Hello New York City!
Here is our digest for this March, we are glad to share with you our choice for new exhibitions which we would love to visit with you when coronavirus will leave us - hope so it will be soon!
On Upper East Side in Neue Galerie, you can find a beautiful photo exhibition called "Madame d’Ora". The exhibition is about the Weimar period in Germany from 1919 to 1933, which was known for cutting-edge art that captured the artistic freedom—and decadence — of those years. The same qualities suffuse the images of Dora Kallmus (1881–1963), an Austrian-Jewish photographer who went by the name Madame d’Ora. She became acclaimed for her Deco-style fashion spreads and society portraits, with figures such as Pablo Picasso, Josephine Baker, and Collette posing for her. In keeping with the Weimar zeitgeist, her photos were often racy or dissolute in tone.
New Museum of Contemporary Art is pleased to present the figurative painter’s first solo museum exhibition in New York City showcases the indelible sense of presence she imbues to subjects who are often overlooked in life. Jordan Casteel typically paints intimate portraits of friends, lovers, and family members as well as neighbors and strangers in Harlem and New York. Casteel's practice explores humanity, sexuality, identity, and subjectivity. Casteel has almost exclusively painted black subjects, often in varying skin tones based on the light surrounding the sitter from the photographs she takes of her sitters. Subjects have been painted in varying shades of browns, greys, lime greens, navy blues, and light oranges.
Not so far, at the same New Museum of Contemporary Art, you can find Peter Saul's art pieces with the "Crime and Punishment" exhibition. Even after six decades, Peter Saul at 85 is still taking names and kicking ass with satirical paintings done in an inimitable, Pop-Expressionist style that wed cartoonish caricature to loud, acid colors. His savage send-ups target political figures and art-historical icons alike. Never fitting in with any particular group or movement, Saul forged his own path, channeling Mad Magazine through Matisse.
One of the favorite artists of our curator is Gerhard Richter, and we are very happy to view his "Painting After All" at The Met Breuer on the Upper East Side. Gerhard Richter has explored the relationships between representation and abstraction, painting and photography, history and memory. That he has done so with no small amount of ambiguity, and ambivalence towards the medium — painting — with which he is most associated, has yielded work that is as confounding at times as it is breathtakingly beautiful. Yet despite its equivocal nature, Richter’s work also draws on his personal experience as a German who lived through the Third Reich and dealt with its consequences. This show takes the measure of his achievement in the first major NYC survey of his career in 18 years.
Lévy Gorvy presents its debut exhibition of Jutta Koether, unfortunately, appointment only, but worth to make it. Spanning all three floors of the gallery’s landmark building at 909 Madison Avenue, the exhibition features new paintings alongside a selection of key canvases from the early 1980s to 1990. Departing from the question of what it means to paint, and to continue painting, in the present moment, Koether adopts a fluid authorial position. She layers these allusions with a recurring repertoire of motifs, including pixelated grids, vibrant red paint, and unfurling ribbons. The meaning of these tropes is insistent but elusive, at once historically layered and negotiated anew by each viewer who encounters Koether’s canvases. Engaging with both the medium’s past and its unfolding present, Koether foregrounds effect, asynchrony, and dissonance, clearing a new and distinctly contemporary space for painting.
From March 6 at Pace Gallery is pleased to introduce to your the new exhibition of Julian Schnabel who is an American painter and filmmaker. Schnabel's style is characterized by very large scale paintings. He uses diverse materials such as plaster, wax, photographs, antlers, velvet, and ceramics. His paintings make use of canvas, wood, muslin and even surfboards. His paintings often combine abstract and figurative elements. Due to the size, weight, and depth of his works, they are often given sculptural properties.
Bharti Kher: The Unexpected Freedom of Chaos at Perrotin!
Kher brings a fresh display of a widely heterogeneous practice to New York after a gap of 8 years. On the central walls of the gallery, Kher introduces a suite of five new works marking yet another significant fork in the long road of her bindi based practice. The ritualistic application of bindis – functioning both as membrane and material, like skin and surface, as leitmotif and language – on mirrors has been a growing trend in Kher’s work. And so has been the shattering of them. But in this exhibition, unframed and unfettered, the cracks are laid bare in nakedness that is vulnerable but also resolutely suggestive of the fault lines and fissures of the many worlds they may find themselves in. (Phalguni Guliani)
Also, when coronavirus will leave NYC - do not forget to visit our gallery in Lower East Side, we have a new and wonderful selection of art pieces.