Art Dealers at Intersect Aspen Say the Pop-Up Fair Was a Roaring Success—and a Great Chance to Finally See Collectors Again

The absence of most in-person art fairs in the past year and a half appears to be making the white-hot art market even hotter.

That’s the takeaway from the opening day of the pop-up Intersect Aspen art fair, which takes place in a city overrun with billionaires.

The fair, which features 30 galleries from 26 cities and was described by one fairgoer as “tiny but exquisite,” attracted a bevy of collectors, including Andrea and John Stark, Janna Bullock, and heiress Elizabeth Esteve.

Sales were fast and furious, organizers said. Galerie Gmurzynska, whose director Isabelle Bscher made a concerted effort not to presell works (as galleries often do at major fairs), sold a Joan Miró painting, Tête (1979), for $2 million in the first hour of the opening day.

Two days later, Gmurzynska reported selling another work, a small Picasso titled Compotier avec raisin (Pigeons) (1927) for over $1.5 million.

Image courtesy Intersect Aspen.

Image courtesy Intersect Aspen.

“Where better to be than Aspen?” asked Christine Berry of New York’s Berry Campbell Gallery. “We have a renewed appreciation for being at an art fair in person.”

Seattle dealer Greg Kucera reported selling work by Chris Engman for $5,000 and by Humaira Abid for $8,000. The gallery is also showing two new works by Deborah Butterfield that were made specifically for Intersect Aspen, and are on view for the first time.

“The fair opened on Sunday morning at 10 with a bang,” New York dealer Nancy Hoffman said. “Starting with energy is key to the success of the event, and this is a success. This is our first in-person fair since the pandemic, and it has been great so far, positive on all levels. The right size, the right place, the right audience, the right fair director and organization.”

Hoffman said responses have been strong to the gallery’s booth theme of wild flowers, which is inspired by Aspen’s floral landscape. With prices for works ranging from $1,800 to $75,000, she said the gallery sold works priced from $5,000 to $30,000.

Installation view of Edward Cella Art & Architecture at Intersect Aspen. Image courtesy Intersect Aspen.

Installation view of Edward Cella Art & Architecture at Intersect Aspen. Image courtesy Intersect Aspen.

Half Gallery sold out a booth of works by Hiejin Yoo (prices ranged from $12,000 to $20,000), Young Lim Lee (priced around $8,000), and Umar Rashid (priced around $25,000). Director Erin Goldberger said she was using the opportunity to meet new clients, see old clients, and talk about the artists on view with visitors.

Goldberger said many of the collectors at the fair have not been back to New York since the start of COVID, so this is the first time many are seeing artworks from galleries they work with in person.

Emmanuel Perrotin sold works by Daniel Arsham from two different series, including one featured prominently in the booth, Quartz Eroded Basketball Hoop (2021), which sold for a price in the range of $60,000 to $90,000.

Edward Cella Art and Architecture gallery sold a painting by Wosene Worke Kosrof, House Full of Words (2014), for $46,000, with strong interest from buyers in additional works.

“I’m pleasantly surprised by the quality and intelligence of the collectors, who are geographically dispersed throughout the country,” said gallery owner Edward Cella.

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Debating the Troubled Legacy of Brazil’s Cannibalist Art Movement + 4 Other Great Art Essays Worth Reading From This February

It’s been 90-some years since Oswald de Andrade’s “Manifesto Antropófago” (“Cannibalist Manifesto”), a document that was a watershed in defining a Brazilian art outside of European influence, and extremely influential on Brazil’s ’60s avant-garde. The limits and biases of its bourgeois appeal to the cultures of Indigenous and Afro-Brazilians has been questioned and debated of late by a new generation of artists and intellectuals in Brazil. Gualberto, an artist, and Roffino, a Rail editor, introduce both the importance of the Manifesto and the context of the contemporary rethinking of its legacy. The Rail issue as a whole brings together essays from those engaged in the debate, from Sergio Vaz’s “Anthropophagous Manifesto from the Periphery” to Cripta Djan’s first-hand account of his work as a pixador, a particularly aggressive form of Brazilian tagger.


