With an ever-growing number of galleries scattered around New York, it’s easy to feel overwhelmed. Where to begin? Here at A.i.A., we are always on the hunt for thought-provoking, clever and memorable shows that stand out in a crowded field. Below are seven fall shows our team of editors can’t stop talking about.
This week we check out Marilyn Minter’s video of a toddler splashing around in silver paint at Salon94’s Bowery location, Nava Lubelski’s lovingly mended household items at LMAK Projects and 20-plus years of Bill Jacobson’s photos at Julie Saul.
Bill Jacobson at Julie Saul, through Dec. 10
From his early black-and-white portraits of anonymous men, in which the blur is instrumental to an effect of gentle devastation, to recent, sharp, color images of rectangular objects straddling documentation and abstraction, Bill Jacobson has quietly and steadily amassed a powerful photographic oeuvre. “Into the Loving Nowhere (1989 till now)” gives viewers a chance to catch up.
Kim Beck at Mixed Greens, through Nov. 12
Did you see Kim Beck’s skywriting last month (“Last Chance,” “Lost our Lease,” “Now Open”), or have you noticed her sculptures, empty billboards installed on roofs visible from the High Line? Both projects, and her show of large-scale drawings, cutouts and sculptures at Mixed Greens, comment on the ever-faltering economy and related urban blight and renewal.
Nava Lubelski at LMAK, through Dec. 11
“Roomful” features castoff items-an upholstered chair, a tapestry of one-off army badges-that Nava Lubelski has lovingly mended with colorful thread, both highlighting and concealing their imperfections. She similarly transforms black fabric scraps by stringing them up with thread to create a delicate web and a dirty pink electric blanket by stripping out its wire innards and arranging them into a pleasing silver-on-pink abstraction.
Georges Braque at Acquavella, through Nov. 20
The co-founder of Cubism comes fully out from under Picasso’s shadow in “George Braque: Pioneer of Modernism,” the first full-scale survey of his work in the U.S. in two decades. No place in the city right now can boast such a concentration of priceless masterpieces for free-in terms of admission, that is.
Pamela Jorden at Klaus von Nichtssagend, through Dec. 6
L.A.-based Pamela Jorden’s mid-size, abstract paintings fit perfectly in Klaus von Nichtssagend’s boxy space. Many of the loosely geometric oil-on-linen works look looks like landscapes seen from the window of a moving car.
Marilyn Minter at Salon94 Bowery, through Dec. 4
Marilyn Minter’s latest show includes paintings featuring the juicy, erotic imagery she has become known for lately—a view from the ankles down of pair of stilettos with zippers up the heel, a close-up of a smiling mouth smeared with gold paint—as well as a 20-minutes video of toddlers splashing around in a shallow pool of silver paint. The slow-motion droplets of shimmery paint falling into the frame look like loose pearls, and at one point, a wave of pigment sloshes up behind the child who stands with a look of mixed fear and ecstasy on her face.
Jessica Dickinson at James Fuentes, through Dec. 11
Jessica Dickinson’s “remainder” drawings are sort of like blown-up stills from a lo-fi time-lapse video documenting her painting process: each one is a graphite rubbing of a single painting made when the surface changed significantly. Along with the rubbings, four abstract paintings are on view-though not, interestingly, the one that generated these particular “remainders.”
“The Lookout” is compiled by A.i.A. Associate Editor Leigh Anne Miller