September 2–November 11, 2018
Works by Marcel Dzama and Raymond Pettibon are included in the group exhibition Hand Drawn Action Packed, organized by the Hayward Gallery in London's Touring program. Following its debut presentation this month at St Albans Museum + Gallery, the exhibition will travel around the UK to Wolverhampton Art Gallery, The Hunterian Art Gallery in Glasgow, and Glynn Vivian Art Gallery in Swansea.
Wolfgang Tillmans will be in conversation with Paul Holdengräber, Director of Public Programming at The New York Public Library, about art and political action. The public talk, which supports the NYPL and inaugurates the Live from the NYPL fall season, precedes How likely is it that only I am right in this matter?, an exhibition of Tillmans’s new and recent work that opens on September 13 at the gallery on West 19th Street.
September 5, 2018, 7 PM (ticketed event)
Stephen A. Schwarzman Building, New York Public Library
September 7–November 11, 2018
Francis Alÿs is participating in the 12th Gwangju Biennale with works including The Silence of Ani (2015) and Paradox of Praxis 5: Sometimes we dream as we live & sometimes we live as we dream Ciudad... (2013). As projects the artist created on location at once-prosperous cities on the Armenian-Turkish and Mexican borders, these works are apt for the theme of the biennale, Imagined Borders.
September 7–December 9, 2018
Mamma Andersson is one of seven artists who have been selected as curators for Affective Affinities, the 33rd Bienal de São Paulo. Each artist has been invited to organize a group show that places their own work in dialogue with that of their peers in order to explore artistic and cultural connections and the range of influences informing the artistic process. Andersson’s exhibition features under-the-radar artists.
September 12–December 10, 2018
The Centre Georges Pompidou presents the first posthumous retrospective of the work of Franz West, who died in 2012. Curated by Christine Macel, chief curator at the Pompidou, and Mark Godfrey, senior curator at Tate Modern, where it will travel in February 2019, the exhibition spans West's influential career. On view will be works dating from the 1970s onwards, including early drawings and works on paper that have rarely been presented publicly, the papier mâché sculptures of the 1980s, large-scale installations created in the 1990s, and the open-air sculptures of the 2000s.
September 13, 2018–February 17, 2019
Still Life. Obstinacy of Things at Kunst Haus Wien includes works by James Welling and Christopher Williams. Posing questions such as, "Why are contemporary artists rediscovering the still life for themselves in the medium of photography at this very precise moment in time?" and "What do still lifes have to say to us today about our habits and our very own existence?", the show aims to explore the historical development of the genre as well as contemporary experimental approaches.
September 14, 2018–February 3, 2019
Roy DeCavara is among the artists whose work is included in Soul of a Nation: Art in the Age of Black Power at Brooklyn Museum in New York. The show, which originated at London’s Tate Modern in 2017 and traveled to Crystal Bridges Museum of American Art in Arkansas earlier this year, focuses on black artistic practice from 1963 to 1983, and features the work of over sixty artists active during the movement. In a review of the show for Art in America, Elizabeth Fullerton concluded, "Soul of a Nation is an electric exhibition that attests to how significantly racial biases have limited the canon." David Zwirner announced exclusive worldwide representation of the Estate of Roy DeCarava in June 2018.
As part of the museum’s related programming, art historian Sherry Turner DeCarava will give a talk celebrating the new edition of Roy DeCarava and Langston Hughes’ The Sweet Flypaper of Life—a collaboration between photographer and poet that captures daily life in Harlem through a combination of words and pictures. First published in 1955, the book, which is widely considered a classic of photographic visual literature, was reprinted by public demand several times. This fourth printing is the first authorized English-language edition since 1983, and includes an afterword by Turner DeCarava tracing the history and ongoing importance of the publication.
November 8, 2018, 7–9 PM
Iris and B. Gerald Cantor Auditorium, 3rd Floor, Brooklyn Museum
September 14, 2018–February 16, 2019
The Pulitzer Arts Foundation in St. Louis presents Ruth Asawa: Life's Work, a major exhibition featuring some sixty sculptural works from throughout the artist's career, as well as drawings and collages she created at Black Mountain College. This will also be the first major museum exhibition dedicated to Asawa outside California, where she lived and worked for more than sixty years.