This Is the Black Renaissance” by Ibram X. Kendi, Time

It’s not every day an essay puts a name on a new movement. For his sweeping introduction to a special issue of Time that actually goes so far as to draw up a canon that defines a New Black Renaissance, Kendi gathers together a very large, disparate list of contemporary cultural productions, from Childish Gambino’s This Is America to HBO’s Lovecraft Country to artists Awol Erizku and Amy Sherald (Erizku, oddly, is identified as a painter, even though he’s a photographer who shot the cover for the issue). Kendi’s big claim—that together, these works represent “the third great cultural revival of Black Americans, after the Harlem Renaissance of the 1920s, after the Black Arts Movement of the 1960s and 1970s”—is sure to be both a major reference point going forward and fodder for debate.


Deneocolonize Your Syllabus” by Blake Stimson, nonsite

A provocative argument that could be read as being in counterpoint with Kendi, Stimson’s essay makes the case for understanding the important distinction, for cultural theory, between “colonialism” and “neocolonialism.” The latter wasn’t just the continuation of the old colonialism, with its naked imposition of European cultural norms. As theorized by Jean-Paul Sartre and Kwame Nkrumah alike, the concept of neocolonialism was an attempt to understand forms of economic and political domination that worked via shifting towards a rhetoric of recognizing and affirming national cultures, as the United States moved to displace Europe’s influence with its own. The cynical side of this rhetoric has consequences that, Stimson argues, haunt debate about the politics of culture today.


The LiveJournal to Sotheby’s Pipeline” by Erin Jane Nelson, Burnaway

A lovely essay by Atlanta-based artist Erin Jane Nelson on what it has meant to be an artist growing up in the age of the art internet. It’s worth the read alone for the anecdote about watching Lucien Smith reverse-engineer his popular paintings by studying what was cool on the art blogs while at Cooper Union. But it’s really worth it just to be reminded of the meaningful creative pathways that the web has opened for artists outside art capitals (and the doors that it has yet to open, too).


New Localism” by Jeppe Ugelvig, Spike

Danish curator and critic Ugelvig offers a tour of the ways that global lockdown has led to a new focus on local art scenes, away from frenetic, short-attention span forms of jet-setting art-circuit cosmopolitanism. He quotes art professionals talking about both positive outcomes from this year of forced deceleration (“It’s just like in the 1990s”) and negative ones (“the risk is to become mediocre—namely, curating your circle of friends because private foundations grant money to support the local art scene”).

Artist Alteronce Gumby on His Weekly MoMA Visits, and Why Seeing Great Art is Like a Reading a Book

Alteronce Gumby spends his days in his Bronx studio engaged in an intricate process of setting small pieces of broken glass into his jewel-like abstract paintings. Sometimes shaped like plinths or zigzags, his acrylic-and-glass works seem to hint at Minimalism’s legacy. The glittering reflections of their surfaces, meanwhile, conjure up the seemingly conflicting images of Byzantine mosaics and shattered storefront windows and car windshields at once. 

Currently, Gumby is preparing for a two-part exhibition, “Somewhere Under the Rainbow, The Sky is Blue and What Am I”, opening in March at Charles Moffett Gallery in Manhattan and at False Flag in Long Island City. The first monograph of Gumby’s work will be published coinciding with the show with contributions from Gagosian director and critic Antwaun Sargent and Guggenheim curator Ashley James.

We caught up with the artist to talk about his weekly sojourn to MoMA, how Howardena Pindell’s use of materials inspires him, and much more. 

What are the most indispensable items in your studio and why?
My studio wouldn’t feel the same without my Nkisi Nkondi (power figure) who I call Hakeem. It was gifted to me by a family member. He keeps the bad spirits and negative energy out of the studio. 

Is there a picture you can send of your work in progress?  

Courtesy of Alteronce Gumby.

Photography by Elizabeth Brooks. Courtesy of Charles Moffett Gallery.

What is the studio task on your agenda tomorrow that you are most looking forward to?

My studio tasks are usually the same every day. I go to the studio and get as much done as possible. My current process involves setting small pieces of broken glass in my paintings. This is a very time-consuming and laborious task, but I really enjoy it and usually get anxious when I get close to finishing a new painting. I can’t wait to get it up on the wall to study it, criticize it, hate it, and love it. All in that order. 

What kind of atmosphere do you prefer when you work? Do you listen to music or podcasts, or do you prefer silence? Why?

