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New York Gallery Guide: The Fall Shows Not to Miss
by The Artslant Team

We've already shared our Fall picks for must-see exhibitions at museums and art spaces around the world. But come September, commercial spaces and non-profits also step up their game. While our calendar is packed with the hottest exhibitions listings from the world's biggest art hubs—from L.A. to London and beyond—few cities support the sheer density of formidable openings that New York does.

Let us help you achieve calendar clarity. These are the New York gallery openings we've set our sights on this season. 


Get the most out of the ArtSlant Calendar! Plan gallery and museum trips, map venues and events, share exhibitions with friends, and follow your favorite artists by using our mylist and artist watchlist features.



Meleko Mokgosi, Democratic Intuition: Lerato & Comrades II

Jack Shainman Gallery | 20th Street
513 W. 20th Street

and 24th Street
524 West 24th Street 
New York, NY 10011



September 8–October 22
Opening: September 8, 6–8pm


Meleko Mokgosi
© Courtesy of the Artist and Jack Shainman Gallery

Rashid Johnson,
Fly Away

Hauser & Wirth
511 West 18th Street
New York, NY



September 8–October 22
Opening: September 8, 6–8pm


Rashid Johnson, Untitled Escape Collage, 2016, white ceramic tile, black soap, wax, vinyl, spray enamel, 241.3 x 360.7 x 6.4 cm / 95 x 142 x 2 1/2 in © Courtesy of the Artist and Hauser & Wirth

A.L. Steiner, 30 Days of Mo:)rning

Koenig & Clinton
459 West 19th Street
New York, NY 10011



September 15–October 29
Closing reception: October 20, 6–8pm


A.L. Steiner, 30 Days of Mo:)rning

Julian Charrière, Freeze, Memory

Sean Kelly Gallery
475 Tenth Ave
New York, NY 10018



September 10–October 22
Opening: September 10, 6–8pm


Julian Charrière, Polygon XXIV, black and white double exposure medium format film with thermonuclear strata on baryta paper,, 47 1/5 × 55 1/10 in, 120 × 140 cm. © Julian Charrière /VG Bild-Kunst, Bonn, Courtesy: DITTRICH & SCHLECHTRIEM, Berlin

Simon Denny, Blockchain Future States

Petzel Gallery | 18th Street
456 W 18th Street
New York, NY 10011



September 8–October 22
Opening: September 8, 6–8pm


Simon Denny
© Courtesy of the Artist and Petzel Gallery

Random International, On the Body

Pace Gallery | 537 West 24th
537 West 24th Street
New York, NY 10011

Read our interview with Random International


September 22–October 22
Opening: September 22, 6–8pm


Random International, Study for Fifteen Points / I, 2016, motors, custom driver electronics, custom software, aluminium, LEDs, computer , 71.2 cm x 55.2 cm x 60.6 cm (28-1/16" x 21-3/4" x 23-7/8") © Courtesy of the Artist and Pace Gallery

Katie Paterson

James Cohan Gallery | Lower East Side
291 Grand Street
New York, NY 10002



September 16th - October 16th
Opening: September 16th 6:00 PM - 8:00 PM


Katie Paterson
© Courtesy of the Artist and James Cohan Gallery

Slavs & Tatars, Afteur Pasteur

Tanya Bonakdar Gallery
521 W. 21st Street
New York, NY 10011



September 9–October 22


© Courtesy of the Artist and Tanya Bonakdar Gallery

Molly Crabapple, Annotated Muses

54 Franklin Street
New York, NY 10013



September 10–October 15
Opening: September 10, 6–8pm


Molly Crabapple, Natasha Lennard, 2016, mixed media, collage and acrylic on canvas, 48 x 36 inches © Courtesy of the Artist and Postmasters

Oscar Murillo, through patches of corn, wheat and mud

David Zwirner | 525 W. 19th
525 W. 19th Street
New York, NY 10011-2808



September 14–October 22
Opening: September 14, 6–8pm


Oscar Murillo, meet me! Mr. Superman, 2013-2015 (detail of video still), video projection, 1:16 min (loop), color, sound
© Courtesy of the Artist and David Zwirner

