From Richard Serra’s New York City hat trick this autumn at Gagosian, I have only seen the Chelsea sculpture shows, Reverse Curve and Forged Rounds (Triptychs and Diptychs are up at Madison Ave).
I generally try to see every exhibition of Chaim Soutine’s paintings that can I manage to get to and of those that I can’t I try to track down the catalogue.
Later that day, January 2, Peter Hujar’s show opened at the Gracie Mansion Gallery…
A collective and hearty thank you ought to go out to the team at David Zwirner responsible for conceiving and executing the installation of Ruth Asawa’s hanging wire sculptures at West 20th Street.
The Japanese photographer Daido Moriyama celebrates his 79th birthday on October 10 but you would never know it looking at his recent photographs currently up at Lurhing Augustine’s Bushwick space.
Up on the 2nd floor of a Wooster Street loft building The New York Earth Room by Walter De Maria bides its time, with hardly a building placard to announce its presence among the retail shops of Soho.
In Volume 5 of our print magazine, we profiled New York City photographer Katsu Naito and his 2011 photobook, Westside Rendezvous, which is comprised of several Meatpacking District streetscapes but mostly portraits of transgender prostitutes that plied their trade there in the afternoons of the late 80s and early 90s.
Taka Ishii Gallery New York is tucked neatly away on the third floor of an Upper East Side townhouse. The elevator opens directly into the spare gallery entry where, currently, you will be confronted by a two-foot oil and acrylic monochrome on paper that looks to be made of molten lead. The work is by 78-year old Japanese painter, Tomoharu Murakami, and it is one of ten works comprising what seems to be his second solo presentation to date in New York.
A deceptively simple show of 46 prints by the photographer Sally Mann are tucked off Madison Avenue in Gagosian’s ground floor galleries and together they present a visually and intellectually sumptuous offering. To read recent commentary on this exhibit before seeing it in person, as I did, would lead one to expect an elegiac, sad, somewhat depressing affair given that the photographs present the Lexington, Virginia studio space of Cy Twobly (a longtime, local friend of Mann’s parents) in the years leading up to his death and also given that one of Mann’s adult-aged children’s unexpectedly died during the preparation of the final prints. Consequently, I went in steeled to a degree.
Facility of DECLINE at Gladstone Gallery reunites installations, sculptures, videos and drawings from Matthew Barney’s 1991 New York debut from when the gallery was on Greene Street in SoHo for the first time in twenty-five years.