Luhring Augustine

Joanne Leonard’s photographs of interiors are celebrations and examinations of the cacophony of domestic settings and many of the now-obsolete technologies of the mid-twentieth century. Shot in the late 1970s and early 1980s, these kitchens, laundry rooms, and bedrooms are filled with the entanglements and jumbled ephemera of lived-in spaces – a sphere that is historically associated with the feminine domain. The images are subtly threaded with the hectic happiness of life and family, and yet they read as crowded, confining, and overwhelming. Leonard’s use of light, and her balance of rich blacks and greys, bring a softness to these images and add a loving caress of appreciation to the overlooked appliances and products of the quotidian.

through October 19, 2024

Marianne Boesky Gallery

Throughout his materially innovative and richly conceptual practice, Heikes continuously reimagines an atlas of signs and symbols and stories, largely of his own creation. Drawing on art’s divergent histories—from the material and alchemical preoccupations of Arte Povera to the revolutionary critique of Russian Constructivism to the Romantic fascination with the sublime—Heikes examines themes of evolution and regeneration, stasis and corrosion, entropy and transformation. Acknowledging that there are no truly new ideas to be had, Heikes turns to what has already been; his practice is in a continual state of borrowing, transposing, appropriating, and reinterpreting old ideas and forms and narratives using a kaleidoscopic array of media, remaining perpetually open to transformation within his work and within himself.

through October 5, 2024

Pace Gallery

Over the span of his four-decade career, the artist engaged with a range of mediums, including sculpture, photography, painting, drawing, and performance art through which he explored concepts related to perception, space, and objecthood. Takamatsu nurtured an interest in mathematics and physics, especially quantum mechanics, as evidenced in his early “point” and “string” works, which meditate on the relationships between elementary particles, probing the ways in which they are at once material and immaterial, tangible and imaginary, present and absent.

through November 2, 2024

David Zwirner

The son of a vaudeville family, Serl—who was also known as Slats, Jerry Palmer, and Ned Palmer at various points in his life—acted in traveling shows as a child, took on other unconventional roles, and came to painting seriously later, in the 1940s. In 1971, after meandering through the American West, he moved to Lake Elsinore, California—just south of Los Angeles County—where he built a ramshackle home for himself and remained for the rest of his life.

through October 26, 2024

David Zwirner

Featuring a new photographic series, The Enemy of All Mankind: Nine Scenes from John Gay’s Polly, this will be the artist’s eighteenth solo exhibition with the gallery. In this stand-alone group of nine images, Douglas stages scenes from the eighteenth-century comic opera Polly, written by English dramatist John Gay (1685–1732), using the narrative as a vehicle through which to engage a wide range of themes that remain highly relevant today, including race, class, gender, and media. One work from the series debuted in David Zwirner: 30 Years, on view in summer 2024 in Los Angeles, and this will mark the first presentation of the body of work in its entirety.

through October 26, 2024

Gagosian

In his paintings, sculptures, and works on paper, Grotjahn investigates color, perspective, seriality, and the sublime. The concluding entries in the Backcountry series featured in this exhibition see him again draw inspiration from the experience of rural American landscapes, specifically those from his ski and fly-fishing tours in the remote backcountry of western Colorado. While the works contain an element of pictorial representation, hinting at a snowy mountain descent or starlit nocturnal pass, their primary commitment is still to abstraction, specifically the nuanced layering of line, tone, and texture. Continuing to produce variations on an identifiable style and format, Grotjahn builds on a dynamic rhythm that transcends simple visual record to achieve a unique formal and emotional complexity.

through October 19, 2024

Jack Shainman Gallery

Antillean, an exhibition of new work by Paul Anthony Smith, continuing his exploration of the ways in which memory, both personal and historical, can shape the present and fragment the past. This body of works stems from photographs Smith made during Carnival festivities in Trinidad and Tobago from 2020 to 2023 — departing from the still images, these paintings combine a documentary technique with that of painterly expression, rupturing time and disrupting photographic continuity in a formal, at times even compositional, way, as he figuratively interprets how we store information and process events as memory.

through October 26, 2024

Lévy Gorvy Dayan

Night Sea Journey marks Houseago’s first exhibition in New York City in ten years. It will showcase new paintings and sculptures that realize the artist’s recent battles with trauma, from which he emerged with a greater understanding of his powers. The result is a raw odyssey from darkness to light that culminates in a symphonic room-spanning tapestry on the gallery’s skylit top floor, created en plein air in Malibu, like the rest of the exhibition.

through October 19, 2024

White Cube

Mahama’s first solo exhibition in New York, which draws together ideas of physical labour, post-colonial collapse and reclamation. Best known for his ambitious installations, in which he covers entire buildings with repurposed jute sacks, Mahama has for many years gathered materials abandoned through institutional decline in Ghana. Forged during the period of growing confidence in the 1960s and 1970s – when newly independent West African nations were imagining a way forward after British colonial rule – Mahama regards these objects as carriers of both optimism and failure. Relics of self-ruling Ghana’s shortcomings in delivering on its pledges to its people, Mahama’s salvaged materials reflect an attunement to ‘the voids embedded within failures’ and their latent potential.

through October 26, 2024

Jack Shainman Gallery

This Land, an exhibition of two kindred bodies of work by Leslie Wayne that express the nature of the American West through perception and memory. In each piece, Wayne considers different ways in which we interpret and imagine geological space, exploring landscape both as a vertical, abstracted force and a horizontal, figurative expanse. Named in homage to Woody Guthrie’s heartland ballad “This Land is Your Land,” Wayne offers a contemporary vision of Manifest Destiny—imbuing her symbolic, and experienced, westward voyages with topographies that are sensorial, memorial, and tectonic.

through August 2, 2024

Perrotin

Do you remember that pungent citrus smell of Calvin Klein One cologne that permeated the 1990s? For New York-based Parisian artist Charles Hascoët, the unisex CK One elicits olfactory memories of hope and innocence. In his debut solo show at Perrotin New York, Kobayashi Maru, Hascoët presents Giorgio Morandi-like still lifes featuring frosted glass flasks of CK One, colorful barbell- shaped Listerine bottles, and other curios that are unmistakably of an era and its sensual pleasures promised by the famous motto of “Purity. Unity. Sensuality.” And if these indelible mass-market 90s elixirs are not nostalgia-provoking enough, a small 2018 portrait of the cult underground electronic music artist Bogdan Raczynski wearing the t-shirt "Rave till you cry" will send you back to the 90s “happiness and respect” Rave culture in no time!

through July 26, 2024

Sprüth Magers

In David Ostrowski’s paintings, minimal gestures create maximum tension. His spraypainted lines break apart monochromatic backgrounds, both emphasizing and negating the painting’s flatness. Surfaces sometimes built from plain house paint reveal underlayers of studio detritus that complicate the presumed emptiness of his abstract compositions. Monika Sprüth and Philomene Magers are pleased to present Parliament, Ostrowski’s first exhibition at the New York gallery, which furthers the artist’s relentless questioning of the medium of painting and its constitutive elements via the recurring figure of the owl.

through July 26, 2024

Miles McEnery Gallery

Small in scale but dense in narrative, the paintings in Shelter function akin to a short story. Each oil on panel encapsulates a snapshot still of a moment, prompting the viewer to draw upon one’s own lived experience to flesh out the lead up and its aftermath. Teetering between subjective realities and familiar memories, Bennett mitigates serene compositions with the unsettling: a sunbather lounges under the moon, a sleepwalker drifts through the home, a family gathers for breakfast in a flooded kitchenette.

through July 3, 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

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

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