Angela Washko, The Game: The Game

1030 Metropolitan Avenue
Brooklyn, NY 11211 

Read our interview with Angela Washko


August 27–October 8
Opening: September 10, 6–10pm


© Courtesy of the Artist and TRANSFER

COMING TO POWER: 25 Years Of Sexually X-Plicit Art By Women

Maccarone | Greenwich Street 
630 Greenwich Street 

and Maccarone | Morton Street
98 Morton Street
New York, NY 10014



September 9–October 16


Carolee Schneemann, Eye Body (From 36 Transformative Actions for Camera), 1963/1985, black and white photograph, 20 x 16 inches © Courtesy of Maccarone

Lorna Simpson

Salon 94 | Bowery
243 Bowery 
New York, NY 10002



September 8–October 22


Lorna Simpson © Courtesy of the Artist and Salon 94 Bowery

Cecily Brown, Rehearsal

The Drawing Center
35 Wooster Street
New York, NY 10013

Read our interview with Cecily Brown


October 7–December 18
Opening: October 7, 6–8pm


Cecily Brown, Strolling Actresses (After Hogarth), 2015, watercolor and ink on paper, 51 1/2 x 79 inches © Courtesy of the artist

Rasheed Araeen, Geometry and Symmetry

AICON Gallery
35 Great Jones Street 
New York, NY 10012 



September 20–October 15
Opening: September 20, 6–8pm


Rasheed Araeen, Neeley Hey Neeley (Blues 'n Blues), 2016, wood and paint, 66 x 144 in. © Courtesy of the Artist and AICON GALLERY - New York

Ghost of a Dream, When the Smoke Clears: The Fair Housing Project

Smack Mellon
92 Plymouth Street
Brooklyn, NY 11201 



September 24–October 30
Opening: September 24, 6–8pm


Ghost of A Dream, When the Smoke Clears: The Fair Housing Project, Video still

Taryn Simon, An Occupation of Loss

Park Avenue Armory
643 Park Avenue
New York, NY 10065



September 13–25


Taryn Simon, An Occupation of Loss, Rendering for Park Avenue Armory by OMA New York © Courtesy of the artist and OMA

Cosima von Bonin, Who's Exploiting Who in the Deep Blue Sea?

Sculpture Center
44-19 Purves Street
Long Island City, NY 11101



September 19, 2016–January 2, 2017
Opening: September 18, 5–7pm


Cosima von Bonin, SCALLOPS (DARK VERSION), ROCKING, 2014 © Courtesy the artist and Petzel, New York

Lynda Benglis, New Work

Cheim & Read
547 West 25th St
New York, NY 10001 



September 8–October 22
Opening: September 8, 6–8pm


Lynda Benglis, Lure, 2016, handmade paper over chicken wire, cast glitter on handmade paper, ground coal with matte medium, 36 x 26 x 19 in 91.4 x 66 x 48.3 cm © Courtesy of the Artist and Cheim & Read



(Image at top: Random International, Study for Fifteen Points / I, 2016, motors, custom driver electronics, custom software, aluminium, LEDs, computer , 71.2 cm x 55.2 cm x 60.6 cm (28-1/16" x 21-3/4" x 23-7/8") © Courtesy of the Artist and Pace Gallery)

Posted by The Artslant Team on 9/7 | tags: New York Galleries Fall 2016 fall art guide fall exhibition previews

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Taryn Simon
Park Avenue Armory
643 Park Avenue, New York, NY 10065
September 13, 2016 - September 25, 2016

In a Moving Orchestra of Grief, Mourning Is a Professional—and Political—Act
by Osman Can Yerebakan

“Each of us has his own rhythm of suffering” Roland Barthes wrote in his Mourning Diary following the death of his mother with whom he lived until her passing. The performance of suffering, and the unique, personal rhythms it can take, is at the center of An Occupation of Loss, Taryn Simon’s monumental installation and performance now in its two-week tenure at the Park Avenue Armory.

