“Radicalism in the Wilderness: Japanese Artists in the Global 1960s”

through June 9, 2019
Curated by Reiko Tomii, this exhibition represents the scholar’s latest effort to broaden contemporary art history. Presenting works by Matsuzawa Yutaka and collectives The Play and GUN (Group Ultra Niigata), among others, the show demonstrates how postwar Japanese artists created styles that were at once distinctive and reflective of broader global trends, such as Conceptualism, mail art, and Happenings.
Image: GUN, Event to Change the Image of Snow, 1970, compilation of documentary photographs of performance art, dimension variable. Photos copyright © Hanaga Mitsutoshi; photo © Iso Toshikazu, courtesy of Geijutsu Seikatsu-sha; photo by Horikawa Michio.


Halfpage ad 1.0pdf


through June 2, 2019

Melding influences that range from Russian Constructivism to traditional Persian calligraphy to digital aesthetics, the art and architecture of Iranian-
born artist Siah Armajani suggest powerful cross-cultural connections. This survey of his work, which arrives in New York from the Walker Art Center, includes more than eighty pieces made over the past six decades, from architectonic sculptures to large-scale building plans. A resident of the Twin Cities since 1960, Armajani has realized several key projects there, including an iconic footbridge that links downtown Minneapolis to the municipal sculpture garden.

Image: Siah Armajani, Dictionary for Building: Tabletop Bookshelf, 1982–1983, wood, paint, book, 79 × 48 × 49 inches. Private collection. Courtesy the artist and Max Protetch.
through June 9, 2019

Having participated in Works Progress Administration arts projects and, in the late 1940s, spent some time with the revolutionary Taller de Gráfica Popular print collective in Mexico, Charles White (1918–1979) pursued a social realist path that was worlds apart from what he once called “the inhuman and abstract direction in which so many of the young artists of my own country were moving.” Debuting at the Art Institute of Chicago, from whose school he graduated in 1938, this survey features around eighty prints, drawings, and paintings by this Chicago-born figure who sought to convey the dignity of working people and to instill African Americans with a sense of cultural pride.

Image: Charles White, Paul Robeson (Study for Contribution of the Negro to Democracy in America), 1942-43, carbon pencil over charcoal, with additions and corrections in white gouache, and border in carbon pencil, on cream drawing board. 24 7/8 × 19 1/16 inches. Princeton University Art Museum. Museum purchase, Kathleen Compton Sherrerd Fund for Acquisitions in American Art. Copyright © The Charles White Archives / Art Resource, New York.
through August 11, 2019

Vincent van Gogh traveled to London in 1873, at age twenty, and resided there for three years. Presenting this as a formative period for his art—even if he would not devote himself to painting until the 1880s—this exhibition features forty works exemplifying the Post-Impressionist’s engagement with British culture. The show also includes paintings by Constable and Millais, whose work he would have seen in London, as well as pieces by postwar British artists who were inspired by his expressive approach, such as Francis Bacon and David Bomberg.

Image: Vincent van Gogh, Path in the Garden of the Asylum, 1889, oil paint on canvas, 24 x 20 inches. Collection Kröller-Müller Museum, Otterlo.
through June 2, 2019

An Italian contemporary of pioneering American color photographers William Eggleston and Stephen Shore, Luigi Ghirri (1943–1992)—whose first photo book, Kodachrome (1978), appeared just two years after Eggleston’s Guide—began taking pictures in the early 1970s. Often juxtaposing reality with its representation (a wall mural, advertisement, or reflection), his surrealistic images tease, charm, and bewilder. But they also evoke the dislocations wrought by postwar consumer culture on Emilia-Romagna, the Northern Italian region where Ghirri was born and where he lived for most of his life. Comprising around 250 photographs, this exhibition, which began its tour at the Museum Folkwang, Essen, focuses on the first decade of Ghirri’s career.

Image: Luigi Ghirri, Modena, from the series “Kodachrome,” 1973, vintage c-print. Copyright © The Estate of Luigi Ghirri, courtesy of Matthew Marks Gallery.


Art in America talks to artists, curators, and other leading figures about their favorite current exhibitions.

What to see in New York: Curator Phillip March Jones on shows up now [posted 12/10/18]

“You know it when you see it.” Read More »
Image: Hilma af Klint, Group IV, The Ten Largest, No. 7, Adulthood (Grupp IV, De tio största, nr 7, Mannaåldern), 1907, tempera on paper mounted on canvas, 124 x 92 ½ inches. The Hilma af Klint Foundation, Stockholm. Photo: Albin Dahlström, the Moderna Museet, Stockholm.

What to see in Paris: NYU’s Grey Art Gallery director Lynn Gumpert on four shows up now [posted 4/23/19]

“It’s one of those focused exhibitions that illuminates a lesser-known aspect of a well-known artist’s career and deepens your understanding of their oeuvre.” Read More »
Image: Ellsworth Kelly, Open Window, Hôtel de Bourgogne, 1949, pencil on paper, 7.75 x 5.25 inches. Ellsworth Kelly Studio. Copyright © Ellsworth Kelly Foundation. Photo courtesy Ellsworth Kelly Studio.

What to see in Los Angeles: Artist Gelare Khoshgozaran on three shows up now [posted 3/5/19]

“I’ve always loved Cokes’s thoughtful use of found text in his works, and the installation is amazing, with text and images constantly moving on multiple screens.” Read More »
Image: Mariah Garnett, Piderman, 2012, 16mm loop, 10 seconds,. Installation view, Los Angeles Municipal Art Gallery, February 14–April 14, 2019. Courtesy of the artist and LAMAG. Photo: Jeff McLane.

What to see in Paris: Critic Mathilde Roman on three shows up now [posted 3/5/19]

“The idea of communication is the common theme in three excellent exhibitions currently on view in Paris.” Read More »
Image: Camille Llobet, Revers, 2018 (three stills), color video, 06’50”. Courtesy of the artist and Florence Loewy, Paris.




Anthony Hernandez, Everything #19 (detail), 2002, digital production from a transparency, 40 inches square. Courtesy Kayne Griffin Corcoran, Los Angeles.

Public Access

By Eleanor Heartney
Over five decades, Anthony Hernandez has documented the breakdown of the social safety net, the brutal follies of contemporary urban planning, and the adulteration of the natural environment. His career, which seems only more apposite today, has been dedicated to investigating a long arc of inequity.
Eliza Douglas in rehearsal for Anne Imhof, Sex, 2019. Nadine Fraczowski/Courtesy Galerie Buchholz, Berlin, Cologne, and New York.

Sex Appeal

By Claire Voon
To enter a performance by Anne Imhof is to part ways with traditional logic about the boundary between viewers and artworks. You might get knocked over by a dancer. You might lose the ability to leave when you want, because you may get cornered into tight spaces by other viewers’ bodies. You might catch performers gazing back at you, to the point of discomfort. I witnessed or experienced all of this during the German artist’s latest project, Sex, a tour de force now on view at the Art Institute of Chicago that is as mesmerizing as it is arduous.