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Carlos Motta, Public Domain #6, 2004, archival pigment print. “Landscapes After Ruskin: Redefining the Sublime,” Grey Art Gallery.
COURTESY KEVIN BRUK GALLERY/HALL COLLECTION
TUESDAY, APRIL 17
Exhibition: Huma Bhabha at Metropolitan Museum of Art
It’s roof garden season at the Met once again. For this year’s roof commission, Pakistani-American artist Huma Bhabha has created a site-specific installation called We Come In Peace. The sculpture comprises two large figures, and the roof will serve as “a landing pad where these figures have arrived,” Bhabha said in a recent New York Times article. Bhabha’s work often grapples with colonialism, war, displacement, and memory, and she incorporates found materials—including cork, Styrofoam, and burned wood—into her sculptures. These new works build on those themes, this time with a science-fictional bent.
Metropolitan Museum of Art, 1000 5th Avenue, 10 a.m.–5:15 p.m.
WEDNESDAY, APRIL 18
Opening: “Landscapes After Ruskin: Redefining the Sublime” at Grey Art Gallery
Bringing together paintings, sculptures, videos, and photographs by more than 50 artists, this exhibition focuses on contemporary representations of the environment. The show will explore the ways in which industrialization and climate change have influenced the way we depict landscapes today, all the while considering art critic and social thinker John Ruskin’s belief that artists ought to depict nature honestly. “Landscapes After Ruskin” promises a modern take on the 19th-century idea of the sublime, in which nature is beautiful and terrifying simultaneously, and the show—which features work by Richard Artschwager, Katherine Bradford, and Ai Weiwei, among many others—will examine distinctly modern anxieties and joys regarding the state of the natural world today.
Grey Art Gallery, 100 Washington Square East, 6-8 p.m.
THURSDAY, APRIL 19
Harmony Hammond, Lesbian Dreams, 1992, mixed media.
©HARMONY HAMMOND, LICENSED BY VAGA, NEW YORK/COURTESY ALEXANDER GRAY ASSOCIATES, NEW YORK
Opening: Harmony Hammond at Alexander Gray Associates
A seminal figure in the wave of feminist art that came out of New York in the early 1970s, Harmony Hammond, who has lived and worked in northern New Mexico since 1984, will have her third exhibition at Alexander Gray Associates. The show focuses on art made by Hammond in the 1990s, when she spent the decade teaching at the University of Arizona, Tucson. In addition to works on paper and mixed media paintings, the show will include an installation—Inappropriate Longings (1992), a triptych made using oil paint, latex rubber, and linoleum—that features a metal gutter, dried leaves, and the phrase “goddamn dyke” scrawled on it. Hammond has called the unsettling work “material witness to a crime scene giving clues of events and actions not fully revealed.”
Alexander Gray Associates, 510 West 26th Street, 6–8 p.m.
Opening: Carroll Dunham at Gladstone Gallery
The New York–based artist Carroll Dunham’s new exhibition consists of large-scale paintings that focus on the male nude. Part of Dunham’s larger “Wrestlers” series, many of the works here explore a kind of cartoonishly feral masculinity, with some featuring naked, bearded men tussling against a bucolic backdrop. Others are decidedly quiet: Left for Dead (2), 2017, features one of Dunham’s bulbous men lying beneath a black bird flying above him.
Gladstone Gallery, 515 West 24th Street, 6–8 p.m.
Talk: Michelle Grabner at ICI Curatorial Hub
At this talk, Michelle Grabner, an artist and curator and the artistic director of the first FRONT International: Cleveland Triennial for Contemporary Art, will give a presentation about the festival’s inaugural edition. Following her talk, Grabner and María del Carmen Carrión, Independent Curators International’s director of public programs and research, will discuss the internationalism that has come to characterize biennials, as well as the duty of triennial organizers to feature work by lesser-known artists. Another subject of the conversation will be FRONT’s place within the landscape of art fairs around the world.
ICI Curatorial Hub, 401 Broadway, Suite 1620, 6:30-8 p.m. RSVP to [email protected] with FRONT in the subject line to attend
Klein.
JOYCE NG
Performance: Klein at Gavin Brown’s Enterprise
Taking inspiration from source material as varied as musical theater, rave, and 1990s R&B, and aided by the use of the primitive audio editing software Audacity, London-based musician Klein has a knack for formal experimentation with her electronic music. Klein’s cut-ups can feel at once hyper contemporary and ancient—a bit like if the 20th-century composer Pierre Schaeffer somehow had access to YouTube. Klein’s most recent work, a coming-of-age piece set in a care facility, premiered this winter at the Institute of Contemporary Arts, London; here, she will stage a concert presented by the nonprofit Blank Forms.
Gavin Brown’s Enterprise, 439 West 127th Street, 8 p.m. Tickets $11.25/$15
FRIDAY, APRIL 20
Screening: A Season in France at Brooklyn Academy of Music
A Season in France will premiere in New York as a part of the BAMcinématek series “Mahamat-Saleh Haroun: Modern Griot,” which highlights work by the contemporary African filmmaker. Largely overlooked in the United States, Haroun’s films have won awards at both the Cannes and Venice Film Festivals. His latest film follows Abbas (played by Eriq Ebouaney), a Central African refugee who lives a transitory life as a fruit vendor in Paris awaiting word on his residency status. As he tries to build a new life with his two kids, he falls in love with a French woman, Carole (Sandrine Bonnaire). Most recently screened at last year’s Toronto International Film Festival, the work presents a contemporary glimpse into the sacrifice and struggle of people who have been displaced and are living in a limbo state.
Brooklyn Academy of Music, 30 Lafayette Avenue, 7 p.m. Tickets $11/$16
Reading: Demian DinéYazhi’ at Whitney Museum
In conjunction with the Whitney’s ongoing “Between the Waters” exhibition, Demian DinéYazhi’, an artist and the founder of the activist initiative R.I.S.E. (Radical Indigenous Survivance & Empowerment), will read selections from his work An Infected Sunset. The poem weaves together reflections on queer sex, survival, death, indigenous identity, community, and environmental injustice. Laura Ortman will open will open the evening with a musical performance.
Whitney Museum, 99 Gansevoort Street, 7 p.m.
Chloë Bass, The Book of Everyday Instruction, Chapter Four: It’s amazing we don’t have more fights. I put these words in the bathroom because the bathroom is a place where people read, 2016–18, vinyl installation and custom-printed toilet paper.
COURTESY THE ARTIST
SATURDAY, APRIL 21
Opening: Chloë Bass at Knockdown Center
Chloë Bass’s project The Book of Everyday Instruction, an eight-chapter work about one-on-one social interaction, will be on view in its entirety for the first time. Created between January 2015 and January 2018, the work studies intimacy and interpersonal relationships through photography, text, video, sculpture, performance, and site-specific interventions. The Book of Everyday Instruction will be published by the Operating System and released as a book to coincide with the exhibition. Additional workshops and performances will take place throughout the show’s run.
Knockdown Center, 52-19 Flushing Avenue, Queens, 6–9 p.m.
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