Eleven concrete towers—thin, cylindrical, dystopian—trace a semicircle through the center of the Armory’s dimmed Wade Thompson Drill Hall, where viewers are invited in small groups for half-hour visits upon sunset. They watch from a distance as the thirty professional mourners Simon recruited from across the globe slowly materialize and take residence in the tower entrances. As the mourners start to lament, the audience joins them on the main stage, descending a staircase flanked by white neon rods, which illuminate the otherwise dark space. The gravity of agony prevails.

Taryn Simon, Installation view of An Occupation of Loss at the Park Avenue Armory, September 13–25, 2016. Photo: Naho Kubota


Guests roam around the towers, witnessing cries of grief and diverse modes of anguish. The orchestra in this symphony of loss are the mourners, who hail from countries including Albania, Greece, Venezuela, Azerbaijan, Ecuador, and Burkina Faso. Simon, who spent years researching loss-related suffering through anthropological and historic lenses, invited them to perform their country or culture’s mourning rituals for the duration of the project. Their cries range from vociferous laments, their songs and poems intensified by dramatic gestures, to melancholy tunes played on traditional instruments. Although black and modest fashions prevail, some performers encapsulate grief in eye-catching attire: a Bhutanese mourner dons a bear- or bird-like costume in orange fabric; a representative from Burkina Faso performs with a wooden mask.

“The sufferings most deemed worth of representation are those understood to be the product of wrath, divine or human,” wrote Susan Sontag in Regarding the Pain of Others. From the tormented body of Christ to the durational performances of artists like Marina Abramović or Ron Athey, the viewer has long faced suffering bodies throughout art history; however, the authenticity of the trauma is rarely analyzed. As opposed to the timed, structured and, for the most part canonized path that endurance and body art follows, the practices of the professional mourners remain uncategorized, and even disdained. Often marginalized in their communities due to contentious aspects of their practice, these individuals assume the grief of those whom they guide through suffering. The pain is not ostensibly their own, but that does not lessen the weight of their roles.

Taryn Simon, Installation view of An Occupation of Loss at the Park Avenue Armory, September 13–25, 2016. Photo: Naho Kubota


But in the Armory, enshrouded between the walls of the bare cement towers, each performer, many having entered the United States under visas specific to this project, wails for the sake of wailing. Under these circumstances, drawing distinctions between the art of performance and the art of lamenting seems petty: both are achieved performers by occupation. Hired for funerals in their home countries to direct mourning rituals, these professionals mold agony into expressions of solemnity, shaped to the necessities of each occasion—an effort not so different from a performance artist’s. Simon puts us in encounters shared between anonymous individuals—one performing extreme vulnerability before the gaze of the other. The peculiar tension built between the audience and Abramović during Rhythm 0, for example, should not be that disparate from the one prevailing An Occupation of Loss. Mutual trust and empathy, as well as scrutiny, remain visible in each instance. 

While such interactions challenge both parties in different ways—exploitive for the sufferer and reprehensible for the observer—in this occasion, the dilemma adopts a political tone. Mostly composed of members of the art world or immediate circles, the audience gathers to observe what the other has to say. Cries and sorrowful tunes narrate grief, not necessarily of a loss but the loss—of those we never hear about or those whose abstract suffering we have become numb to. Bodies adrift, washing onto shores or startled faces, bathed in blood come into mind. So does their images’ perpetual normalization. Weaving rhythmic echoes of devastation in the sterile, protected interior of the Armory are voices, heard in languages unlike most we encounter in similar art events in this city. 

