Almine Rech

Kimmel continues in the refinement of a certain sort of abstract painting. But that word seems uneasy, correct but subtly off. What sort of refinement is this, or elaboration, or even “study”— the anodyne quality of that word is deliberate. Kimmel is outside of fashion: not so much as a whisper of personal experience or life story, no appeal to identity, that skeleton key to all living myths and histories, omnipresent and deader than the Rev. Casuabon’s hopeless attempt to find the key to all mythology. But keeping within the conspectus of the Victorian novel, nothing is more perversely animated, more plastic with eldritch innovation, than what is dead: Dracula, Frankenstein, and a comically replete world of unquiet spirits. Kimmel would be uninterested in pursuing the Matisse idea of art, that beautiful armchair — but no one shirks Matisse, that’s just wrong and rude. But she doesn’t do that trip. Luxe, calme, et volupté — well Kimmel’s paintings have a luxurious quality, even a voluptuous one; but they’re very seldom calm.

through June 15, 2024

Pace Gallery

Pendleton’s work indexes and documents the physical process of painting to create layered pictorial fields that—in their painterly, psychic, and verbal expressions—announce a new mode of visual composition for the 21st century. He is guided by a visual and structural philosophy he has termed “Black Dada,” an ongoing inquiry into Blackness and its relationship to abstraction and conceptions of the avant-garde. Investigating Blackness as a color and theoretical proposition, the artist’s work reflects a contrapuntal understanding of the world in both sensorial and conceptual terms.

through Aug 16, 2024

Lisson Gallery

For his first exhibition since joining Lisson Gallery, Hiroshi Sugimoto presents a new series of large-scale photographic prints, collectively titled Opticks, which rely on a prism to split ‘white’ light into its seven constituent colors and many more gradations and shades in between. Through the revelation of this hidden, polychromatic world that exists all around us, Sugimoto simultaneously creates stunning, abstract compositions worthy of modernist painting, despite each image depicting an entirely natural phenomenon. Sugimoto not only follows in the footsteps of Isaac Newton, who published his work Opticks: or, A Treatise of the Reflexions, Refractions, Inflexions and Colours of Light in 1704, but also realigns his practice from a photographer of black- and-white fields, forms and figures, towards a scientific surveyor of blazing color and invisible possibility.

through August 2, 2024

DC Moore Gallery

Known for her intricate, narrative paintings and drawings of women and hybrid beings absorbed in enigmatic tasks, Cutler’s latest works evoke points of transition. Her reoccurring, symbolic imagery gives form to latent thoughts and feelings, building a layered world of visual metaphors. Images of horses, turtles, boats, and travelers’ bags reoccur, invoking themes of time, movement, and progress––often impeded. These surreal narratives make sharp observations about individual and collective struggles, obsessions, and dilemmas. The burdens carried and labor performed by the women in Cutler’s paintings are suspended in action, leaving the viewer to draw their own conclusions.

through June 15, 2024

David Zwirner

This exhibition will feature a range of key works that visualize the artist’s immense skill as a colorist and a draftsman. Several works from the early 1920s—around the time Klee began teaching as a “form master” at the newly founded Bauhaus—feature vibrantly colored grid-like fields whose appearances vacillate between landscape and pure abstraction. Two related paintings, Friedhof (Cemetery) and Mädchen am Fenster (Girl at the window) (both 1920), exemplify this quality of Klee’s Bauhaus-era colorism. In these works, Klee breaks up the picture planes into cubist-style arrangements of geometric fragments and forms. Trees and crosses rendered in dark pigment appear as pictographic signs and contrast with the artist’s sensitive application of reds, greens, yellows, and blues, which delicately fill the quadrilinear and triangular forms that structure the compositions. White highlights further enhance the tonal range of the works and give the paintings an overall sense of light emanating from behind their surfaces—like stained glass.

through June 15, 2024

Hauser & Wirth

Ackermann’s latest paintings mark a pinnacle in the artist’s ongoing concern with the creation of dynamic, moving images. In these canvases, forms cascade downward and upward, at times merging seamlessly into one another. To optimize the potential of such chance transformative processes, Ackermann conceptualized the canvas as divided into three screens, as she aptly calls them. This enabled her not only to guide the flow of line and paint, but also to forestall the coalescence of drawing and painting. No sketch prefigured the images that surfaced, except those carved into the recesses of her memory. Instead, Ackermann allowed an instinctive force to guide her hand as it moved across the fields before her.

