GALLERY WALK: Lower East Side, NYC
From Iranian-born artist Nicky Nodjoumi’s paintings on newspaper to works sourced from eBay by galleriest Mitchell Algus, here’s the best art to see this weekend on the Lower East Side (and where to find coffee along the way).
28 Elizabeth Street, 10013 (between Canal & Bayard)
Tel: 212-587-9674 | 917-355-7724
Wed – Sun: 12 – 6
Thru Jan. 19: Nicky Nodjoumi, “New York Times Sketchbooks (1996–1999).” No less critical of Ayatollah Komeini’s new Islamic Republic than he had been of the Shah, painter Nicky Nodjoumi fled Iran for the US in 1981, after his solo show at the Tehran Museum was shut down by the Islamic Revolutionary Guard. In 1996, living in New York City, unable to travel without a passport, and short of money, he began painting on the front pages of the New York Times, a practice he continued for the next three years. In this show of 60-plus works—which have never been exhibited until now—painted images carry on a running dialogue with printed news, one at times oblique (in a portrait of his daughter made on the day of a meeting between Arafat and Netanyahu), at other times more confrontational, as in the work reading, in bold lettering, “Everything Is a Lie.”
Nicky Nodjoumi, New York Times, Monday, May 26, 1977, 1997, mixed media on newsprint, 27 x 22 inches. Courtesy of the artist and Helena Anrather, New York.
99 Bowery, 2nd Fl, 10002 (between Grand & Hester)
(Stair access only)
Wed – Sun 12 – 6
Thru Jan. 26: Ragen Moss, “8 Animals.” The partially transparent skins of Moss’s abstract sculptures offer intriguing glimpses of smaller sculptures suspended within. For her first show at Bridget Donahue, the artist has created eight new torso-shaped works, hung singly and in pairs, that seem to alternate between navel gazing and extroversion.
Ragen Moss, Unteachables I (with double Hearts), 2019, acrylic, polyethylene, aluminum, and steel hardware, two sculptures each: 24 x 15 x 8 inches. Image copyright (c) Ragen Moss, courtesy of the artist and Bridget Donahue, NYC. Photo: Gregory Carideo.
277 Grand Street, 2nd floor, 10002 (between Forsyth & Eldridge)
Thurs – Sun 12 – 6
Thru Jan. 26: “The Wooster Group.” Spanning 45 years, this absorbing, in-depth survey of the fabled experimental theater group’s work features ephemera, archival material, objects, and clips from rehearsals and performances.
88 Eldridge Street, 5th floor, 10002 (between Grand & Hester)
Wed – Sun 12 –6
Thru Feb. 23: Katherine Hubbard “Avoid glancing blows.” Katherine Hubbard “Avoid glancing blows.” In this intriguing show, performance artist and photographer Katherine Hubbard presents black-and-white images of, among other things, a swimmer’s legs, a basement built into living rock, and two crowbars posed in various pas de deux. Mounted in frames of the artist’s own design or hung from the ceiling, these photographs of objects in space—a stingray in water; a washer and dryer in a cavelike space of the basement—themselves become objects within the gallery space.
99 Allen Street, 10002 (between Delancey & Broome)
Mon – Wed 8am – 10pm; Thurs & Fri 9am – 12pm; Sat 9am – 12am; Sun 9am – 10pm
Take a break at this tiny coffee shop, where you can get a perfectly made latte as well as beer, wine, and snacks.
MITCHELL ALGUS GALLERY
132 Delancey St, 2nd Fl, 10002 (entrance on Norfolk)
(Stair access only)
Fri – Sun 12 – 6
Thru Feb. 23: “Acquired on eBay (and from other surrogate sources).” All the artists in this surrealist-inflected show were successful in their day; a few are still big names. A meditation on forms of exchange, as well as a riposte to an art market increasingly divided between haves and have-nots, the exhibition consists entirely of works—including a James Rosenquist study inscribed to the artist Lee Lozano, a painting by Edward Avedisian similar to the one hanging in Amy Sillman’s artist’s choice exhibition up now at MoMA, and canvases by Karl Priebe, an outlier associated with the Harlem Renaissance—bought on eBay, acquired as a gift, traded for, or purchased from obscure estates.
167 Rivington St, 0002 (between Clinton & Attorney)
Wed – Sun 12 – 6
Thru March 8: Zoe Barcza, “Nukeface.” Canadian-born artist Zoe Barcza presents a new series of hyperreal paintings, this time portraits of female friends whose distorted nude bodies serve as hosts to a variety of frightening objects and noxious substances, from ominous-appearing sprays to gasoline-fueled fires.
168 Suffolk Street, 10002 (between East Houston & Stanton)
Wed – Fri 11 – 6; Sat & Sun 12 – 6
Thru Jan. 19: Johanna Unzueta & Felipe Mujica, “Where Land and Sea Melt into Sky.” “Where Land and Sea Melt into Sky.” Chilean artists Unzueta and Mujica, who have been friends for 25 years, update traditions of Latin American modernism—particularly the Brazilian Neoconcrete movement’s extension of abstraction into social and physical space. Both put an emphasis on craft: Mujica in banners produced in collaboration with sign painters and seamstresses, Unzueta in double-sided drawings on hand-dyed paper and in felt sculptures that, like the “Bichos” of Neoconcretist Lygia Clark, can be pulled by the viewer into different shapes.
178 Norfolk St, 10002 (between East Houston & Stanton)
Wed – Sun 11 – 6
Thru Jan. 19: Kyung-Me & Harry Gould Harvey IV, “Coniunctio.” Thru Jan. 19: Kyung-Me & Harry Gould Harvey IV, “Coniunctio.” Longing for both spiritual and material attainment haunts this felicitous pairing—titled after an alchemical term for the union of opposites—of works by two singular artists. Kyung-Me’s exacting ink renderings of interiors seem both metaphysical and aspirational, while Harry Gould Harvey IV’s diagrammatic drawings in carved and embellished frames and sigil-like wall pieces suggest arcane cosmologies and esoteric rituals.
214 Bowery, 10012 (between Prince & Spring)
Wed – Sun 11 – 6
Thru Jan. 18: Suzy Lake, “Performance of Protest.” This compact show spans the Canadian conceptual and performance artist’s five-decade-long career, from an early work in which she collaged bouffant coifs cut from the Canadian women’s magazine Chatelaine onto photographs of herself in whiteface, to a recent closeup of the artist—who continues to investigate and expose constructions of femininity and beauty—plucking a hair from her chin with tweezers.