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Cecilia Paredes, Both Worlds, 2010, cibachrome. “Revival: Contemporary Pattern & Decoration.”
COURTESY THE ARTIST AND RUIZ-HEALY ART
WEDNESDAY, APRIL 4
Opening: “Revival: Contemporary Pattern & Decoration” at Hostos Arts Center
Presented by El Museo del Barrio, the Hostos Center for the Arts & Culture, and the Bronx Council on the Arts, “Revival: Contemporary Pattern & Decoration” will explore contemporary articulations of the Pattern and Decoration movement of the 1970s, which raised craft strategies to the status of high art, often as a feminist statement. The exhibition will showcase work across a variety of media by 26 contemporary artists who grapple with the interconnectedness of abstract patterns, craft, and the body. Featured artists include Marlon Griffith, Remy Jungerman, Jessica Lagunas, and Mickalene Thomas.
Longwood Art Gallery at Hostos Art Center, 450 Grand Concourse, the Bronx, 6–9 p.m.
THURSDAY, APRIL 5
Ghada Amer, Glimpse Into a New Painting, 2018, acrylic, embroidery, and gel medium on canvas.
©GHADA AMER/COURTESY THE ARTIST AND CHEIM & READ
Opening: Ghada Amer at Cheim & Read
At this exhibition, Ghada Amer, known for her erotically charged embroidered works, will show a selection of paintings and sculptures completed between 2015 and 2018. Her stitched depictions of women refer to the visual language of domestic work and reclaim craft as a form of feminist expression. These works introduce text in both English and Arabic, with quotes from feminist literature and manifestos. Amer’s ceramic sculptures intertwine words and imagery, melding together the cultural contrasts between Egypt, where she was born, and America, where she now lives and works.
Cheim & Read, 547 West 25th Street, 6–8 p.m.
Opening: Eduardo Navarro at the Drawing Center
For a new project addressing consumption and digestion, Argentinian artist Eduardo Navarro will make a series of edible drawings that will be placed under a red heat lamp and, over the course of exhibition’s three-week run, dissolve into a soup. With his performative and interactive project, titled Into Ourselves, the artist nurtures his interest in the “holographic principle,” the idea that all information can be shuffled, jumbled, and rearranged—but not destroyed.
The Drawing Center, 35 Wooster Street, 6–8 p.m.
Yto Barrada, Untitled (North African Toys Series, dolls, © Musée du quai Branly, Mission Dakar-Dijbouti, Mission, Mission Charles le Coeur Paris, Mission Therese Riviere; c. 1930s), 2014–15, archival pigment print.
©YTO BARRADA/COURTESY PACE GALLERY; SFEIR-SEMLER GALLERY, HAMBURG, BEIRUT; AND GALERIE POLARIS, PARIS
Opening: Yto Barrada at Pace Gallery
“How to Do Nothing with Nobody All Alone by Yourself,” a survey of Yto Barrada’s work, marks the first solo show in a New York gallery for the Paris-based artist who, through photography, sculpture, and film, often engages geographic borders and citizenship. Included in the show will be works from a series of photographs of children’s toys from North Africa that are held in the collection of the Musée du Quai Branly in Paris, where they are archived as colonialist objects.
Pace Gallery, 32 East 57th Street, 6–8 p.m.in
Performance: Abraham Cruzvillegas at the Kitchen
It’s been over a decade since the Mexican artist Abraham Cruzvillegas has presented a recent work at a New York institution, but that will change this week when he presents a new piece from his ongoing project “autoconstrucción,” or “self-construction.” He will create a sculpture using everyday and found objects sourced from the Kitchen’s surroundings in Chelsea, which are undergoing intensive construction and development. Choreographer Bárbara Foulkes will activate the work with an improvised dance piece; musician Andrés García Nestitla will provide a soundtrack.
The Kitchen, 512 West 19th Street, 6:30 p.m.
Performance: Patty Waters at First Unitarian Congregational Society
The avant-garde vocalist and composer Patty Waters is most known for her 1960s-era work on the legendary free-jazz record label ESP-Disk, for which she pushed her voice to extremes that sound both ecstatic and tortured. Born in Iowa and discovered by the saxophonist Albert Ayler, Waters made her name in part with a debut album, Sings, which includes a 14-minute take on the traditional folk song “Black Is the Color (of My True Love’s Hair)” that remains a vital piece of vocal heroics. Here, in a concert presented by the roving curatorial platform Blank Forms, Waters will perform with pianist Burton Greene, bassist Mario Pavone, percussionist Barry Altschul.
First Unitarian Congregational Society, 119-121 Pierrepont St, Brooklyn, 8 p.m. Tickets $22.50/$30/$75
Eva Hesse, No title, 1966, acrylic, cord, papier-mâché, and wood.
LEWITT COLLECTION, CHESTER, CT
FRIDAY, APRIL 6
Exhibition: Eva Hesse at Craig F. Starr Gallery
The first New York exhibition of the late artist Eva Hesse in seven years takes its name from a recurring theme running through her work. Titled “Arrows and Boxes, Repeated,” the show will place earlier paintings and drawings created between 1961 and 1964 next to better-known sculptural works made during the second part of that decade, often incorporating unconventional materials including latex and fiberglass. Selections from Hesse’s “Window Drawings” completed in the two years before the artist’s death in 1970 will appear alongside early drawings and groundbreaking wall pieces like 1967’s Ditto, which consists of paint,metal, plexiglas, and wire.
Craig F. Starr Gallery, 5 East 73rd Street, 11 a.m.–5:30 p.m.
Talk: “Culture and Its Discontents: A Public Conversation” at Guggenheim Museum
Staged in response to cultural debates surrounding shows at the Guggenheim Museum and other institutions in the past year, this two-day symposium brings together a range of thinkers to discuss ideological divides, the impact of the digital world on the public realm of protest, and the role of museums today. Political commentator Sally Kohn will be joined in conversation on Friday by the former White House deputy chief of staff Alyssa Mastromonaco and the artist Hank Willis Thomas. The symposium continues on Saturday with two panels, “Contemporary Culture Wars” and “Outrage Activism,” both moderated by WNYC host Brian Lehrer.
Guggenheim Museum, 1071 5th Avenue, 6:30 p.m. Tickets must be purchased separately for both days, at $15/$20/$25
Installation view of “Darren Bader: either either neither neither,” 2018, at Andrew Kreps Gallery, New York.
COURTESY THE ARTIST AND ANDREW KREPS GALLERY, NEW YORK
SATURDAY, APRIL 7
Opening: Darren Bader at Andrew Kreps Gallery
Darren Bader often trades in an absurd, playful brand of conceptualism that has seen him inject heroin into a slice of lasagna and place two live goats inside Andrew Kreps gallery in Chelsea. This week, he will return to the same setting for his first show there since 2014. In typical fashion for Bader, little information was made available in advance, but it is a safe to expect the unexpected. His recent collaborative exhibition with Anca Munteanu Rimnic and Michael E. Smith at the London gallery Sadie Coles HQ filled the space with thousands of objects of found and fine art, making a sort of archive of things both rarefied and trivial.
Andrew Kreps Gallery, 535/537 West 22nd Street, 6–8 p.m.
Correction, 4/3/18, 5:20 p.m.: An earlier version of this article misstated details about Ghada Amer’s show. The exhibition presents work made between 2015 and 2018, not 2012 and 2014. The post has been updated to reflect this.
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