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

Lehmann Maupin

In this exhibition, Niles meditates on personal loss through an exploration of landscape, drawing inspiration from the colorwork of both contemporary painters like Kerry James Marshall and Richard Mayhew and Old Masters like Caravaggio. In these new works, rendered in vibrant, technicolor hues that construct a signature kind of chiaroscuro, Niles finds himself immersed in nature—in the trees of a remote field, near the shore of the sea, bathed in crisp light peeking through bare trees on a sunny winter’s day. “I paint what I know,” states the artist. In this body of work, Niles confronts our personal and collective lived experience during the years following the Covid-19 pandemic, at once emotionally nuanced and overwhelming. Through 11 paintings and a single sculpture—the first of its kind in his oeuvre—viewers encounter intimate spaces and memories. 

through April 13, 2024

White Cube

With a profound fascination for biological science and the natural world, working predominantly in metal, Richard Hunt’s hybrid sculptures are characterised by dualities – that of the natural and the industrial, the surreal and the abstract, the geometric and the organic.

through April 13, 2024

Yossi Milo

The show will coincide with the inclusion of Hofshi’s work in The Anxious Eye: German Expressionism and Its Legacy, a group presentation at the National Gallery of Art in Washington, D.C. On March 23, 2024, Hofshi will participate in a conversation with Shelley Langdale, the National Gallery’s Curator and Head of Modern Prints and Drawings, which will draw connections between the artist’s practice and the historic 20th century works on view.

through April 27, 2024

Karma

Suspended in gradients of night sky or among cumulus clouds, the military planes depicted in Give Up The Ghost are twisted, warped, and deconstructed, their bodies at once hyper-technically rendered and strangely animalistic. These supersonic jets—icons of power and strength—have contracted and expanded, as if rendered fragile and flaccid by the speed, pressure, and heat of the atmosphere. The five canvases on view, which measure over eight feet tall and six feet wide, loom before the viewer, their subjects scaled to evoke the sight of a plane passing overhead. The jets remain identifiable as such despite the artist’s alterations—clinging to realism, lest we drift too far into rapture. Abstracted, devoid of any identifiable landscapes, Marcus’s planes appear at once to defy gravity and threaten to fall out of the sky. Here, the sublime beauty and awe of these gleaming machines is in tension with a palpably menacing atmosphere

through April 27, 2024

Almine Rech New York

On the face of things, stoicism can look a lot like exhaustion. In fact, fatigue, with all its causes and variations, may be our modern-day version of stoicism. Or so we may surmise from spending time with Jess Valice’s portraits: the straight-ahead stare of large hooded eyes, the small tightly-closed mouths, and the massive yet contorted solidity of her figures convey both determination and resignation, poise and detachment. These figures remain resolutely silent in the face of any pain we may imagine them suffering—and we know, everybody hurts. 

through April 20, 2024

Marlborough New York

In their paintings and drawings, Marcel Alcalá—a Mexican American born and raised in Santa Ana, CA—employs a folk style and bright palette, conjuring scenes that straddle fantasy and reality, humor and tragedy. The exhibition’s title, Gallo Gallina, refers to roosters who are born with feminine plumage and are used in cockfighting against their masculine-looking counterparts. In time, the phrase has assumed other connotations, used either as a homophobic slur or to describe a person who looks the opposite of their gender assigned at birth. While several paintings in the exhibition depict the actual roosters, Alcalá uses both the literal and connotative meanings of Gallo Gallina to explore themes of spiritualism and masking, threads which run predominantly throughout the artist’s practice. Drawing on surrealist and impressionist styles, Alcalá’s compositions are at once highly personal yet laden with symbols that allude more broadly to Mexican history, life in Los Angeles, and the queer experience.

through April 20, 2024