Lisson Gallery

Among the central motifs for Elaine Cameron-Weir's first exhibition at Lisson Gallery are the Four Horsemen of the Apocalypse, foretold in The Book of Revelations as harbingers of the End of Days through famine, pestilence, disease and death. A stampede of horseshoes conjoins into a giant, snaking conveyor belt structure dividing the main space, with horseshoe nails and horse leather military garments being woven into other works here, linking, supporting and adorning a complex system of interrelated forms. They also suggest the worlds of horseracing, gambling, rodeos and cowboys or frontiersmen, but could also refer to an impending change in politics according to the ‘horseshoe theory’ – in which both the far-left and far-right are drawn inexorably closer to each other and their extremes.

through April 13, 2024

Anna Zorina Gallery

Shore renders seemingly ordinary moments with vivid majesty. A late night basketball game, a visit to a roadside hot dog joint, a psychic reading emerge from the dense black fabric as if from a dream or memory. These everyday moments take on increased significance when seen through a glowing lens of nostalgia. Capturing these moments with a masterful painting technique elevates the consideration of each scene to a realm of high art.

through April 6, 2024

Lehmann Maupin

Forging an original, Feminist-inflected vision from the very beginning of her career, Lou has consistently challenged and expanded the boundary between the fine and applied arts. She has created figurative, room-sized installations, brightly chromatic sculptures, and mesmerizing minimal canvases, all of which render labor radically visible on both formal and conceptual registers. Over the past fifteen years, the artist has turned her focus to abstraction and repetitive processes to engage with art history while exploring the conceptual and metaphoric potential of certain abiding dualities, from presence and absence to cohesion and disintegration. Each of the works in Woven highlight Lou’s engagement with repetition and focus, as well as her deep understanding of materiality. In particular, her paintings and drawings use pen and graphite to “weave” cloth-like structures on a flat canvas—investigating the possibility of the two-dimensional format for making visible the thought process within repetitive labor.

through March 9, 2024

Pace Gallery

The gallery’s first presentation dedicated to Close’s work since the artist’s death in 2021, this show will feature a selection of paintings, photographs, and works on paper— most of which have never been exhibited before—that reflect Close’s significant contributions to the history of art. Since it began representing Close in 1977, Pace has exhibited each new body of his work, and this upcoming presentation will complete that cycle.

through April 13, 2024

David Zwirner

Bhabha creates layered and nuanced sculptures and drawings that center on a reinvention of the figure and its expressive possibilities. Her formally innovative practice pulls from a wide range of references, from those that span the history of art to quotidian influences such as science fiction and horror films and the makeshift structures and detritus of urban life. Instinctive and rigorous, her work brings diverse aesthetic, cultural, and psychological touchstones into contact with matters of surface, materiality, and formal construction.

through April 13, 2024

Yancey Richardson Gallery

In her sixth solo exhibition at the gallery, Dutch artist van Meene continues her exploration of female identity with 20 photographs made between 2016 and 2023. Many of her young subjects are on the cusp of adulthood and van Meene highlights both the psychological tension and confusion often experienced during these transitional years. Her unique visual language employs an exceptional use of natural, luminous light reminiscent of 17th century Dutch painter Johannes Vermeer. 

through March 30, 2024

Meredith Rosen Gallery

The selection of work in Color Sound consists of abstract compositions on board using  mathematical sequencing of value and tone. Developed through image systems, rather than individual works, Gerstner sought to create constructive images in which form and color were in unity. Fascinated by the effect of color and sound as cultural signifiers, he used the subtle modularity of an image to engage the viewer by combining these strategies with serial principles. This is the first time Gerstner’s work will be on view in New York since his solo exhibition at the Museum of Modern Art in 1973. 

through March 23, 2024

James Fuentes

Exploring the ancestral, colonial, and political codes layered in interior ornamentation, Duran’s paintings are saturated by an electric color palette that gives form to densely collaged compositions. Structured by both organic folds of drapery as well as sharp, jagged forms that resemble fractured stained-glass, Duran makes surprise shifts between the pictorial and abstract. In the same gesture, his work adopts a dense Rococo style—emphasizing the theatrical, asymmetrical, and fantastical—while conjuring symbols of the Transatlantic Slave Trade inextricable to this 18th-century European rubric.