I’m a big music guy. I love walking into my studio on Monday morning and playing my “discover weekly” playlist on Spotify, seeing what new music and vibes are in store for me this week. Over the quarantine, my studio building has been extremely quiet and I found myself working in silence more these days. Living and working in New York City, there’s always sound being made. I’ve been trying to focus my attention and intention for the day through a daily meditation practice. Working in silence throughout the day has allowed me to focus more on what’s happening in the moment, in the paintings, and making clear decisions on what I want the work to do or feel.     

What trait do you most admire in a work of art? What trait do you most despise?

I like art that has a delayed read to it. Let me explain that. I see a painting that I like and there’s something in the work that holds my attention longer than 30 seconds or two minutes. I’m drawn to works that were given a lot of attention to details. The devil is in the details. It’s in the color composition or orientation of the work or the clever use of contrasting materials that look or feel very seamless. It’s like a visual language that can be read through the materials, where idea, material, and concept come together—there’s fluidity between object and idea and I think the artist has to be very attentive to the materials and the way materials are composed in artwork to make the idea come forward.

When I see a work that I admire, it’s like I’m watching a good movie or reading a good book. That’s the feeling that keeps me engaged in a painting and keeps me looking. This comes together in the attention to detail. And that thing, the delayed read, makes the work so much more interesting for me. I leave feeling like I found some hidden treasure that no one else can see. It’s kind of like a magic trick. The artwork is taking you through the song and dance, and then the big reveal happens. 

On the contrary, I dislike artwork that lacks intention. I can usually pick that up from one glance at an object. You’re asking yourself, ”Why is this here?” and it’s probably asking itself the same thing. 

What snack food could your studio not function without?
I’m not a big snacker in the studio. But water is life. So I usually have a water bottle or two on standby.

Courtesy of Alteronce Gumby.

Photography by Elizabeth Brooks. Courtesy of Charles Moffett Gallery.

Who are your favorite artists, curators, or other thinkers to follow on social media right now?

I’m trying to reduce my social media intake at the moment. But when I am on Instagram I follow the @blackartlibrary pretty closely. I’m an avid book collector and they’re always posting books I’ve never seen before or knew existed. I like checking out Ebony Haynes’s posts on Instagram. She started The FREE Black Art Sessions during the pandemic which give free advice to POCs thinking about getting involved in the art world. This is one of the dopest things I’ve ever seen done by someone in her position. I follow the Breakfast Club and Shaun King to see what’s buzzing right now in the black community. I also check out @ryandaviscomedy, @kenstarrrz, @nbcsnl for laughs. 

When you feel stuck in the studio, what do you do to get un-stuck?
I leave! I drop whatever I’m doing and go for a walk. That walk usually leads me right into a museum or art gallery. I go see art at least once a week. At the beginning of 2020, I got an artist membership to MoMA. You can catch me there at least once a week studying a painting in the collection. I think it’s important for a visual artist to be constantly looking at art. Sometimes I turn to my collection of monographs and exhibition catalogues or the internet if something I want to see isn’t on view in the city.  

What is the last exhibition you saw (virtual or otherwise) that made an impression on you?
Howardena Pindell’s exhibition “Rope, Fire, Water” at the Shed. She really raised the bar for me materially. Looking at her work, I see a really strong evolution of the hole punch material. Materials hold memories for her and I think that’s where the future of abstraction is going. It’s not just about using non-objective materials. Artists who followed Rauschenberg and Johns use materials that mean something to them. It’s more than paint or discarded materials, but rather taking materials from their personal histories and signifiers from their community that’s infused in the work. I think that makes the work that much more powerful. I also liked how Pindell used abstraction to address social justice and inequality issues in America in a very visceral way. 

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4 Art-Historical Masterpieces That Would Not Have Existed Without the Great Love Stories That Inspired Them

Love affairs are an art form all their own when two creative spirits become romantically entangled. Though the myth of the artist as a solitary genius endures, many of history’s greatest painters and sculptors found artistic inspiration in a muse, rival, collaborator—or someone who happened to be all three. Though these artists’ epic love sagas often flamed out in spats of professional jealousy, infidelity, and addiction, they also—while they lasted—sometimes gave birth to great works of art.

To mark Valentine’s Day, we decided to share the stories of four love affairs—and how they shaped masterpieces of art history. 


Raphael’s La Fornarina 

Raphael, La Fornarina (1518–1520). Courtesy of Wikimedia Commons.