through July 26, 2024

Meredith Rosen Gallery

In Center, singular figures or partial bodies are revealed and concealed through Ericsson Wärn’s intuitive process. The group of new paintings’ use construction akin to throwing a clay vessel on a spinning wheel—pushing and pulling the slip until the mass has the capacity to hold. In gestural fields of paint which at times engulf each body, and signal a kind of burial or emergence. 

through May 25, 2024

Sperone Westwater

Every morning, Choumali wakes at 5am and walks for long stretches of time interacting with the land, the buildings and the forms taking shape around her. This routine, one of introspection, takes place even when Choumali travels to other countries. Her habit is to photograph the landscapes which captivate her every morning. “The ‘Alba’hian’ series is about my experience of walking at daybreak in my city of residence Abidjan and other cities such as Dakar, Senegal, Accra, Ghana but also Essaouira, Morocco and Kyoto, Japan),” says Choumali. “In this selection, I broaden my angle of view, the size of the pieces and the characters become larger, as an evocation of inner growth.”

through June 15, 2024

The Painting Center

Taking Place offers an exploration of identity, belonging, and the human experience through the unique perspectives of each artist. Visitors to the exhibition will have the opportunity to immerse themselves in a diverse array of artworks spanning oil paintings of figures, interiors, and landscapes, invented landscapes inspired by nature, and insightful observations of collective cultural events.

through May 18, 2024

Whitney Museum of American Art

The subtitle of this Biennial, Even Better Than the Real Thing, reflects discussions Iles and Onli had with artists about ideas of reality and combats rhetoric around “authenticity” that is used to perpetuate transphobia and restrict body autonomy in the United States. While developing this Biennial, sweeping legal changes, from the overturning of Roe v. Wade to attacks on gender-affirming care, occurred. The exhibition title responds to these developments and draws allusions to the long history of deeming people of marginalized race, gender, and ability as less than real. Iles and Onli’s curatorial process and the artworks featured are animated by these unfolding histories and the techniques that artists use to confront them, from the use of unstable materials to subversive humor, expressive abstraction, and non-Western forms of cosmological thinking.

through August 11, 2024

Paula Cooper Gallery

Rather than using preparatory drawings, Walsh has described how the logic of a painting reveals itself to him during its making, and the appearance of each work can change dramatically during the weeks spent systematically layering brushstrokes. This way of working arises from the artist’s equally prolific output in printmaking and artist’s books, mediums characterized by their inherent seriality. Also borrowed from his work with paper is the somewhat surprisingly handmade quality of the paintings, which activate his images with transformative humanism.

through May 18, 2024

Miles McEnery Gallery

Alfred’s process, honed over the past two decades, distills his source imagery to its most essential forms, layering idyllic elements together and segmenting forms into two dimensional planes of mostly-solid color to reveal a sense of stillness that can be tranquil, unsettling, or both. His compositions are reminiscent of architectural ukiyo-e prints, both in technique and style, while his exploration of collage continues to inform the resulting paintings. 

through May 11, 2024

Allouche Gallery

Holding your breath suggests anticipation. But to wait to exhale is so much more loaded. The sensation is one of withholding more than anticipating. You want to dance, but only when you can do so with reckless abandon, without surveillance or interruption, or judgment. You want to live, but only on your terms. A real life, not a half life.

through April 14, 2024

GRIMM

White’s paintings explore the intersection of the romanticized American dream and the psychological paranoia imbued in this fantasy. Referencing 20th-century film and pop culture with a painterly finesse, his work subverts and recodes the dominant narratives of contemporary society. The exhibition presents a series of vignettes centering around a female character (‘The Woman’) who seeks solace and spiritual enlightenment in television, convinced she is receiving divine transmissions from its programs and the TV Guide. Following a semi-linear narrative, Local Programming documents The Woman’s journey from the suburban living room into the woods, where she uses the TV Guides as sacrament in an attempt to ground herself and connect the rhizome of her beliefs with the rhythms of the natural world.

through March 30, 2024

125 Newbury

In the late 1950s and early 1960s, Dine was central to the city’s Happenings movement and to the emergence of Pop. This selection of early works—dating from 1959 to 1973—reflects Dine’s exploration of the poetic force of everyday things. The show grows from the longtime friendship between the artist and Arne Glimcher, who presented numerous exhibitions of Dine’s work at Pace Gallery beginning in 1976. Celebrating the eclecticism and adventurousness of the artist’s early experimentations, the show traces key themes in the arc of his development over a 15-year period.

through April 20, 2024