Open Sesame: Art Events in New York

9 Art Events to Attend in New York City This Week

Tree of Codes, as performed at the Manchester International Festival. COURTESY MANCHESTER INTERNATIONAL FESTIVAL

Tree of Codes, as performed at the Manchester International Festival.

COURTESY MANCHESTER INTERNATIONAL FESTIVAL

MONDAY, SEPTEMBER 14

Dance Performance: Tree of Codes at the Park Avenue Armory
Wayne McGregor’s Tree of Codes is loosely based on Jonathan Safran Foer’s part-artwork, part-novel of the same name, which features cut-up pages from Bruno Schulz’s collection of short stories The Street of Crocodiles. This dance performance will also intermingle genres and styles through a set designed by Olafur Eliasson that will include kaleidoscopic, shifting lights. Jamie xx provides the musical score for this production, which premiered at the Manchester International Festival to positive reviews earlier this year. The Park Avenue Armory’s production runs through the 21st.
Park Avenue Armory, 643 Park Avenue, 8 p.m., tickets start at $30

Pablo Picasso's Bull, 1958. © 2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. VIA MOMA.ORG

Pablo Picasso, Bull, 1958.

©2015 ESTATE OF PABLO PICASSO/ARTISTS RIGHTS SOCIETY (ARS), NEW YORK

Opening: “Picasso Sculpture” at the Museum of Modern Art
In 1967, MoMA became the second institution in the world—and the first in North America—to organize a thorough survey of Picasso’s sculptures, only a year after they had first become known to the public via a Parisian retrospective. In 2015, MoMA will once again show Picasso’s sculptural works in a show titled “Picasso Sculpture,” marking only the second time such an exhibition has opened on the continent. The show offers more than 100 sculptures, which will be supplemented by works on paper and photographs. Unlike painting, a medium in which Picasso had been formally trained, sculpture offered the artist a chance to experiment freely. A press release notes, “[Picasso developed] a deep fondness for his sculptures…Treating them almost as members of his household, he cherished the sculptures’ company and enjoyed re-creating them in a variety of materials and situations.” You can’t get more intimate than that.
MoMA, 11 West 53 Street, 10:30 a.m.—5:30 p.m.

TUESDAY, SEPTEMBER 15

Opening: Laure Prouvost at e-flux
We know very little about this new show of work by the Turner Prize–winning, London-based artist—all we’re given is a cryptic, 627-word press release written by Stephen Squibb. One sentence is bolded, though: “The idea of sugar isn’t sweet.” If that’s a clue, and if a still from a video that features lime-green Jell-O on a plate is meant to be further information, we still don’t get it. Nevertheless, Prouvost has garnered acclaim for her fast-paced videos, many of which examine the connection between language and image, and some of which involve an aesthetic based on the Internet. The e-flux show will be a must-see, if it’s anything like what Prouvost has done in the past. Prouvost will be doing a performance at the opening.
e-flux, 311 East Broadway, 6–9 p.m.

Talk: Hilton Als at the New Museum
Hilton Als may be better known for being the theater critic at the New Yorker, but he’s also written a lot about art, specifically in relation to race, sexuality, and gender. (Als recently wrote a catalogue essay for last year’s Robert Gober retrospective at MoMA.) For this year’s Visionaries series, at the New Museum, Als will read from an unpublished essay about Diane Arbus’s photography. Arbus, who stopped working commercially to photograph the marginalized, saw herself reflected in her subjects. Als does something similar with his reviews, which may be why Arbus appeals to him.
New Museum, 235 Bowery, 7 p.m., $25/$20

WEDNESDAY, SEPTEMBER 16

Wolfgang Tillmans, still life, Calle Real II, 2014, inkjet print and clips. COURTESY THE ARTIST AND DAVID ZWIRNER

Wolfgang Tillmans, still life, Calle Real II, 2014, inkjet print and clips.

COURTESY THE ARTIST AND DAVID ZWIRNER

Opening: Wolfgang Tillmans at David Zwirner
It might take some high-school biology knowledge to truly understand this show’s title, “PCR,” which refers to polymerase chain reaction, or the process by which technology can be used to replicate DNA. German conceptual photographer Wolfgang Tillmans then uses that as a metaphor for photographed images today, showing how, with the Internet, technology has made pictures more available than ever. In this ambitious, 70-work show, Tillmans will show new photography of all kinds—abstractions, portraits, still lifes, environments—alongside a split-screen video. Meanwhile, across the street, the Kitchen will be showing never-before-seen video works by Tillmans on the 14th.
David Zwirner, 525 and 533 West 19th Street, 6–8 p.m.

Talk: Hal Foster at The Kitchen
Since he edited The Anti-Aesthetic, a collection of essays about postmodernism and a landmark in art criticism, in 1983, Hal Foster has been an authority on ambitious, heady, and smart writing about today’s avant-garde. A professor at Princeton University and a co-editor at October, Foster can make your head spin with his dense ideas, and, with his new book Bad New Days, he aims to do just that. Here, Foster offers four ways of interpreting art today—abject, mimetic, precarious, and post-critical. Using those terms, Foster shows that art had anticipated so much of the violence and terror we see today in the news. Foster will discuss Bad New Days with Tim Griffin, the executive director of the Kitchen.
The Kitchen, 512 West 19th Street, 7 p.m., free

Opening: Wynne Greenwood at the New Museum
Using performance, video, sculpture, and music, Wynne Greenwood typically focuses on how the idea of queer selfhood can be multiplied into various subjectivities. “Kelly,” Greenwood’s six-month residency at the museum, will draw upon the artist’s seven-year project in which she embodied all three members of the all-girl band Tracy + the Plastics. Kelly is a “yet-to-be-imagined character orbiting beyond the Plastics’ cosmology” who will re-perform old Plastics footage, and “[will mine] electric gaps of meaning in conversation and offering possibilities for feminist, queer, and other experimental models of collaboration and dialogue,” according to a press release. Additionally, yet-to-be-announced special guests will appear in a series of thematically-similar panels, readings, and performances over the course of Greenwood’s residency.
New Museum, 235 Bowery, 11 a.m.—6 p.m.

FRIDAY, SEPTEMBER 18

Opening: “Affordable New York: A Housing Legacy” at the Museum of the City of New York
New York City is infamous for its legacy of housing conflicts (see: the Rent Is Too Damn High Party, HBO’s excellent miniseries Show Me a Hero, modern-day Brooklyn, etc.). This exhibition features a century of activists, reformers, and policymakers who have worked to level the sociopolitical playing field, as well as the contemporary housing initiatives that are the foundation of Mayor de Blasio’s administration, according to a press release. The release goes on to state, “New York’s housing legacy—often overlooked and little understood—is more relevant than ever.”
Museum of the City of New York, 1220 Fifth Avenue, 10 a.m.—6 p.m.

Andy Warhol's Hammer & Sickle, 1976. COURTESY SKARSTEDT GALLERY

Andy Warhol, Hammer & Sickle, 1976.

COURTESY SKARSTEDT GALLERY

SATURDAY, SEPTEMBER 19

Opening: “Andy Warhol: Late Paintings” at Skarstedt Gallery
“I had energy and wanted to rush home and paint and stop doing society portraits,” Andy Warhol once wrote of his Skulls, Hammer and Sickle, Rorschach, Knives, Dollar Signs and Reversals series, which he created from 1974 through 1987, the year of his death. Titled “Andy Warhol: Late Paintings,” this exhibition looks at Warhol’s lesser-known period of abstraction, the result of a quiet late-life crisis and the antidote to his final case of artist’s block.
Skarstedt Gallery, 20 East 79th Street, 6—8 p.m.

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