September 15–December 15 (Part 1)
Collecting on the Edge at Nora Eccles Harrison Museum of Art, part of Utah State University, presents work by 172 artists from the museum’s collection, among them Ruth Asawa’s hanging looped wire sculpture Untitled (S.304) (1967)—the longest known work of this kind. With detailed texts about each piece contributed by critics, art historians, curators, gallerists, artists, and collectors and accompanied by an in-depth catalogue featuring Asawa’s work on the cover, this show aims to showcase the importance of modern and contemporary art made in the American West which, the museum argues, has been largely written out of the mainstream narrative of art history.
Asawa, who moved permanently to San Francisco in 1949, has recently been the subject of renewed attention for her influential sculptural practice, which foreshadowed Minimalist tendencies of the 1960s in its intense application of modest materials and emphasis on lightness and transparency. "In her lifetime," Kaelen Wilson-Goldie wrote in an Artforum review of the gallery’s inaugural solo exhibition of Asawa’s work in 2017, "Asawa weathered storms of weak interpretation . . . that made too much of her positions as a wife and mother and not nearly enough of her contributions to modernism and abstraction."
September 15, 2018–February 16, 2019
Last shown in New York at Dia Center for the Arts in 1987, Palermo's To the People of New York City paintings will be on view at Dia:Chelsea. The work is part of the artist’s Metal Pictures series (or Metallbilder, in German), which he began working on while in New York from 1973 to 1976.
September 16–December 17, 2018
Before Projection: Video Sculpture 1974–1995, featuring Diana Thater’s Snake River (1994), travels to New York’s Sculpture Center following its debut presentation at MIT List Visual Arts Center in Cambridge, Massachusetts. "Including the monitor-based work of a dozen international artists," Ara Osterweil writes in Artforum, the exhibition "recovers a crucial period of experimentation in the evolution of this media art while highlighting the important role women played in the movement."
September 18, 2018–January 6, 2019
Raymond Pettibon is among the artists whose work is included in Everything Is Connected: Art and Conspiracy at The Metropolitan Museum of Art in New York. Focused on works from the last fifty years, this show aims to offer "an alternate history of postwar and contemporary art that is also an archaeology of our troubled times."
September 20–October 21
September 21, 2018–January 13, 2019
As part of the fourth FotoFocus Biennial in Cincinnati, seventeen works by Thomas Ruff will be on view at the Contemporary Arts Center in the exhibition No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff. The show explores the relationships between these artists’ work over time and in the context of the archive, which is the overarching theme of the biennial. Selected from the artist’s Negatives series begun in 2014, Ruff’s works appropriate six plant motifs from photographs Blossfeldt took in the 1920s as teaching aids for his students.
September 22, 2018–January 27, 2019
Raoul De Keyser – oeuvre is the first survey of the artist’s work since his death in 2012. The exhibition at Stedelijk Museum voor Actuele Kunst (SMAK) in Ghent will include over one hundred paintings and more than fifty watercolors and drawings spanning De Keyser’s full career, and will be accompanied by a comprehensive catalogue. The exhibition travels to Munich’s Pinakothek der Moderne, Sammlung Moderne Kunst in April 2019.
September 26, 2018–February 14, 2019
The Tampa Museum of Art presents Yayoi Kusama’s LOVE IS CALLING (2013), one of the artist’s iconic Infinity Rooms featuring glowing, tentacle-like sculptures suspended from the ceiling and rising up from the floor; audio of Kusama reading a love poem in Japanese completes the immersive installation. The work is on loan from the Vinik Family Foundation Collection, which has a history of sharing art with the public in Tampa. "We liked it [the installation] because it’s very colorful and is also one of her largest rooms," said Penny Vinik. . . . It’s also the only one that includes her voice."