through March 9, 2024

Whitney Museum of American Art

Over the decades the AARON software has created images meant to be executed by drawing and painting devices, as well as visuals for display on monitors or as projections. To generate AARON’s output, Cohen built his own plotters and painting machines, which interpret commands from a computer to make line drawings on paper with automated pens and add color with brushes. Drawn from the Whitney’s collection, this exhibition not only features AARON works, but also highlights the software as the central creative force behind them through screen-based versions of the program and drawings made by plotters operating live in the gallery.

through May 19, 2024

Miles McEnery Gallery

Over the course of the past two decades, Daniel Rich’s paintings have depicted opaque facades and exteriors of politically and socially charged spaces and pictorial architecture. In his most recent body of work titled Parallels, Rich welcomes us inside. This exhibition focuses on unpeopled interiors that resonate with a profound sense of quietude.

through March 23, 2024

Yossi Milo

Dimitroff’s work examines the spaces between memory and truth, anchoring figurative paintings in unnamable emotional sensations that subvert legibility in favor of an immersive dedication to mood. Inspired by cyclical time and shared memories, Dimitroff favors an openness to speculation rather than concrete narrative, pursuing the impressions of memory rather than a perfect reconstruction. In the artist’s work, the lost nature of past events is a point of connection with viewers — audiences are welcomed into her luminous paintings, only to find a softly glowing retelling of an original. An afterimage, like a memory, loses shape and fades following initial exposure, which the artist parallels in the unravelling narrative threads of her work. Open-ended in nature, her work thus allows for parallel reads and associations

through March 9, 2024

Peter Blum Gallery

Since the late 1990s, Robert Zandvliet has continually enriched the historical lineage of Dutch landscape painting in particular, and European art in general, with decisive new directions in composition, perception, and introspection. Being primarily concerned with the elemental or natural world, and what the artist calls "the idea of landscape," the exhibition Florilegium: Overview 1998 - 2023 illustrates Zandvliet’s inventive pictorial solutions that fuse both abstract and representational elements. He pursues the very essence of a subject and simultaneously challenges viewers' habits of observation by resisting realism while drawing attention to painterly gestures and the medium itself.

through March 16, 2024

Gagosian

Dominated by the color green, Weatherford’s new paintings make visual reference to arboreal and aquatic environments. Some of them also revivify the pairing of empyreal and oceanic imagery that appeared in her work decades ago. There are allusions, too, to outer space, an interest reflected in and maintained by Weatherford’s collection of NASA photographs and by her visits to the Hayden Planetarium in New York.

through March 2, 2024

Gladstone Gallery

How to do art in times of war, destruction, violence, anger, hate, resentment? What kind of art should be done in moments of darkness and desperation? Can art be a tool for understanding history’s changes? Can a work of art draw alternative forms of understanding the world? How to continue working - as an artist - and in doing so, avoid falling into the traps of facts, journalism, and comments? I want to ask myself these questions and above all, I want to create, with my work, a surface of reflection. I don’t pretend to resolve or offer solutions, but I want my work Fake it, Fake it - till you Fake it. to contribute to this problematic, as a form cutting a break-through in the analog into the digital.

through March 2, 2024

White Cube New York

Shifting the ideology of art from visually based to metronomic, the exhibition explores the darker resonating tones that articulate how sound holds pain and suffering, joy and temporality, memory and contingency. Created in response to the space, a large-scale sculptural work, titled Sweet Sanctuary, Your Embrace, will highlight Gates’s personal connections with Black music and mental health.

through March 2, 2024

Marlborough

Michele Oka Doner’s artistic production spans over six decades, encompassing sculpture, public art, drawings, prints, artist books, and functional objects, all of which incorporate a wide variety of media, including bronze, silver, gold, terrazzo, porcelain, and handmade paper, among other materials. Often referred to as “nature’s scribe,” Oka Doner derives her formal vocabulary from her lifelong study and appreciation of the animal and botanical forms that comprise our natural world, as well as a sustained poetic exploration of the human figure. Whether they resemble bark, tree roots, microscopic molecules, or something human or animal, Oka Doner’s multimedia projects are rendered in a variety of scales that mirror and transcend the world around her. Ranging from the small and intimate to the large and magnificent, Oka Doner’s highly-intuitive works steadfastly seek to both evoke natural forms and pay homage to the environment—in particular, that of Miami, Florida, where the artist was born—while poignantly reminding us of our increasingly precarious ecosystem.

through March 2, 2024