BY ANGELA M.H. SCHUSTER
1/9 ● Avenue Magazine
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Marian Goodman Gallery,
September 7–October 9
Image courtesy of Marian Goodman Gallery
Always a fan of “multiples,” editioned pieces at affordable prices, Berlin-based British artist Tacita Dean has partnered with Cornwall-based creative director Martyn Ridgewell to produce Monet Hates Me, a limited-edition collection of 50 objects — brochures, postcards, and business cards of famous artists, as well as letterpress-stamped items — in a clothbound embossed box, which are the fruits of Dean’s pandemic isolation in her Berlin studio.
Paula Cooper Gallery,
September 9–October 23
Image courtesy of Paula Cooper Gallery
Bruce Conner and Jay DeFeo, contemporaries and close friends, met in the 1950s as part of a Beat-adjacent group of artists based in San Francisco, with both becoming important protagonists in postwar American art.
Conner is best known for his avant-garde films, while DeFeo is notable for her mixed-media works, including her monumental painting The Rose (1958–66), which took eight years to execute, and which is now in the collection of the Whitney Museum of American Art.
The Bruce Conner Trust, the Jay DeFeo Foundation, and Paula Cooper Gallery are delighted to present the first ever joint exhibition of their work.
September 9–November 6
Image courtesy of Lehmann Maupin Gallery
The exhibition will feature more than two dozen new works by the iconic artist duo Gilbert & George, who have lived and worked together in London’s East End for more than 50 years.
Having subsumed their individual identities into a singular artistic persona, they have used their neighborhood as both the backdrop and subject matter for their highly stylized works, which they contend collectively offer a commentary on the sociopolitical and urban conditions of the world they inhabit.
September 9–October 23
The gallery is presenting a series of new multicolor works that represent a culmination of the Chicago-based artist’s decades-long exploration of color in mixed-media pieces that touch on notions of language, African-American history, identity, minimalism, and geometric abstraction in ways that are intensely personal.
Executed in collage, oil stick, and ink, Binion’s autobiographical abstractions also include personal documents and photographs — photocopies of his birth certificate, pages from his 1970–1990s address book, pictures from his childhood, and found photographs of lynchings in the Jim Crow South.
September 10–October 23
Image courtesy of Pace Gallery
This exhibition marks Longo’s first with the gallery since joining Pace in May and features works made over the past 18 months, including a new series titled A History of the Present that the artist began during the pandemic.
“Over the past four decades, Longo has included drawing, photography, painting, sculpture, performance, and film within his practice, marrying intense imagination and creative ambition with exacting attention to detail to powerful effect,” says gallerist Marc Glimcher, adding that more of the artist’s work can be seen this fall at the Guild Hall Center for the Visual and Performing Arts in East Hampton through October 17.
September 8–October 23
Memories can be both vivid and hazy, making us feel at once closer and farther away from a certain time and place, and be shared by many while also remaining intensely personal. These inherent contradictions are at the heart of Paris-based Caribbean artist Alexandre Lenoir’s first solo show in the United States, which comprises nearly a dozen paintings based on old black-and-white and sepia-toned photographs belonging to his grandmother.
Although Lenoir never met most of the people in these pictures, the photographs themselves are familiar to him as they have graced the walls and shelves of his grandparents’ house in Guadeloupe for as long as the artist can remember.
“Translating these fading photographs into large-scale paintings,” says gallerist Almine Rech, “Lenoir has been able to capture the ephemerality of disparate memories while emphasizing their collective resonance.”
September 9–October 23
In celebration of the 100th birthday of Georges Mathieu, the founder of lyrical abstraction and a key pioneer of “action painting,” Nahmad Contemporary and Perrotin, in collaboration with the late French artist’s estate, are pleased to mount the first extensive survey of his practice in the United States.
Spread across two Manhattan venues, the presentation reevaluates Mathieu’s significant contributions to the development of postwar abstraction and pays particular attention to his monumental paintings, which, gallerist Emmanuel Perrotin says, “exemplify his commitment to the encounter between body and canvas.”
Hauser & Wirth,
September 9–October 30
Image courtesy of Hauser & Wirth
Trailblazing American artist Avery Singer will present two new series of large-scale paintings in her first solo show with Hauser & Wirth. The exhibition “invites viewers to consider form as a state of encounter — an encounter that does not take place with a singular object, reference, or context, but as a conflation of narratives, spaces, histories, and ideas,” explains gallerist Iwan Wirth.
“Singer touches on 19th-century European painting motifs, romantic notions of intoxication, stereotypes surrounding the bohemian artist, and icons of contemporary digital culture, which amalgamate past and present, clarity and ambiguity, and propose an escape from our quotidian reality.”
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