September 26, 2018–January 6, 2019
Work by Felix Gonzalez-Torres, John McCracken, and Fred Sandback is included in Space Shifters, at the Hayward Gallery in London, a major thematic exhibition of works that alter or disrupt our sense of space. Gonzalez-Torres’s "Untitled" (Golden) (1995), composed of hanging strands of plastic beads, McCracken’s Flash (2010), a late work with the highly reflective, smooth surface characteristic of the artist’s sculpture, and Sandback’s Untitled (1989), which articulates space using a single thread, will be on view.
Join writer Michael Bracewell, literature professor Patricia Pulham, artist Cally Spooner, art historian Francesco Ventrella, and librarian and editor at The Swedenborg Society James Wilson for a panel discussion titled Psychological Aesthetics in the Art Gallery. Hosted by The Swedenborg Society and David Zwirner Books, the event celebrates the publication of Vernon Lee’s The Psychology of an Art Writer. Newly released as part of the David Zwirner Books ekphrasis series, The Psychology of an Art Writer marks the first-ever English publication of the 1903 text by the singular British aesthetician—in the author Henry James’s description, "as dangerous and uncanny as she is intelligent, which is saying a great deal."
September 26, 2018; Doors 6.30 PM, Talk 7 PM
Swedenborg House, London
September 27–September 30
September 27, 2018–January 6, 2019
Neo Rauch: Aus dem Boden at Des Moines Art Center in Iowa is the first exhibition of the artist’s drawings in the United States. Curated by Brett Littman, director at the Noguchi Museum in New York, the exhibition features groupings of works that share formal similarities such as references to architecture or landscape, figures, or depictions of discreet "worlds" or imagined scenarios. The exhibition is accompanied by related programs at the museum including a conversation with the artist, a documentary film screening, and a gallery talk. A smaller version of the exhibition will travel to The Drawing Center in New York in April 2019.
September 28, 2018–January 13, 2019
Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College at Black Mountain College Museum + Arts Center in Asheville, North Carolina is the first exhibition to focus on the African-American painter’s experiences at the school during the summer of 1946. Lawrence came to Black Mountain College to teach painting on the invitation of Josef Albers, whose own instruction and ideas greatly influenced him. Curated by art historian Julie Levin Caro and the museum’s director Jeff Arnal, the exhibition hopes to shed light on the wider artistic and educational projects undertaken by Lawrence and other faculty members and students-—among them Josef and Anni Albers and Ruth Asawa, whose work will also be on view-—during the 1946 Summer Art Institute. The exhibition will include a partial recreation of a show of Lawrence’s paintings held at Black Mountain College that summer, as well as newly commissioned works as a way to expand the conversation around his continuing relevance for contemporary artists. This show inaugurates the first permanent home of Black Mountain College Museum + Arts Center, which includes 2500 square feet of exhibition space, an expanded library and research center, and on-site storage for the museum’s permanent collection.
September 29, 2018–January 13, 2019
Marlene Dumas is curating an exhibition bringing together her own work and that of Edvard Munch at The Munch Museum in Oslo. The focal points of the show are Munch’s Alpha and Omega series and Dumas’s Venus and Adonis drawings, which debuted at David Zwirner in New York earlier this year. The show is titled Moonrise after one of Munch’s lithographs; Dumas associates the moon with femininity and magic, as well as the darkness of night. She says of Munch: "He understands the night with its shadows. Yet his works are bright with light."
September 29, 2018–January 27, 2019
Mönchehaus Museum Goslar will present works by Wolfgang Tilllmans in honor of his being awarded the 2018 Kaiserring (or "Emperor's Ring") art prize. Inaugurated in 1975 and judged each year by a panel of curators and museum directors, the prize is organized by the city of Goslar and the Verein zur Förderung Moderne Kunst (Association for the Promotion of Modern Art). Previous winners include fellow gallery artists Isa Genzken (who was awarded the prize in 2017), Sigmar Polke, Bridget Riley, and Richard Serra.
Cover Image: Franz West, Plakatentwurf (Die Aluskulptur) [Poster project (The Aluminum sculpture)], 2000 (detail) Franz West Privatstiftung / Estate Franz West, Vienna