Raphael, La Fornarina (1518–1520). Courtesy of Wikimedia Commons.

The Unconfirmed Bachelor: When Raphael died in 1520, he was, officially speaking, a bachelor who was engaged to the niece of a powerful Vatican cardinal. But rumors over the centuries endured that he had a mistress, one Margherita Luti, a baker’s daughter from Siena. If true, the disparity between their respective positions would have been almost unimaginable—Raphael was a true celebrity of the Renaissance, known everywhere he went, and she, an unknown laborer. 

An Artistic Nuptial Clue: Many art historians believe Raphael’s painting La Fornarina (which can be translated The Baker’s Daughter) provides clues into his relationship with Luti and even suggests that the two wed in a secret ceremony. In the painting, a woman looks out from the canvas with a hypnotizing gaze, a diaphanous veil falling across her bare stomach, placing her hand atop her breast. It is a romantic riddle filled with possible allusions to nuptials. First, there’s a brooch pinned to the woman’s silk turban, an adornment commonly worn by a bride. Meanwhile, the brooch’s pearl can be read as an allusion to the sitter’s name: Margherita is the Latin word for pearl. What’s more, a ring originally appeared on the sitter’s left hand, but was subsequently covered up after Raphael’s death. Other hints include the presence of myrtle and quince, which are symbols of love, fecundity, and fidelity. 

A Cover-Up?: Many believe that after Raphael’s death, his students attempted to obscure Luti’s existence. They painted over both the myrtle bushes and the ring, which were only later uncovered during cleaning. Why? At the time of his death, the school was in the midst of a Vatican commission. If his betrothed, Maria Bibbiena, and her cardinal uncle learned about Luti, the loss of the commission would have bankrupted the studio. In an attempt to silence the rumors, Raphael’s students even had a plaque placed on his tomb in memory of his fiancée. Meanwhile, four months after his death, the convent of Sant’Apollonia in Rome’s Trastevere quarter registered the arrival of “widow Margherita,” the daughter of a Siena baker. 


Frida Kahlo’s Frieda and Diego Rivera

Frida Kahlo, Frieda and Diego Rivera (1931). Collection of the Museum of Modern Art, San Francisco.

Frida Kahlo, Frieda and Diego Rivera (1931). Collection of the Museum of Modern Art, San Francisco.

A Rocky Romance: The titans of Mexican art wed in 1929, when Kahlo was just 22 and Rivera, 43. Throughout their tumultuous union, each tirelessly championed the other’s artistic vision (Kahlo’s disapproving parents coldly nicknamed the pair “The Elephant and the Dove”). They split in 1939 only to remarry the very next year. “I suffered two grave accidents in my life,” Kahlo once remarked. “One was the trolley, and the other was Diego. Diego was by far the worst.”

Portrait of a Marriage: In 1931, two years after they wed (the first time), Kahlo painted what at first glance appears to be a traditional wedding portrait. Entitled Frieda and Diego Rivera and now in the collection of San Francisco’s Museum of Modern Art, the image was created during their stay in San Francisco, where Rivera had been hired to paint a mural for the city’s stock market. Albert Bender, one of Rivera’s first American patrons, commissioned the painting from Kahlo. But even just two years in, their marriage was in turmoil. Rivera was involved in an intense affair with the American tennis star Helen Wills.

Devils in the Details: Kahlo hints at their estrangement in the painting. Rivera’s body turns away from hers; their hands only slightly touch. She also alludes to the differences in their stature through dress: she is pictured in traditional Mexican attire, while Rivera wears an American-style suit—a mark of his ease, comfort, and success amid worldwide acclaim.


Camille Claudel’s The Mature Age 

Camille Claudel, The Mature Age. Collection of the Musee D'Orsay.

Camille Claudel, The Mature Age. Collection of the Musee D’Orsay.

A May-December Romance: From the very beginning, the romance between Auguste Rodin and Camille Claudel was on unequal footing. In 1884, when they met, Claudel was a 19-year-old student, hired as an assistant in Rodin’s studio. He was in his mid-40s with a career on the rise and in a more than 20-year relationship with another woman.

