©ZOE LEONARD/COURTESY HAUSER & WIRTH
Opening: Zoe Leonard at Hauser & Wirth
In this show, titled “In the Wake,” photography itself is the subject of a new series of photographs by Zoe Leonard. This time around, Leonard turns her camera on pictures of her own family. Taken around the time of World War II in Europe, these pictures were printed around the time photography became a popular medium. Years later, however, they have suffered the test of time, becoming slightly folded or torn, even gradually degrading in quality. These new works evoke the way that, just as Leonard’s relatives moved from place to place in Europe, never becoming fixed to one country they could call home, photographs are constantly in flux—still images are never truly still. Also on view in this show will be new sculptures by the artist.
Hauser & Wirth, 32 East 69th Street, 6–8 p.m.
WEDNESDAY, SEPTEMBER 14
Opening: Oscar Murillo at David Zwirner
Last time New York saw an Oscar Murillo solo show, it came in the form of a candy factory—a gallery-sized installation that was, for better and for worse, very big. With his latest show, Murillo continues to think huge. At the center of this show, which is titled “through patches of corn, wheat and mud,” will be an installation of several hundred black paintings that is described as “maze-like” in a release. Each painting is distressed differently, and there will be a sense that they’re not quite finished. This makes sense, given that Murillo’s practice has been about the practice of painting and how, once something goes on view in a gallery, it’s not necessarily done yet. Painting, in Murillo’s mind, continues to evolve after its exhibition.
David Zwirner, 525 and 533 West 19th Street, 6–8 p.m.
THURSDAY, SEPTEMBER 15
©RYAN GANDER/COURTESY LISSON GALLERY
In 2013, Ryan Gander debuted an animatronic work that stared back at its viewers. It even seemed to observe them, moving its eyes as viewers walked by it. Now, for his first New York solo show in ten years, Gander will premiere a female counterpart to that work—Dominae Illud Opus Populare (2016), which will portray a number of feelings simply through eye gestures. With the coolness of Jordan Wolfson’s sculptures, Gander’s new work will look at how we register emotions through body motions. In addition to the new animatronic piece, Gander will show recent mirror sculptures and an installation that involves a conveyor belt only viewable through a small opening.
Lisson Gallery, 504 West 24th Street, 6–8 p.m.
Opening: NY Art Book Fair at MoMA PS1
Printed Matter’s NY Art Book Fair returns for its tenth year this week, and it’s sure to be a good one. Details are still spare about which booksellers are bringing zines, magazines, publications, novels, poetry, artist’s editions, and coffee-table books to the fair, but if it’s anything last year, it will be packed. We also know that this year, you can get a permanent tattoo at the fair, courtesy of none other than Gagosian Gallery.
MoMA PS1, 22-25 Jackson Avenue, Queens, 6–9 p.m. Tickets $5/$10, available on Printed Matter’s website
FRIDAY, SEPTEMBER 16
Opening: “Carmen Herrera: Lines of Sight” at Whitney Museum
Few museum shows this year have been hyped for as long as this one, which, since it was announced over a year ago, has been the subject a lot of talk. One of those reasons is that Herrera, who is now 101, is just getting her first museum show; another is that her work is genuinely good and well-deserving of this survey, which looks at work dating from 1962 to 1978. Herrera’s simple, aesthetically pleasing work looks at the nature of geometric forms—these Ellsworth Kelly–like studies of shapes and colors look at how painters compose a canvas. Also included in this show will be four wooden sculptures, which she called “estructuras.”
Whitney Museum, 99 Gansevoort Street, 10:30 a.m.–10 p.m.
DAVID HEALD/©YOKO ONO/COURTESY THE ARTIST
In “Take Me (I’m Yours),” museum visitors are encouraged not just to touch the art on view, but also to walk away with a piece of it. A re-upped version of a 1995 show at London’s Serpentine Galleries, this exhibition focuses on interactive art—viewers are expect to both contribute to and take from these objects. This is a paradigm that’s existed in the art world since the ’60s, when movements like Fluxus and Happenings brought gallery-goers into contact with everyday things, and appropriately, this show includes work by Alison Knowles, Yoko Ono, and other old-school object-oriented artists. Yet the show also includes an intriguing selection of younger artists that includes Yngve Holen, Sondra Perry, and Amalia Ulman.
Jewish Museum, 1109 5th Avenue, 11 a.m.–5:45 p.m.
Opening: Rosemarie Castoro at Broadway 1602
Broadway 1602 opens its Harlem space this week with a show of Rosemarie Castoro, one of the few women associated with Minimalism. But whereas Minimalism tended toward dark, foreboding, large forms, Castoro’s were colorful, if not somewhat playful. She’s best known for her “Y” paintings, which, as you might guess, feature a lot of little Y’s, arranged in patterns—a few will be on view here. Castoro also ventured into sculpture, creating forms that were shaped either like wings or feathers in the wind. Although history forgot Castoro, who died last year at 76, she remained important to the New York art scene during the ’70s, and this show intends to reposition her as an artist you ought to know.
Broadway 1602, 211 and 213 East 121st Street, 6–8 p.m.
SATURDAY, SEPTEMBER 17
Opening: Walter Robinson at Jeffrey Deitch
New York is long overdue for a Walter Robinson retrospective. His work is instantly recognizable: his paintings, many of which are not large in size, imitate the visual language of pulp fiction, and cover a wide range of topics, from sexy nurses to juicy hamburgers to lurid noirish scenes. (One recently appeared on the cover of ARTnews’s Summer issue.) This show looks to be a personal, sharp survey of somewhat under-appreciated Robinson’s work.
Jeffrey Deitch, 18 Wooster Street, 6–8 p.m.
SUNDAY, SEPTEMBER 18
COURTESY THE ARTIST
Aki Sasamoto might seem like an odd choice for a show at SculptureCenter. Her strange, slyly funny work is mainly based around performances, but sculpture is also a major component of her work. This show takes as its inspiration dung beetles—Sasamoto is intrigued by the way they roll their food and home. Here, Sasamoto will show rolling sculptures that look at cycles of filth and cleanliness. (Hence why, in a promotional image, she appears in a washing machine.) A video will also appear in the show that deals with “ ‘base’ elements and repression,” according to a release. Sasamoto will be doing performances at the show, but at this time of writing, all are sold out.
SculptureCenter, 44-19 Purves Street, Queens, 5–7 p.m.