Sarah Lucas, Au Naturel (Installation View), via Art Observed

One of the most eagerly-anticipated shows of 2018, artist Sarah Lucas has touched down at the New Museum, bringing with her an expansive body of works that runs the full expanse of her craft.  Curated by the New Museum’s artistic director, Massimiliano Gioni associate, Margot Norton, the show, Lucas’s first in an American institution, spans three floors and any number of aesthetic modes, moving from sculpture to photography, wallpaper to video in ways that both explore each object and twist the original historical contexts of their works (gallery shows, museums and her renowned Venice Biennale show from 2015 all get their due here) into new configurations. (more…)

Marguerite Humeau, Birth Canal (Installation View), via Adelaide Pacton for Art Observed

Marking a new chapter in a body of work that has long mined the strange juxtapositions of history, culture, form and space, artist Marguerite Humeau has touched down at the New Museum this month, opening a show of works that will remain on view throughout the fall season.  The show, titled Birth Canal, presents a new body of digitally rendered sculptures realized in cast bronze and carved stone, each proposing its own unique vision of how to think through the understanding of the body and it relation to modernity.   (more…)

John Akomfrah, Vertigo Sea (2015), via New Museum

Currently on view at the New Museum, artist John Akomfrah brings a a selection of his challenging, ever-shifting video works, united under the fitting exhibition title Signs of Empire.  The Ghana-born British artist’s work has long moved between various sites and imageries dwelling on power and colonialism, always framing these cultural struggles along different cultural faultlines and frameworks.  (more…)

Raymond Pettibon, A Pen of All Work (Installation View), via Art Observed

Over the past 50 years, few artists have produced a body of work as expansive, multivalent, and formally diverse as Raymond Pettibon, the longtime illustrator whose early work for the Los Angeles punk band Black Flag set the stage for his later career delving into the often elusive, twisting histories of American culture.  Ranging from literary rumination on baseball, surfing and poetry through to comical interpretations of the dark history of the American counterculture, Pettibon’s endlessly evolving body of work, often executed in pen and ink, twists and turns varied histories into an endlessly flowing stream of images, one that often functions as an alternative to the prolific mass media systems of modern American culture.  This restless approach to his craft is on view this spring at the New Museum, where his first major retrospective, A Pen of All Work, has brought hundreds of the artist’s works to bear on the walls of the institution. (more…)

Pipilotti Rist, Pixel Forest (2016), via Art Observed

Pixel Forest, the first New York City museum survey dedicated to the work of Swiss artist Pipilotti Rist, has opened this month at the New Museum, turning three floors of the museum into a swirling progression of images and senses, colors and lights.  Twisting and moving through a series of works from the full breadth of Rist’s career, the show melds classic pieces with new commissions, well-regarded installations with new information and conversations across the expanse of her practice. (more…)

Oliver Croy and Oliver Elser, The 387 Houses of Peter Fritz (1916-1992), Insurance Clerk from Vienna’ (1993-2008), via Art Observed

Curated by Massimiliano Gioni, Natalie Bell, Helga Christoffersen and Margot Norton, The Keeper is an ambitious group exhibition for which the New Museum has reserved its three floors and lobby. Covering a broad chronological and geographical span, the works in this exhibition investigate one of the quintessential human instincts, that of preservation and collection.  The ingrained urge to keep what is present for later, with all it stands for, imbues the works on view, presenting visitors with a wealth of perspectives on this human inclination, and its equally varied results.

Olga Fröbe Kapteyn, Untitled (ca. 1927-34), via Art Observed

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The New Museum has announced a new residency partnership with China’s K11 Art Foundation, which will bring young, emerging Chinese artists to New York for an exhibition in the museum’s ground-floor project space.  “We are delighted to embark on this collaboration as part of our wider mission of incubating remarkable Chinese artists and bringing their work to the international stage,” K11 founder Adrian Cheng says.  (more…)

Nicole Eisenman, Under The Table 2 (2014), via Art Observed

On view through this past weekend at the New Museum, painter Nicole Eisenman was showing a striking exhibition of pieces on the third floor, spanning the artist’s output over the past several decades, and underscoring her impressive creative investigations into the modes of sculpture and painting.

