Through Friday, April 10
MONDAY, APRIL 6
Opening: “Hungarian Treasure: Silver from the Nicolas M. Salgo Collection” at the Metropolitan Museum of Art
Former U.S. ambassador to Budapest Nicolas M. Salgo amassed an extraordinary collection of Hungarian silverware over the span of three decades, and the majority of this trove–120 pieces—has been gifted to the Met. Ranging in date from the 15th to the late 18th centuries, the exquisite pieces in this collection were crafted by expert goldsmiths for local aristocratic dynasties, and the Met is now the only museum outside Hungary to possess such a large and consummate collection.
Metropolitan Museum of Art, 1000 Fifth Avenue, New York, 10 a.m.—5:30 p.m.
THURSDAY, APRIL 9
Opening: Robert Irwin at Pace Gallery
A pioneer of the L.A.-based Light and Space movement in the 1960s, Irwin has created eight new works advancing his use of fluorescent lights for his show “Cacophonous.” By playing with light, shadow, and reflection, the tubes of light—some coated with colored gel—redirect the viewer’s attention from the installation as a whole to the surrounding ambient environment.
Pace Gallery, 508 West 25th Street, New York, 6—8 p.m.
Opening: Gillian Walsh at The Kitchen
Walsh has choreographed Scenario, a dance performance without any dancing. Instead, the focus is on the score, which a press release defines as “a constellation of derived language and numerical codes—orient[ing] the dancer towards form and away from performance, towards dance as non-fiction.” Featuring Maggie Cloud, Nicole Daunic, Mickey Mahar, Stefan Tcherepnin, and Zack Tinkelman, Scenario entirely replaces the extroversion of performance with the introversion of choreography, and dance with pure structure.
The Kitchen, 512 West 19th Street, New York, 8 p.m.
Opening: Lucy Jones at Flowers Gallery
For the show “How did you get on this canvas?” British artist Lucy Jones will be showing a series of self-portraits created over the course of the past twenty-five years. Jones’s career has been defined by her interest in the image of the self, often expressed in the confines of paintings and drawings on canvas. In her earlier self-portraits, Jones would often portray two sides of her personality—the inner and exterior likenesses—by splitting the canvas into two halves. The same duality is present in the works in this exhibition, which portray the artist’s shadow as the externalization of her interior self.
Flowers Gallery, 529 West 20th Street, New York, 6–8 p.m.
Opening: Jiro Osuga at Flowers Gallery
“The Theatre of the World” is the title of Jiro Osuga’s first solo show at the gallery, as well as the theme that runs through all of the London-based artist’s works. The title derives its name from a painting Osuga made while still in art school over two decades ago, a nine-foot canvas filled with visual observations of the world around him. Since then, the artist has made microcosmic paintings of what he calls “the maddening richness and complexity of the World,” inspired by both real life and dreams and nightmares. His paintings often encourage audience interaction by featuring panels that unfold to reveal mini-narratives, such as a gunfight or a coin toss.
Flowers Gallery, 529 West 20th Street, New York, 10 a.m.–6 p.m.
Opening: Bill Jensen at Cheim & Reid
“Transgressions” features new abstract paintings from the now 70-year-old artist, some of which are the product of years-long layerings and reworkings. Jensen wholly surrenders to the process of painting, working and reworking until a specific “ego-less” presence is created on the canvas. These presences must have what Jensen refers to as “emotional density,” a quality of self-containment that nonetheless impacts the world around them.
Cheim & Reid, 547 West 25th Street, New York, 10 a.m.—6 p.m.
Opening: Richard Prince at Gagosian
Prince is displaying his library of rare and iconic books, manuscripts, letters, and contemporary art from the beat, hippie, pulp, and punk eras in his show “Untitled (Originals).” The oldest items in his collection date back to 1949, the year of his birth and the year George Orwell’s 1984—the first book he bought at auction— was published. In the show, many novels are portrayed in a diptych with their original painted or drawn cover art alongside their newer printed jacket, and some original copies are signed by the artists.“Prince has gone one step beyond his own strategy of appropriation, turning authorship on its head by dissolving the boundary between creator and collector,” a press release says—unnecessarily, as the collection is interesting enough to stand on its own.
Gagosian Gallery, 976 Madison Avenue, New York, 6—9 p.m.
Premiere: A Butterfly for Brooklyn at the Brooklyn Museum
As part of the two-night event “Judy Chicago: On Fire” hosted by the Elizabeth A. Sackler Center for Feminist Art and the Museum of Arts and Design, the Brooklyn Museum will debut the 20-minute documentary that follows the creation of Judy Chicago’s 2014 fireworks piece in Prospect Park, Brooklyn, which drew over 12,000 viewers. After the screening, director of MAD Glenn Adamson will moderate a discussion between Chicago, film editor Kate Amend, cinematographer Joan Churchill, Donald Woodman, and fireworks producer Chris Souza.
Brooklyn Museum, Iris and B. Gerald Cantor Auditorium, 3rd Floor, 200 Eastern Parkway, Brooklyn, 7 p.m. Free with admission
FRIDAY, APRIL 10
Opening: Hank Willis Thomas at Jack Shainman Gallery
“Unbranded: A Century of White Women, 1915 – 2015,” the artist’s fifth solo exhibition at the gallery, is a follow up to his much-lauded 2008 show “Unbranded: Reflections in Black by Corporate America 1968-2008″ at the Brooklyn Museum. In this edition, Thomas looks at the white feminine ideal sold to consumers of all genders, races, and socioeconomic standings for a century in print and digital advertisements. Or, as a press release states, “[the show] tracks notions of virtue, power, beauty, privilege, and desire in mainstream America.”
Jack Shainman Gallery, 513 West 20th Street and 524 West 24th Street locations, 6—8 p.m.