All trade shows, fairs and other essentials

Not everything seems “normal” yet, but a busy September art calendar certainly does. And the series of shows like the revival of a monumental Diane Arbus retrospective and the screening of Meriem Bennani’s deliciously wacky lizard videos which will open in the coming weeks are just the beginning: October will see Alex Katz mark a milestone important in his career with the takeover of the Guggenheim museum, Paris hosts his very first Art Basel, and much more. Here, a guide of all the activities not to be missed.

“Objects of Desire” at LACMA

Sandy Skoglund, Meatloaf on a counter1978.

© Sandy Skoglund, digital image courtesy of the artist

Fine art and commercial photography have long co-existed; in fact, the latter made Andy Warhol what he is today. On September 4, the Los Angeles County Museum of Art will examine how photography-based artists such as Barbara Kruger, Hank Willis Thomas, Roe Ethridge and Sarah Charlesworth manipulated the visual language of consumerism in “Objects of Desire: Photography and the Language of Advertising”. .” The “Stock Photography” and “Humour” sections promise to be particularly fun.

Diane Arbus at the David Zwirner Gallery

Diane Arbus, Woman in Pink Hat, NYC1966.

© The Estate of Diane Arbus

Half a century after Diane Arbus’ monumental retrospective at the Metropolitan Museum of Art, David Zwirner and the Fraenkel Gallery are bringing the exhibition back to life by bringing together the 113 photographs from its checklist. Opening on September 14, “Cataclysm. The 1972 Diane Arbus Retrospective Revisited” is a retrospective look at how a single museum exhibition proved to the public that photography deserved the status of art.

Sol LeWitt at Paula Cooper

Installation view of Sol LeWitt drawing Wall drawing #136 at the Chiostro di San Nicolò, Spoleto, Italy, 1972.

Courtesy of Paula Cooper Gallery

Sol LeWitt’s wall drawings and monumental scale structures are just something you have to experience in person. Paula Cooper first introduced them to the world in 1968, and on September 9she is preparing to put them back on the map by devoting her two New York galleries to the colossal works of the late conceptual artist.

Solange at the New York City Ballet

Listening to new music from Solange Knowles won’t be as easy as ripping a track on Spotify. But it will undoubtedly be worth the trip to the New York City Ballet to hear the score he commissioned to accompany Gianna Reisen’s choreography. Premiere at NYCB’s Annual Fashion Gala September 28performances will continue throughout October and resume in May 2023.

Meriem Bennani at the Whitney Museum of American Art

We are all more than tired of talking about life in times of confinement. And yet, believe me: Meriem Bennani will make you want to revisit this era again and again and again. At the time, most artists participated in what quickly became known as OVRs, “online viewing rooms”, which are exactly as static as IRL screenings. The Moroccan artist has done something unlike anyone else: she’s translated the uncomfortable feelings of the audience into surreal dispatches from an amphibian duo we hope to see much, much more after ‘2 Lizards’ hits. began its four-month tour at the Whitney Museum on September 30.

Just above Midtown at MoMA

David Hammons (left) and Suzette Wright (centre) at the Body Print-In held in conjunction with Hammons’ exhibition Greasy bags and barbecue bonesPhilip Yenawine’s house, 1975.

Photo by Jeff Morgan. Courtesy of David Hammons; Linda Goode Bryant Collection, New York

If this is the first time you’ve heard of the former Just Above Midtown gallery, you’re not alone. Its enormous influence has been woefully overlooked in the decades since Linda Goode Bryant made it a hub for black artists from 1974 to 1986, making visible homage to the early Museum of Modern Art. October 9 long overdue. The organization of the exhibition is loosely chronological, beginning with Bryant’s mission to “present African American artists on the same platform with other established artists” and following how it became a collaborative breeding ground and experimental for David Hammons, Lorraine O’Grady, and more. next dozen years.

Cecilia Vicuña at the Tate Modern

Photograph by David Heald; courtesy of the Guggenheim

Revivals by artists from Tate Modern’s Turbine Hall have yet to disappoint in the 22 years since Louise Bourgeois inaugurated the annual commission. And when she follows in the footsteps of the legendary artist on October 11, Cecilia Vicuña, who was awarded the Golden Lion for Lifetime Achievement by the Venice Biennale earlier this year, will undoubtedly continue this tradition. The Tate Modern has yet to reveal many details about the installation, but we’re guessing it will be made up of some of the Chilean artist and poet’s most ambitious textile sculptures to date.

Paris+, by Art Basel at the Grand Palais Éphémère

The Grand Palais Éphémère, Paris+ room, by Art Basel.

© Patrick Tourneboeuf for the Rmn – GP, 2021 architect Jean-Michel Wilmotte

It’s hard to believe that two decades after Art Basel began expanding outside of Switzerland, the mega art fair hasn’t yet chosen Paris as one of its satellite locations. It changes on October 20, when the new Paris+ will take over the Grand Palais Éphémère for four days of what will represent billions of dollars in art-related purchases. (You’d better visit the exhibition space, located in the 7th arrondissement, while you can; demolition is slated for when the Grand Palais completes its renovation for the 2024 Summer Olympics.)

Alex Katz at the Guggenheim

© 2022 Alex Katz / Licensed by VAGA to Artists Rights Society (ARS), New York. Courtesy of the artist and Gladstone Gallery

Is a solo exhibition spanning eight decades by a living, not to say emblematic, artist possible? In a way, yes. On 21st of October, the Guggenheim will give Alex Katz the massive retrospective in his hometown of New York that he has long deserved. Titled ‘Gathering,’ the show begins with sketches of MTA racers the 95-year-old artist made in the 1940s. Prepare to lament the fact that he transformed around 1,000 of the paintings he made over the ensuing decade igniting even more.

Meret Oppenheim at the MoMA

Meret Oppenheim. Object (Object). 1936.

Photo via Museum of Modern Art, New York (purchase)

As iconic as it is, it’s hard to believe it took Méret Oppenheim’s 1936 sculpture Item (The Fur Luncheon) for the Museum of Modern Art in New York to recognize that artists who happened to be women might well be worth including in its permanent collection. Eighty-six years later, the institution is finally paying its due to the Swiss surrealist artist of German origin (who died in 1985 at the age of 72). On October 30, the institution will mount “My Exhibition”, a sprawling retrospective that spans six decades of Oppenheim’s work. In doing so, it proves that she was, far more than the fully fur-wrapped teacup, saucer, and spoon that remain the only reason many know her name. Fortunately, you have until March 2023 to figure it all out.

About Margaret L. Portillo

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