Nicole Eisenman, Hanging Man (2016),via Art Observed

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Anri Sala, Moth in B Flat (2015), via Art Observed

Spread across three floors at the New Museum, Anri Sala’s current career retrospective is an impressively deep, immersive offering; a lyrical, twisting series of pieces that investigate the phenomena of sound in its relations to cultural, institutional and technological containers.

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Anri Sala is interviewed in the New York Times this week, where he discusses Hu  his exhibition at the New Museum, and his relationship to both classical and pop music.  “The detachment from today’s culture is something that interests me. We love many classical pieces, but they are far enough away that they have become like archaeological objects we can approach with some form of objectivity,” he says.  “That wouldn’t be the case with pop music. It’s too recent, and manipulates us in ways that we have not yet completely decoded.” (more…)

Jerry Saltz writes on the Jim Shaw exhibition this week, putting the artist’s work in the context of the generation of painters that followed him, and emphasizing his impact on the work of the early 1990’s.  “Even if he wasn’t able to make it to the blue-chip promised land that awaited many of these other artists, Shaw blew open the doors of painting. And the New Museum has made it even easier to see how pivotal Shaw is by going the extra mile,” he writes. (more…)

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Jim Shaw is profiled in the New York Times this week, in advance of his retrospective opening at the New Museum this month.  “Jim has always been very important and influential to me because of the way he blurs the distinction between insider art and outsider art, which is something I’ve been involved with for a long time,” says Massimiliano Gioni. (more…)

Sarah Charlesworth, Stills (1980) (Installation View)

One of the preeminent figures of Pictures Generation, Sarah Charlesworth is the subject of an expansive retrospective at the New Museum, on view through September 20th.  Curated by Massimilano Gioni and Margot Norton, the show spans the broad career of the late artist, tracing her visceral practice, each gallery on the second floor reserved for a different series by the artist. Considered a key member in a group of mostly female artists that dismantled set methods of looking at images while complicating the imposed grammar of photography, Charlesworth delivered an impressive body of work that eventually cemented her as a Conceptualist more than a photographer as she herself underlined occasionally.   (more…)

The New Museum has announced Gary Carrion-Murayari, the Kraus Family Curator at the museum, and Alex Gartenfeld, Deputy Director and Chief Curator at the Institute of Contemporary Art, Miami, will head up curatorial duties for the institution’s 2018 Triennial.  “I cannot think of two curators who are more in tune with emerging art today than Gary Carrion-Murayari and Alex Gartenfeld,” says Massimiliano Gioni.  “They are young, but their achievements and careers are impressive. They will form quite a dynamic team.” (more…)

The New Museum has appointed Lauren Cornell, who recently co-curated the 2015 Triennial alongside artist Ryan Trecartin, as Curator and Associate Director, Technology Initiatives.  “Through her work at the New Museum and at Rhizome first, Lauren Cornell has been tracking the influence of technology on art and culture at large,” says Massimiliano Gioni, the Museum’s Artistic Director.  “In her new position, she will help the Museum take an even more active role in engaging with the present and the future.”  (more…)

Chris Ofili, via Art Observed

There’s a room on the third floor of Chris Ofili’s New Museum retrospective that offers a moment of crystallization for the rest of the exhibition.  In a dimly lit chamber set back from the rest of the show, the artist has hung a set of works from his Blue Rider series, painted in rich blue hues that reveal various aspects based on the viewer’s position.  Sitting in the room for an extended period, recognizable, horrifying images slowly take form, present themselves, and slip back into the shadows: black bodies hanging from trees, unidentified hooded horsemen, and even an image of a black youth beaten by a series of police.   (more…)

