“Charlotte Posenenske: Work in Progress”

through September 9, 2019 ((Museu d’Art Contemporani de Barcelona, Oct. 18, 2019–Mar. 8, 2020; Kunstsammlung Nordrhein Westfalen, Düsseldorf, Apr. 4–Aug. 20, 2020; Musée d’Art Moderne Grand-Duc Jean, Luxembourg, Oct. 2, 2020–Jan. 10, 2021)
“Posenenske’s first US retrospective comprises original prototypes, drawings, wall reliefs, and over one hundred newly fabricated elements from the artist’s various sculpture series.”
Image: Charlotte Posenenske, Vierkantrohre Series DW (Square Tubes Series DW), 1967/2018. Installation view, Dia:Beacon, Beacon, New York. Copyright © Estate of Charlotte Posenenske, Frankfurt. Photo: Bill Jacobson Studio, New York, courtesy Dia Art Foundation, New York.


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through July 28, 2019

This show of citified art challenges the assumption that the work of self-taught artists can only be found in rural settings. The exhibition is divided into two sections: “The Art of Business” focuses on folk art pieces that depict New York–based commercial operations, while “The Business of Art” features objects such as weather vanes, carousel animals, and decorative stoneware produced within the five boroughs.

Image: Possibly by J. L. Mott Iron Works or E. G. Washburne & Co., New York City, 1909 Hupmobile Weathervane, c. 1909, copper with traces of gold leaf, 31 x 50 3/8 x 13 3/4 inches. Collection American Folk Art Museum, New York, gift of David L. Davies, 2008. Photo by John Parnell.
Through September 1, 2019.

Is there a distinctive black aesthetic? How should art relate to a systematically oppressed community? Are figuration and abstraction equally valid? Should African American artists aim to succeed in the established (and overwhelmingly white) art world, or should they create their own uncompromised alternatives? Given events such as the Watts Rebellion in 1965, should work that is not socially engaged be dismissed as “irrelevant”? These are among the urgent questions faced by black artists in the tumultuous 1963–83 period covered by “Soul of a Nation: Art in the Age of Black Power.” Presenting roughly 150 works by sixty artists, along with documentary photographs and ephemera, the show traces the many variations in black artistic practice between the civil rights era and the heyday of the Black Power movement. Along the way, it investigates black feminism, the extensive use of murals, collectives such as Spiral and AfriCOBRA, black-owned galleries, The Black Panther illustrations, and other related topics. Participants include celebrated figures like Romare Bearden, Norman Lewis, Betye Saar, Jack Whitten, Lorraine O’Grady, David Hammons, Faith Ringgold, and Noah Purifoy, as well as still under-known artists like Randy Williams and Elizabeth Catlett.

Image: Barkley L. Hendricks, Icon for My Man Superman (Superman Never Saved any Black People—Bobby Seale), 1969, oil, acrylic and aluminum leaf on linen canvas, 59 1/2 x 48 inches. Collection of Liz and Eric Lefkofsky. Copyright © Estate of Barkley L. Hendricks. Courtesy of Jack Shainman Gallery, 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 September 2, 2019

L.A.-based artist Julie Becker, who died at age 43 in 2016, created a heterogeneous body of work that now seems to anticipate such recent art as Samara Golden’s surreal interiors and Bunny Rogers’s explorations of personal and public trauma. Encompassing installation, sculpture, drawing, video, and photography, and blending story lines taken from real life, classic movies, and her own imagination, Becker’s oeuvre offers a disjointed, but nevertheless potent narrative of precarious lives in 1990s Los Angeles.

Image: Julie Becker, Interior Corner #9, 1993, c-print, 35 1/2 x 27 1/2 inches. Courtesy Greene Naftali, New York.


Art in America talks to artists, curators, and other leading figures in the art world.

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 London: Writer Allie Biswas on “Adam Pendleton: Our Ideas,” at Pace [posted 11/2/18]

“The importance of words is immediately noticeable in the artist’s current exhibition at Pace.” Read More »
Image: “Adam Pendleton: Our Ideas,” installed at Pace Gallery, 6 Burlington Gardens, London, October 2-November 9, 2018. From left: Midnight (A Victim of American Democracy), 2017; System of Display, I (WRITING/Art of Black Africa, Kunsthaus Zurich, 1970), 2018. Copyright © Adam Pendleton, courtesy of Pace Gallery. Photo: Damian Griffiths.

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.




Jean-Michel Basquiat, The Death of Michael Stewart, 1983, acrylic and marker on sheet rock, 34 by 40 inches. Collection Nina Clemente, New York. Copyright (c) Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

Black Ghosts: Basquiat’s “Defacement” at the Guggenheim

By Tiana Reid
There is no way the show would have been possible without Black Lives Matter, and the discussions around state violence and blackness that the movement mainstreamed. . . READ MORE
Façade of original town house of the Museum of Modern Art at 11 West 53rd Street. Courtesy Museum of Modern Art, New York.

The Artist Wasn’t Present: On MoMA’s Fumbled First Showing of Black American Art

By Charlotte Barat and Darby English
It was 1934, almost five years after the Museum of Modern Art’s founding, before the work of a black American artist was exhibited there. . . READ MORE