Taryn Simon. Courtesy of Park Avenue Armory. Photo: Da Ping Luo


“Whatever pain achieves, it achieves through its unsharability, and it ensures this unsharability through its resistance to language,” states Elaine Scarry in the introduction of her 1985 book The Body in Pain: The Making and Unmaking of the World. An Occupation of Loss resists language or even reason, eventually unfolding to its own harmonious chaos in which pain, regardless of its cause, anchor, or witness, takes hold. The unworldly and abiding realm finally shatters as the mourners convene and leave the stage, and the audience receives catalogues containing the visa application forms submitted on behalf of the performers—from those accepted and those denied entry to the United States. And with this, as is so often the case with Simon's work, the project shifts from an aesthetic to a procedural, classificatory gesture. The applications legally recast occupations and identities from mourner to “Artist or Entertainer Coming to Be Part of a Culturally Unique Program.” Supporting documents—affadavits, testimonials, and letters from experts—detail their “work,” codifying each mourner’s rhythms and occupations of loss.


Osman Can Yerebakan

Osman Can Yerebakan is a writer and curator based in New York.


(Image at top: Taryn Simon, Installation view of An Occupation of Loss at the Park Avenue Armory, September 13–25, 2016. Photo: Naho Kubota)

Posted by Osman Can Yerebakan on 9/19 | tags: performance An Occupation of Loss Park Avenue Armory grief Taryn Simon mourning

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Group Exhibition
Maccarone (Morton Street)
98 Morton Street, New York, NY
September 9, 2016 - October 16, 2016

Coming to Power (Again): A 1993 Exhibition of Sexually Explicit Feminist Art Still Resonates
by Olivia B. Murphy

Entering Maccarone Gallery on the evening of the opening for Coming to Power: 25 Years of Sexually X-plicit Art By Women, almost felt like walking into a reunion. This is possibly because the exhibition is a restaging of a 1993 show curated by Ellen Cantor at the then brand new David Zwirner Gallery, but also because there is a level of communal excitement that goes beyond the usual group show fervor. It’s an excitement indicative of the unprecedented effort on the part of Maccarone and six other New York institutions in celebrating the life and work of the feminist artist, filmmaker, and curator Ellen Cantor, who passed away in 2013.

The original genesis of Coming to Power was really about looking back on 25 formative years of art by women (from 1968–1993), bringing together two generations of artists, to talk about the political power of sexually explicit artwork. “Together both generations engage in a dialogue previously dominated by men and disallowed to women by the taboos in society,” asserted the original press release for the show.

Joan Semmel, Purple Passion, 1973, Oil on canvas, 48 x 80 inches. Courtesy Alexander Gray Associates, New York
© 2016 Joan Semmel/Artists Rights Society (ARS), New York


Cantor was referencing the work of older artists like Alice Neel, Louise Bourgeois, and Hannah Wilke, who used explicit imagery in their work as political action, a “flipping of the gaze,” so to say (not unlike what we saw in Cheim & Read’s summer exhibition of women artists). This approach contrasted a newer generation of artists like Lynda Benglis, Zoe Leonard, and Marilyn Minter, who were beginning to push the idea of explicit imagery as a personal exploration of sexuality and agency into the larger realm of power for women and the queer community. Benglis flaunting her naked body holding a dildo in SELF (1970–76), or Minter framing a cotton underwear-clad crotch in Flurry (1994), became charged in new ways, both politically and erotically, compared to, say, Alice Neel’s Nadya Nude (1933) or even Joan Semmel’s Purple Passion (1973). This is because the new generation of women artists was not just using the explicit imagery of genitalia as subject matter, but rather using sexuality in all of its complex forms as their subject.

The current show’s curators, Julie Tolentino (who also co-curated the original exhibition’s performance programming with Cantor) and Pati Hertling, worked to ensure that each and every work from the original show was re-hung for the current exhibition, and done so in a way that would spark new dialogues about the persisting issues of women and power today. This is especially evident in the placement of Yoko Ono’s Object in Three Parts – Revolution (1966/2016), where three podiums containing a single birth control pill, a condom, and a diaphragm respectively, stand in the main entrance to the gallery as a reminder that some basic issues such as women’s reproductive health and rights, are still on the political front lines fifty years later.

