistently probed the conventions of both painting and of language, the way we construct and understand them, and the way they relate to one another to make us more attentive to the unspoken codes that underpin our engagement with the world.” His recent prints take this conceptual approach to an extreme tactile level by literally forcing paint into text and exposing its materiality.

Website

Museum of modern Art | CHARLES WHITE: A RETROSPECTIVE

October 7, 2018 - January 13, 2019

“Art must be an integral part of the struggle,” Charles White insisted. “It can’t simply mirror what’s taking place. … It must ally itself with the forces of liberation.” Over the course of his four-decade career, White’s commitment to creating powerful images of African Americans—what his gallerist and, later, White himself described as “images of dignity”—was unwavering. Using his virtuoso skills as a draftsman, printmaker, and painter, White developed his style and approach over time to address shifting concerns and new audiences. In each of the cities in which he lived over the course of his career—Chicago, New York, and, finally, Los Angeles—White became a key figure within a vibrant community of creative artists, writers, and activists.

White’s far-reaching vision of a socially committed practice attracted promising young artists, including many artists of color, and he became one of the 20th century’s most important and dedicated teachers. Charles White: A Retrospective is the first major museum survey devoted to the artist in over 30 years. The exhibition charts White’s full career—from the 1930s through his premature death in 1979—with over 100 works, including drawings, paintings, prints, photographs, illustrated books, record covers and archival materials.

Website

Governors Island | JACOB HASHIMOTO: THE ECLIPSE AND NEVER COMES TOMORROW

June 2 - October 31, 2018

Leila Heller Gallery is pleased to announce Governors Island's immersive Public Exhibition by Artist Jacob Hashimoto. Two breathtaking installations composed of thousands of delicate, hanging screen printed rice paper kites, cubes and funnels displayed in historic St. Cornelius Chapel and Liggett Hall Archway.

Hashimoto’s "The Eclipse" is a monumental work of thousands of delicate rice paper kites, enveloping viewers in a tangible, yet ever shifting fog. Originally installed at the Palazzo Flangini during the 57th Venice Biennale, the cloud-like work has been newly adapted for Governors Island’s St. Cornelius Chapel. Contrasting the installation in nearby St. Cornelius, Hashimoto’s "Never Comes Tomorrow" is a colorful, whimsical overhead outdoor installation adapted for Governors Island’s landmark Liggett Hall Archway. "Never Comes Tomorrow" merges Hashimoto’s interests in the systems of architecture, history and cosmology. 

Website

 

CORONADO PRINT STUDIO | THE WAY I SEE IT ART EXHIBITION

September 22 - October 21, 2018

Opening Reception: Saturday September 22, 6-8pm

This exhibition investigates beyond the disassociation and limitations of an individual with their gender, race, ethnicity or any other concept attributed to them because of their culture, religion or title, while embracing the idea of detachment to objectivity or a right answer with each piece.

The audience has the opportunity to experience the artists’ voices and the scenery they are looking at as collaborators. Each piece presents their work in ways that might be crude and literal, ambiguous or abstract, poetic, tangible or intangible. However, the color of their voices does not affect the endless number of impressions each person can experience by looking at these works.

Website

Whitney Museum of American Art | The Face in the Moon: Drawings and Prints by Louise Nevelson

Jul 20–Oct 8, 2018

Louise Nevelson (1899–1988), an artist best known for her monochromatic wooden sculptures, produced a distinctive body of works on paper over the course of her long career. Drawn entirely from the Whitney’s collection, this exhibition follows her work in drawing, printing, and collage, from her early focus on the human body through her progression into abstraction.

Nevelson frequently used unconventional or recycled materials. In her prints, she layered scraps of fabric to create deeply textured environments containing mystical figures and architectural forms. Her paper collages, like her sculptures assembled from wooden objects, reconfigure the disparate materials from which they are composed, including scraps of paper and foil, into unified, unexpected compositions. Interested in the physical constraints of objects, Nevelson sought to transform the materials that she used and the subjects that she depicted. She believed that art could reorient one’s relationship to the built and natural world, challenging us to see our environments differently through her work.

The Face in the Moon: Drawings and Prints by Louise Nevelsonis organized by Clémence White, curatorial assistant.

Museum of Modern Art | SUE COE: GRAPHIC RESISTANCE

through September 9, 2018

Since the 1970s, Sue Coe (British and American, b. 1951) has worked at the juncture of art and activism to expose injustices and abuses of power. Protesting various forms of exploitation and violence, she tackles issues of sexism, racism, economic inequality, xenophobia, and animal cruelty. Graphic Resistance highlights these concerns in a selection of drawings, prints, and large-scale collages, as well as illustrations that Coe produced for newspaper opinion pages.

Art’s persuasive power has long been understood by rulers and rebels alike. Situated in a lineage of socially-engaged artists from Francisco Goya and Käthe Kollwitz to Leon Golub, Coe harnesses this capacity in works that depict suffering to call her audiences to action. She challenges complacency by spotlighting subjects that are typically relegated to the margins of attention, demanding that the vulnerabilities she pictures be not simply seen, but felt. “Neutrality,” she has stated, is “no longer a position we can afford.”

Website

Whitney Museum | The Face in the Moon: Drawings and Prints by Louise Nevelson

July 20, 2018 - unknown

Louise Nevelson (1899–1988), an artist best known for her monochromatic wooden sculptures, produced a distinctive body of works on paper over the course of her long career. Drawn entirely from the Whitney’s collection, this exhibition follows her work in drawing, printing, and collage, from her early focus on the human body through her progression into abstraction.

Nevelson frequently used unconventional or recycled materials. In her prints, she layered scraps of fabric to create deeply textured environments containing mystical figures and architectural forms. Her paper collages, like her sculptures assembled from wooden objects, reconfigure the disparate materials from which they are composed, including scraps of paper and foil, into unified, unexpected compositions. Interested in the physical constraints of objects, Nevelson sought to transform the materials that she used and the subjects that she depicted. She believed that art could reorient one’s relationship to the built and natural world, challenging us to see our environments differently through her work.

Website

Manhattan graphics center | Michele van de Roer: The Infinite Plate II

June 30 - July 27, 2018

"Michele is on a mission, a fearless exploration of printing in all media know to mankind, on copper or wood, with acid or with sugarlift, building a wonderful body of work."

"Michèle est investie d’une mission, une exploration intrépide de la gravure à travers toutes les techniques connues de l’humanité : sur cuivre ou sur bois, à l’acide ou au sucre, construisant un merveilleux corpus d’œuvres." - John Szoke Gallery, New York, Septembre 2017 John Szoke

In an evolution of  ‘The Infinite Plate’ show at MGC Gallery in 2015, Michèle van de Roer provides a further interpretation of her work using both Japanese reduction woodblock carving techniques as taught by Takuji  Hamanako and sugar lift techniques by Vijay Kumar.  This extension of her earlier work entitled ‘The Infinite Plate II’ uses a single matrix and a variety of printing combinations to assert that there is great variety even in apparent commonality.  The same curvilinear patterns variously suggest to the viewer topography, drapery and volumetric dimension that are highly sculptural and diverse.

Website