Pace Gallery

The show will examine the ways that both artists explore the decentra lization of the object in their practices, and Turrell’s lighting concept for the show will foreground the experiential nature of Reinhardt’s work. Leonardo da Vinci’s description of the sfumato technique relates to the exhibition’s focus on perceptual exp eriences of light and shadow in works by Turrell and Reinhardt. The Renaissance master once said that sfumato is “without lines or borders, in the manner of smoke or beyond the focus plane.”

through March 19, 2022

Lehmann Maupin

The artist’s most recent bodies of work feature images of friends, family members, and acquaintances engaged in acts of leisure and contemplation, set in vividly colored environments that border on the ethereal. A writer as well as an artist, Chambers draws inspiration as much from art historical models as from literature–particularly Magical Realism and the writing of W.E.B. Du Bois. Many of his compositions incorporate Fabulist elements, including ghostly silhouettes meant to be stand-ins for the artist, and lush, surreal landscapes that feel at once familiar yet uncanny.

through February 26, 2022

Lehmann Maupin

Made of resin and fiberglass, they appear as solid, three-dimensional chunks of undulating ocean water, extending the artist’s career-spanning interest in the hybridization of mediums—particularly sculpture, painting, and photography—and his efforts to formally overhaul art historical genres such as seascape painting.

through March 5, 2022

Vito Schnabel Gallery

The presentation will feature approximately eight new monumental portraits and tableaux that together suggest a bold, distinctive form of contemporary history painting. In the works on view, Los Angeles-based artist Guest reclaims longstanding cultural narratives through powerful new tales of his own creation.

through March 19, 2022

Gladstone Gallery

This expansive, ambitious exhibition includes a new film installation, photography, paintings, and sculpture. Celebrated for her work in film and photography, Lockhart has for the past few years investigated mediums that translate her longstanding interest/devotion to form, concept, and structure into objects such as cast bronze sculpture, paintings, and neon.

through February 26, 2022

Karma

Widely known for her gestural markmaking and atmospheric spaces, Fishman’s paintings from 1962 and 1963 showcase some of the artist’s earliest forays into abstraction, beginning with her first abstract painting in 1961. Drawn to nonrepresentational art, Fishman “felt that Abstract Expressionist work was an appropriate language for me as a queer. It was a hidden language, on the radical fringe, a language appropriate to being separate.”

through February 26, 2022

Sean Kelly

This new body of work brings together images Soth completed between 2018 and 2021. As is often his custom, Soth began A Pound of Pictures by taking a series of road trips, in this case on a quest to further explore a deeper connection between the ephemerality and physicality of photography as a medium. Depicting a vast array of subjects — from Buddhist statues and birdwatchers to sun-seekers and a bust of Abraham Lincoln — this series reflects on the photographic desire to pin down and crystallize experience, especially as it is represented and recollected by printed images.

through February 26, 2022

Petzel Gallery

Doomscrolling, a relatively recent activity induced by disturbing, perhaps mind-bending, current events, is “the act of spending an excessive amount of screen time devoted to the absorption of negative news. Increased consumption of predominately negative news may result in harmful psychophysiological responses.” This exhibition takes its title and inspiration from this newly diagnosed and addictive compulsion.

through February 12, 2022

Jack Shainman Gallery

Drawing from new works and select early series, the show consists of several large-scale installations that highlight Weems’ decades-long engagement with injustice, identity, and redemption. Activism is central to Weems’ practice, which investigates race, family relationships, cultural identity, sexism, class, political systems, and the consequences of power. Through her work, Weems demands reconsideration of predominant narratives throughout our history.

through February 19, 2022

David Zwirner

An overview of the artist’s expansive practice, this exhibition explores how Castle, who was born deaf, found his primary means of expression through drawing and other forms of art making. Using sharpened sticks and soot from his family’s wood stove, which he mixed with his own saliva, Castle created elaborate and detailed drawings. These intricate works embody a sense of lived-in familiarity and display the artist’s preternatural understanding of perspective and spatial relations and his deep sensitivity to his environment.

through February 12, 2022

Yossi Milo Gallery

Pierre Knop’s paintings convey a childlike fantasia, depicting idyllic mountainous landscapes, backyard swimming pools and boxing gyms, with swirling, vibrant colors and a deliberate flattening of perspective. Approaching the empty canvas as both a sketchbook and a painting, the artist combines multiple mediums to render enchanted scenes inspired by his natural surroundings and personal memories, often leaving areas of raw canvas or seemingly unfinished passages.

through February 5, 2022

Marlborough New York

Inner Landscape shows the prescient juxtaposition of two parallel bodies of work: paradise on earth and vast fields of trash. Tomás Sánchez’s hypnotic vistas cannot be attributed to any specific geographic location; they are entirely imaginary. Often alluding to his many travels and his garden, these paintings are, first and foremost, guided by his daily practice of meditation, which he has maintained for nearly five decades.

through January 22, 2022

Galerie Lelong & Co.

In 2021, the artist completely stripped her works of saturated color in her new oil on canvas series Discovery of Immediacy, using black and white as the primary colors. The works reference the practice of traditional ink painting that rely exclusively on black—and its many gradations through the artist’s hand—to distinguish each stroke from another; hints of color remain, recalling Adnan’s oeuvre. The confinement of the pandemic had directed Adnan back to nature—leading to the artist’s deep observation of the sky and planets—a pleasure she denotes in her intimate canvases.

through February 19, 2022

The Painting Center

This exhibition features the paintings of ten women artists who see and experience the genre of landscape painting in uniquely different ways. Inspired by the written word of American geographer D.W. Meinig, the exhibition highlights how each painting embodies the idea of "landscape" as experienced through the hand of the artist and the eye of the viewer. The definition of "American Landscape" will twist and turn with each layer of painted material.

through January 29, 2022

Kasmin

“Gaslighting” is a term coined by the 1944 thriller “Gaslight,” featuring Ingrid Bergman and Charles Boyer. Referencing the movie’s plot, it has since come into popular lexicon to describe a situation wherein an abuser encourages their target to question and undermine their judgment and sanity. Gaslighting is a psychological battleground relating to toxic power dynamics, pervasive across personal and political realms. An insightful subtlety in Judith's series is her intentional misspelling of “Gasligting” in each painting, removing the “h,” so that the viewer is prompted to momentarily question their own sanity.

through January 8, 2022

MoMA

Who Is Queen? is anchored by three five-story black scaffold towers that resemble the balloon framing typical of American homes and that serve as supports for paintings, drawings, a textile work, sculptures, moving images, and a sound piece. In the paintings, Pendleton creates layered fields of unresolved text and gestural marks, built up from spray-painted and brushed originals that have been photographed, photocopied, and enlarged for screenprinting. The drawings feature sketches and visual “notes,” and, at times, reproductions from the artist’s library of books. Pendleton’s visual language challenges legibility, continuously writing and overwriting itself.

through January 30, 2022