Installation view of Coming to Power: 25 Years of Sexually X-plicit Art By Women at Maccarone, New York


Given the time expanse the show now covers, re-imagining it for 2016 comes along with some questions of how the work exists in the current conversations around these pressing topics. The show’s commitment to reevaluating these historical works is evidenced by a freshly commissioned performance program that brings a younger generation of artists into the conversation. “Time has… written new contexts into these works,” Tolentino says, but it’s “the dialogue created through the performance program of a younger generation [that] helps us to re-contextualize these meanings yet again.”

Through these contemporary performers we see how the idea of “explicitness” has become less about a radical opposition (to the culture wars, censorship, and morality of the regressive 80s) and more about a form of expression, enabling us to open up new avenues of dialogue on the intersectionality of gender, sexuality, and race. Yes, the shock value of seeing a female ejaculation on a small black and white screen might have diminished in a world where you can get on-demand porn on screens of any size, but the idea carries through to the current generation of artists who use performance to bring this confrontation of explicit movements, imagery, and bodies to viewers as a way to reveal the politicized nature of those bodies.

For example, Narcisisster’s radical use of her own nude body and her signature mannequin-faced masks speak to the objectification of all women’s bodies by reclaiming agency over female sexuality and self-love. And the performance duo FLucT, although less “explicit” in that they are not naked, uses movements and choreography that bend and twist their two bodies into exposed forms, recalling violent, sexual, even romantic parodies that speak to societal constructs around gender and sexuality. In this sense, the exhibition does “re-encounter and open dialogue around the terms Sex, Explicitness, Gender, Intersectional Feminism, and Race, while thinking through the perspective of moving bodies and durational performance formats,” as Tolentino says.

Installation view of Coming to Power: 25 Years of Sexually X-plicit Art By Women at Maccarone, New York


But even without experiencing the contemporary performance program (there are a limited number of events scheduled throughout the exhibition’s duration), we as contemporary viewers pull the original works into our own context. What struck me on opening night was the eager approach of gallery goers who were immediately drawn into the works. Many of the pieces involve a level of intimacy in order to view them—like the small monitor playing a selection of videos, or Patricia Cronin’s candid Polaroid images of BDSM encounters in boys and girls (both 1993). Even Bourgeois’ hanging bronze knobs (Janus, 1968) confront viewers directly in the face, causing some to duck and weave to avoid direct contact with them.

In these works and others, viewers have to bend down, get close, and crowd together to catch a glimpse of what’s going on. So even for the contemporary viewers (who are perhaps a bit more anesthetized to the explicit nature of the work), it’s a deeply personal experience, which is what keeps it titillating. This play between exhibitionism and privacy pulls the personal into the political sphere, which was what first sparked the need for an exhibition of this nature over 20 years ago.

Zoe Leonard, Frontal View Geoffrey Benne Fashion Show, 1990, Black and white photograph, 40.5 x 27.5 inches.
Courtesy of the artist and Hauser & Wirth


The re-staging of this show succeeds in its ability to honor the valuable and important contributions that Cantor made throughout her career, not only as a curator, but a filmmaker, and an activist with groups like the NYC Clit Club. But what makes the show truly engaging is that the individual works still hold up in their own right, making it clear that the conversation never really ends because the fight is never really won; rather it is constantly evolving towards inclusion and understanding. The notion of “coming to power” remains more crucial than the explicit nature of the work. It reminds us that power still needs to be gained, negotiated, even in a society that has made moves towards equality. As Tolentino says of this constantly evolving, yet ever persistent feminist art: “It, we, will never end.”


Olivia B. Murphy

Olivia Murphy is a writer and editor based in New York, covering arts and culture. Her work has appeared in various publications both in print and online, including L'Officiel MagazineFreunde Von FreundenWhitehotRiot of Perfumedoingbird, and Whitewall Magazine.


(Image at top: Patricia Cronin, girls, 1993, 24 Polaroids mounted on board, 17 x 20 3/4 inches. Courtesy of David and Monica Zwirner, New York)

Posted by Olivia B. Murphy on 9/30 | tags: photography performance figurative painting feminist art nudes coming to power maccarone ELLEN CANTOR

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