MONDAY, FEBRUARY 27
Talk: Liz Glynn at the New School
Ahead of a major Public Art Fund commission this March, Liz Glynn will talk about her work at the New School. Glynn is known for sculptures and installations that ponder the role of objects in a world of rituals and class struggles. For her most recent show at Paula Cooper Gallery, she focused on posthumously cast bronzes by Auguste Rodin, and her Public Art Fund work Open House—for the Doris C. Freedman Plaza at the southeast corner of Central Park—similarly has an art-historical source: a Fifth Avenue interior designed by Stanford White.
New School, 66 West 12th Street, 6:30 p.m.
TUESDAY, FEBRUARY 28
Opening: Allyson Vieira at Company Gallery
Allyson Vieira’s work typically takes the form of minimalist sculptures made of the refuse of cities. In the past, she has refashioned cinder blocks to appear as stylized plinths and turned metal architectural elements into walls for her shows. For her newest exhibition, titled “Disinherited,” she will focus specifically on plastic bags, which litter urban streets and rarely seem to disappear. In a release for the show, artist Josh Kline writes of these bags, “In return for a life of manual labor, a disinheritance. Nothing for something.”
Company Gallery, 88 Eldridge Street, 5th Floor, 6–8 p.m.
Opening: Pedro Reyes at Lisson Gallery
For his 2008 project Palas por Pistolas, Pedro Reyes worked with Mexican authorities to melt down guns into shovels, which would allow citizens to start gardens. The Mexican artist has, for the past 15 years, created works that offer utopian visions of the world, even when times are bleak. Reyes’s new show will continue his positive outlook with some 156 drawings alongside sculptures of various sizes. The works on view will draw on the history of modernism, which saw abstraction as a way to imagine the future. Here, Reyes, who is currently a visiting artist at the Massachusetts Institute of Technology, will look at the relationship between food and Mexican communities through sculptures based on local centuries-old technology used to grind corn. The show will have an official opening reception on March 2 from 6–8 p.m.
Lisson Gallery, 504 West 24th Street, 10 a.m.–6 p.m.
THURSDAY, MARCH 2
Opening: Agnès Varda at Blum & Poe
Strange as it may seem, French New Wave filmmaker Agnès Varda has never had a New York solo exhibition until now, with this welcome show featuring her video installations, photography, and sculptures. Varda first achieved widespread acclaim in the ’60s with films such as Cléo From 5 to 7 and Le Bonheur, both of which are meditations on the passage of time. But she has made her mark on the art world too—she has shown at the Venice Biennale, where, in 2003, she appeared dressed as a potato, and has debuted work in museums. Here, in a show organized by Olivier Renaud-Clément, Varda will exhibit recent works, among them Le Triptyque de Noirmoutier (2005), a three-channel video channel depicting a kitchen scene that alludes to Flemish still-life painting.
Blum & Poe, 19 East 66th Street, 6–8 p.m.
FRIDAY, MARCH 3
Opening: “Georgia O’Keeffe: Living Modern” at Brooklyn Museum
Like many artists of her time, Georgia O’Keeffe fought hard to get her work on view—and to construct her image. This show focuses on the relationship between O’Keeffe’s persona and her work, specifically exploring her stylish clothing, which had a tendency to reflect the flowers she painted, or perhaps vice versa. With so many portraits of O’Keeffe in existence, the exhibition will devote an entire section to the role of photography played in shaping her career. Also included will be photographs of the artist’s home and belongings by Annie Leibovitz, Ansel Adams, Philippe Halsman, and more.
Brooklyn Museum, 200 Eastern Parkway, 11 a.m.–6 p.m.
Opening: Yuji Agematsu at Miguel Abreu Gallery
Almost all of Yuji Agematsu’s work to date has involved prowling the streets of New York, where he currently lives, and collecting the city’s detritus—partially smoked cigarettes, used Q-tips, a chicken’s foot, and many other objects. Arranging them in variously meticulous and erratic ways, Agematsu relies on minimalist and conceptualist preferences for objects assembled via seemingly simple gestures. For this new show, titled “Self-Portrait,” Agematsu will debut new works—some of which will even be shown in a refrigerator.
Miguel Abreu Gallery, 88 Eldridge Street and 36 Orchard Street, 6–8 p.m.
SATURDAY, MARCH 4
Tour: Hilton Als at David Zwirner
Who better to lead a tour of David Zwirner’s Alice Neel show than Hilton Als, curator of the exhibition? Als’s show focuses on Neel’s relationship to Upper Manhattan, where she lived for five decades. For some little-known works, Neel painted views of streets in Spanish Harlem; in others, she painted some of the neighborhood’s Puerto Rican residents. And, if you miss the show in New York and are lucky enough to be in England this summer, you can see it again in London in May.
David Zwirner, 525 and 535 West 19th Street, 4 p.m.
Opening: Dara Friedman at Gavin Brown’s Enterprise
Dara Friedman made a case for why more structuralist filmmaking should include flamenco and ballroom dancing with her 2011 work Dancer. Ostensibly a portrait of dance culture in Miami, the piece also pondered how artists can capture motion on film, which Friedman emphasized by speeding up and slowing down dancers’ movements in the editing process. Her work tends to contemplate the very things that make film what it is, and not in a way that feels academic or dense. For this show, titled “Mother Drum,” Friedman will debut new work.
Gavin Brown’s Enterprise, 429 West 127th Street, 6–8 p.m.
Opening: R. B. Kitaj at Marlborough Contemporary
It’s been a while since R. B. Kitaj had a major show in America, but, as the London-based, Ohio-born painter’s work continues coming into focus, he is beginning to seem like one of the most underrated figurative painters of his time. Working in an era when abstraction was the norm, Kitaj’s colorful portraits often focused on class differences and society’s outsiders. He has loosely been lumped together with a so-called “School of London” that included Lucien Freud and Francis Bacon, yet his work is more upbeat than either. This show, titled “The Exile at Home,” is curated by the Nation critic and Artforum editor Barry Schwabsky, who will also lead a panel about Kitaj on the day of the opening.
Marlborough Contemporary, 545 West 25th Street, 6–8 p.m.