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“Thomas Cole: Eden to Empire”

Through October 7, 2018
An iconic representation of the American landscape, View from Mount Holyoke, Northampton, Massachusetts, After a Thunderstorm—The Oxbow (1836) is Thomas Cole’s masterpiece, a monumental evocation of the tension between wilderness and civilization. This focused exhibition establishes an international context for Cole’s quintessentially American artwork, comparing it to paintings and prints by English artists including J.M.W. Turner and John Constable.
Image: Thomas Cole, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, 1836, oil on canvas, 51 1/2 x 76 inches. The Metropolitan Museum of Art, New York, Gift of Mrs. Russell Sage, 1908. Image Copyright © The Metropolitan Museum of Art.

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EDITORS’ PICKS

Through September 30, 2018

By the time he died of AIDS at age thirty-seven in 1992, the largely self-taught artist David Wojnarowicz had established himself as a creative force in painting, photography, filmmaking, performance, critical and creative writing, and gay activism. A quintessential East Village figure (his friends included Kiki Smith, Peter Hujar, Zoe Leonard, Karen Finley, and Nan Goldin), he famously—and vociferously—took on such champions of bourgeois propriety as Cardinal John O’Connor, William F. Buckley, and the American Family Association. This retrospective of his work draws primarily from the museum’s own Wojnarowicz holdings.

Image: David Wojnarowicz, Untitled (One day this kid . . .), 1990-91, photostat mounted on board, sheet: 29 13/16 × 40 1/8 × 3/16 inches, image: 28 1/8 × 37 1/2 inches. Image copyright © Whitney Museum of American Art, New York.
Through March 31, 2019

For better or worse, our technology remains hindered by its human origins: it hews primarily to our own needs and understanding of the world. Thus, in the optical realm, it has often served the aim of faithfully rendering the image of three-dimensional space produced by our binocular vision. This exhibition explores the history and creative offshoots of this long-standing ambition. Organized thematically and starting with the invention of the stereoscope in the 1830s, it features scientific devices, pop culture artifacts, and approximately sixty artworks, including Richard Hamilton’s lenticular print Palindrome (1974), Simone Forti’s Hologram Striding (1975–78), and—requiring the familiar blue-and-red glasses—Lucy Raven’s video installation Curtains (2014).

Image: Lucy Raven, Curtains, 2014, anaglyph video installation, 5.1 sound, dimensions variable, 50 minutes looped. Copyright © Lucy Raven. Courtesy of the artist.
through January 01, 2019

In sculptures of futuristic buildings and cities, Congolese artist Bodys Isek Kingelez (1948– 2015) articulated a utopian vision of a more productive, more peaceful, more just global community. Made from cardboard, paper, plastic, found objects, and printed commercial packaging, Kingelez’s exuberant models of soaring towers, streamlined buildings, and gracious public squares embodied his hopes for the newly independent African nation of Zaire (now the Democratic Republic of the Congo) and extended them to the wider world.

Image: Bodys Isek Kingelez, Stars Palme Bouygues, 1989, mixed media construction, 39 3/8 × 15 3/4 × 15 3/4 inches. Courtesy van Lierde collection, Brussels. Photo: Vincent Everarts Photography, Brussels.
through October 28, 2018

The closing exhibition at collector Antoine de Galbert’s storied Maison Rouge, “L’Envol” (“The Flight”) brings together some 200 works of vernacular, tribal, folk, contemporary, and outsider art, each of which relates in some fashion to the idea of human flight. Pieces ranging from American visionary artist Charles August Albert Dellschau’s early twentieth-century plans for imaginary airships to Fabio Mauri’s sky-high wooden extension ladder on wheels, Macchina per fissare acquerelli (2007), provide an apt finale to the Red House’s high-flying ten-year run.

Image: Rebecca Horn, La petite sirène, 1990, feathers, motor, metal rod. Courtesy Antoine de Galbert collection. Photo : Célia Pernot.

VOICES

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

Photographer Dawoud Bey on two shows in New York [published 08/09/2018]

“I get back to my New York City hometown periodically, and more often than not I’m drawn there by exhibitions that I know will haunt me if I miss them.” Read More »
Image: Maren Hassinger, Monuments, 2018, eight site-specific sculptures in Marcus Garvey Park, Harlem, dimensions variable. Courtesy the artist and Susan Inglett Gallery. Photo: Adam Reich.

Oluremi C. Onabanjo on three exhibitions in New York [posted 7/23/2018]

“It was thrilling to go into those darkened galleries packed with people sitting on the floor, enrapt.” Read More »
Image: Malick Sidibé, Soiree eu famille, 1972/2008, gelatin silver print, 8 3/4 x 5 3/4 inches image size, 9 1/2 x 7 inches paper size, signed, titled, and dated on front. Courtesy of Jack Shainman, New York.

Photographer Janice Guy on four shows in New York [published 08/07/2018]

“The Folk Art Museum has a beautiful show of scientific illustrations by the 19th-century artist Orra White Hitchcock.” Read More »
Image: Orra White Hitchcock, 27. Strata near Valenciennes, pen and ink and watercolor wash on cotton with woven tape binding, 14 x 20 7/8 inches. Amherst College Archives & Special Collections.

Artist B. Wurtz on five exhibitions in New York

“You really sense the artists’ genuine involvement.” Read More »
Image: Charline von Heyl, Mana Hatta, 2017, acrylic, oil and charcoal on linen, 82 x 70 inches. Courtesy of the artist and Petzel, New York.

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The author of Whitewalling: Art, Race, & Protest in 3 Acts and the former Queens Museum director talk over dumplings in Flushing.

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Picturing Mississippi at the Mississippi Museum of Art in Jackson and a related exhibition at Tougaloo College are events in museum history as much as landmarks in the state’s history.

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