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Rochelle Feinstein, Love Vibe, 1999–2014, oil on canvas, six panels.
COURTESY STELLAR PROJECTS
WEDNESDAY, NOVEMBER 7
Exhibition: Rochelle Feinstein at Bronx Museum of the Arts
Titled “Image of an Image,” this exhibition is the first comprehensive survey of Bronx native Rochelle Feinstein’s work staged in the U.S. (A version of the show previously made the rounds in Europe, with stops at the Kunsthalle Baselland and the Centre d’Art Contemporain in Switzerland and Lenbachhaus in Germany between 2015 and 2016.) The Bronx Museum show brings together inventive abstractions and collages created by Feinstein, who often bridges the personal and political with her work. Many of her pieces mess with our understanding of language—the six-panel painting Love Vibe (1999–2014), for example, features the phrase “Love Your Work” reversed as though seen from behind, against a green background.
Bronx Museum of the Arts, 1040 Grand Concourse, Bronx, 11 a.m.–6 p.m.
Louise Bourgeois, Untitled, 2004, aluminum.
©THE EASTON FOUNDATION/VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
THURSDAY, NOVEMBER 8
Opening: Louise Bourgeois at Cheim & Read
This show spotlights spiral motifs in Louise Bourgeois’s drawings, paintings, and sculptures with works produced between the early 1950s and 2010, the year of her death. The artist once said that the spiral represents both “the fear of losing control” and the feeling of “giving up control; of trust, positive energy, of life itself.” Highlights include a 1986 series of Bourgeois’s spiral word drawings made on blue paper. The show is also Cheim & Read’s last exhibition in Chelsea before it moves uptown and becomes a “private practice.”
Cheim & Read, 547 West 25th Street, 6–8 p.m.
Opening: Lisa Yuskavage at David Zwirner
Lisa Yuskavage’s latest solo outing—her first in America since her mid-career survey made a stop at the Contemporary Art Museum in St. Louis—will span two of David Zwirner’s spaces. In Chelsea, the gallery will stage a show of the artist’s small-scale paintings—many of which have never before been exhibited—from the mid-1980s to the present. The uptown presentation features new large-scale figurative works related to Yuskavage’s “Couples” paintings, which often depict explicit, sometimes surreal, scenes between female and male nudes.
David Zwirner, 533 West 19th Street (6–8 p.m.) and 34 East 69th Street (5–7 p.m.)
Mandy El-Sayegh, Side Sleeper, 2017, Financial Times newspaper, India ink, pen, acrylic, correction fluid, and graphite.
COURTESY THE ARTIST AND LEHMANN MAUPIN, NEW YORK, HONG KONG, AND SEOUL
Opening: Mandy El-Sayegh at Lehmann Maupin
The paintings in this exhibition, Mandy El-Sayegh’s first in America, began with the artist researching biological imagery and pop-cultural phenomena. The results are mixed-media works that collectively form her “Net-Grid” and “White Grounds” series; they often resemble abstractions that appear on top of or alongside ready-made pictures. Pieces from those bodies of work will show alongside her “Window” series—blue ink drawings on large canvases. Running through all this work is an interest in systems and their relationships to people.
Lehmann Maupin, 501 West 24th Street, 6–8 p.m.
Opening: Seth Price at Petzel
Seth Price’s first show in six years with Petzel, “Hell Has Everything,” will feature paintings made using a variety of techniques—printing, collage, photography, and chemical manipulation among them. Earlier this year, at MoMA PS1, Price showed a series of photo-based works that resembled skin, and that remains a focus here with new works for which Price utilized a video projection via robotic camera that tracked the contours of a squid’s body. Alongside these works will be a series of black-and-white light boxes depicting the computer glitches resulting from failed attempts to photograph skin.
Petzel, 456 West 18th Street, 6–8 p.m.
Lyle Ashton Harris, Zamble at Land’s End #2, 2018.
COURTESY THE ARTIST AND SALON 94, NEW YORK
FRIDAY, NOVEMBER 9
Opening: Lyle Ashton Harris at Salon 94
Lyle Ashton Harris’s new work furthers his ongoing interest in gender, race, class, and aging. Masks can frequently be seen in his art and here they appear in self-portraits taken in Germantown, in New York’s Hudson Valley; on Fire Island; and in Provincetown, Massachusetts. For Harris, the use of a mask is a way of addressing the fractiousness of one’s identity. Yet for the artist the masks also have personal meaning—some of them are borrowed from his uncle, Harold Epps, who collected them during travels to East Africa during the 1960s.
Salon 94, 243 Bowery, 6–8 p.m.
SATURDAY, NOVEMBER 10
Talk: “A Convening on Black Institution-Building” at Brooklyn Museum
At this three-hour assembly, curators, gallerists, and educators will discuss the methods by which black artists and organizers can create spaces for themselves and their community. The lineup includes 11 speakers, among them Thelma Golden, director and chief curator of the Studio Museum in Harlem; Linda Goode Bryant, founder of the Just Above Midtown gallery; Kimberly Drew, founder of the blog Black Contemporary Art; Joeonna Bellorado-Samuels, founder of We Buy Gold gallery; artist Kameelah Janan Rasheed; and OlaRonke Akinmowo, scholar, artist, and founder of the Free Black Women’s Library.
Brooklyn Museum, 200 Eastern Parkway, 1–4 p.m. Free with RSVP
Tiffany Jaeyeon Shin, 5 Step Skin Care (still), 2018, video.
COURTESY THE ARTIST
Opening: Tiffany Jaeyeon Shin at Knockdown Center
Tiffany Jaeyeon Shin’s “Universal Skin Salvation” features an immersive installation in which visitors can test specially formulated K-Beauty products based on a Korean skin enhancement line. A sauna containing beauty sprays and creams will be on display alongside videos, photographs, and collages. For the artist, skin-care lines like K-Beauty raise questions about why Asian consumers seek to appear whiter. Her inquiry has been specifically been guided by the concept of “lactification,” the theorist Frantz Fanon’s concept of whitening one’s race.
Knockdown Center, 52-19 Flushing Ave, Queens, 6–8 p.m.
Performance: Will Rawls at ISSUE Project Room
The final performance in Will Rawls’s ongoing “Cursor” series, Cursor 3 was produced as part of a residency at the ISSUE Project Room. Like the past two works in the series, the work will focus on the connections between black identity and bodily abstraction. For Cursor 3, he will present new choreography alongside written, vocal, symbols related to the cursor, the figure that shows where an object will appear, which the artist describes as “a kind of bod, describing the ephemeral unit as, ‘an abstract protagonist, a messenger in crisis.’ ”
ISSUE Project Room, 22 Boerum Place, Brooklyn, 8 p.m. Suggested donation $10
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