Kader Attia, Repair, Culture’s Agency (2014), via Art Observed

In light of its subject matter, the New Museum wastes no time in describing the challenges ahead of Here and Elsewhere, its current exhibition focusing on contemporary Arabic and Middle Eastern art.  Taking its title from the 1976 Jean-Luc Godard documentary of the same name, the museum effectively poses the same questions that plagued Godard’s quasi-documentary on the Palestinian army.  Faced with an inability to complete his statement on the complex social issues and the subsequent defeat of Palestine in the Six Days War, Godard instead sought a middle ground between the embattled nation and his French homeland.  The film is spiked with cinema verité segments, abstract performance and experimental camerawork that ultimately places a considerable distance between the film and any sense of cohesive, authoritative statement. (more…)

The New Museum has collaborated with Chapman Skateboards to create 150 skateboards inspired by the museum’s architecture. The limited edition skateboard mimics the angular profile and silver facade of the SANAA-designed building. Chapman Skateboards describes the skateboard as “a nod to the ingenuity of skate culture” and “a tribute to the narrow, skated backstreets of the neighborhood the New Museum calls home”. (more…)

Laure Prouvost, For Forgetting (Installation View), via Art Observed

Laure Prouvost has a lot to say.  Creating multifaceted, occasionally dizzying multimedia installations using wood, paint, video and various props, the 2013 Turner Prize Winner’s work is hyper-loaded in its signifiers and subjects, moving rapidly from the divine to the profane and back, all expressed with a masterful storytelling bent.  It’s just this line, in fact, that the artist makes express use of in her first U.S. installation, occupying the lobby of the New Museum, telling a lightning-fast narrative of identity theft and financial scamming in the post-digital economy.

Laure Prouvost, For Forgetting, 2014 (still). Installation and video. Copyright the artist. Courtesy the artist and MOTINTERNATIONAL, London and Brussels (more…)

Delays have caused the Broad Museum (currently under-construction in Los Angeles) to push back its scheduled opening date from late this year to early 2015, the New York Times reports.  A honeycomb-style “veil” wrapping around the museum has caused some complications in construction, but also enables the museum to continue working on its downtown campus.  “We expect to announce the opening date later this year,” said Broad Foundation Spokesperson Karen Denne. (more…)

A Tale of Two Cities, one of the most impressive works on view at Chris Burden’s current New Museum retrospective, was almost destroyed by the artist before the show.  Fearing the requirements of rehabilitating the long unexhibited piece, Burden had planned to destroy the piece as a last conceptual gesture, but museum authorities stepped in to convince him to try saving the work with a small restored section of the original piece.  “Once he saw the first mock-up, it was like a problem had been solved, and he was on to asking about specific toys,” says Donna Williams, the curator of the Orange County Museum (which owns the work). (more…)

In the run-up to his career retrospective at the New Museum next month, Chris Burden is profiled in the New York Times, detailing his diverse and challenging body of work, his position as a highly influential, yet elusively underground figure in the American art world, and his Topanga Canyon home where he lives and works with his wife, sculptor Nancy Rubins.  “One of the reasons Nancy and I have lived up here is so we can just leave lots of junk lying around, and it doesn’t bother anyone that much,” says Burden. “Money has come into this canyon in the last few years. By our standards, it’s starting to get a little too crowded.” (more…)

Erika Vogt, Stranger Debris Roll Roll Roll (2013), Courtesy New Museum, New York Photo: Benoit Pailley

The back room in the New Museum lobby is currently draped with hanging anchors, plaster molds,  and other myriad items, a bizarre assemblage of pieces and materials that forces visitors to duck their heads and tread cautiously as they move through the narrow room.  This installation, newly created for the museum by artist Erika Vogt, is Stranger Debris Roll Roll Roll, a surreal video and sculptural piece that playfully toys with the raw materialism of the works on view.

Erika Vogt, Stranger Debris Roll Roll Roll (2013), Courtesy New Museum, New York Photo: Benoit Pailley (more…)