A Talent All Her Own: In the studio, Claudel was tasked with many of the most difficult jobs, such as working on the hands and feet of sculptural figures. She had an influential role in completing two of Rodin’s most famous works, The Burghers of Calais and The Gates of Hell. (Unsurprisingly, she received no credit.) Rodin, for his part, was enamored of both Claudel’s talent and her beauty, making several portraits of her. She sought, mostly unsuccessfully in her lifetime, to be recognized as an independent artist at the Salon. Between 1882 and 1889, Claudel regularly exhibited busts and portraits of people close to her. 

Romantic Torment Gets an Outlet: From the start, their romance was overshadowed by Rodin’s partnership with Rose Beuret, a working-class seamstress with whom he had been in a relationship for decades. (They would eventually marry after 53 years, two weeks before Beuret’s death.) In 1892, after years of emotional distress, Claudel put an end to her sexual relationship with Rodin, although they saw each other regularly until 1898, with Rodin offering her a modicum of financial support.

Their ultimate rupture would come in when Claudel debuted her sculpture The Mature Age. It shows a young female figure kneeling behind and clinging to an older male, who is walking ahead with an older female figure. While the sculpture was ostensibly a depiction of someone leaving behind youth for a mature stage of life, it was impossible not to see the parallels to the pair’s relationship. When he saw the sculpture, Rodin was appalled and immediately cut off his support of Claudel. He also might have had something to do with the cancellation of the commission for the sculpture. 


Salvador Dalí’s Madonna of Port Lligat

Salvador Dalí, The Madonna of Port Lligat (1949). Collection of Marquette University, Milwaukee, Wisconsin.

An Odd Couple: When Gala and Salvador Dalí met in 1929, they faced certain romantic obstacles: Gala (born Elena Ivanovna Diakonova) was 10 years older than the 24-year-old Salvador, and she happened to still be married to the artist and poet Paul Éluard, with whom she had a daughter. None of that deterred the young Dalí, who was wholly captivated by the Russian émigré. By the 1930s, he had begun to sign many of his works in both of their names. 

Muse and Manager: Their love was as collaborative as it was unconventional. While glad to play a supporting role in Dalí’s celebrity, Gala was the managerial mind behind his success, handling his sales, exhibitions, and finances. “It is mostly with your blood, Gala, that I paint my pictures,” the artist once remarked. She often acted as muse and model, pictured famously as a Virgin Mary-like figure in his painting The Madonna of Port Lligat (1949).

Mystic Mother: “She was destined to be my Gradiva, the one who moves forward, my victory, my wife,” Dalí once said, using a term he often employed to describe Gala as a kind of mystic mother. The Madonna of Port Lligat was made in the midst of Dalí’s return to Catholicism (he even requested a papal blessing, which he wasn’t granted). Though the painting’s religious attributes are evident, the various floating emblems of the ocean (the sea urchin and shell) may harken back to the artist’s early years with Gala, when the couple lived in a Spanish seaside shack.

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Editors’ Picks: 16 Events for Your Art Calendar This Week, From David Hammons at the Drawing Center to Duke Riley on the Great Molasses Flood

Each week, we search for the most exciting and thought-provoking shows, screenings, and events. In light of the global health crisis, we are currently highlighting events and digitally, as well as in-person exhibitions open in the New York area. See our picks from around the world below. (Times are all EST unless otherwise noted.)


Launching Monday, February 1

Courtesy of Paradice Palase and Jen Shepard

1. Launch of apparel editions + art under $800 at Paradice Palase, Brooklyn

Paradice Palase is doubling down on it’s efforts to highlight affordable art by launching a new platform, apparel editions, where they are pairing limited-edition artist-designed t-shirts with artworks by Paul Anagnostopoulos, Emily Oliveira, Mitchell Reece, and Jen Shepard. All works are available for under $800 and are an excellent way to collect and support fabulous young artists.

Price: Free
Time: Ongoing

—Neha Jambhekar


Tuesday, February 2

Nina Katchadourian, composite of stills from <em>Orientation Video</em> (2020). Photo courtesy of Catharine Clark Gallery.

Nina Katchadourian, composite of stills from Orientation Video (2020). Photo courtesy of Catharine Clark Gallery.

2. “2020–21 Fine Arts Visiting Artists Lecture Series: Nina Katchadourian” at Pratt Institute, New York

Curator and cultural anthropologist Niama Safia Sandy moderates this talk with visiting artist Nina Katchadourian about her varied career, from taking faux Old Master portraits in airplanes bathrooms, to a failed presidential campaign graveyard, to an audio guide on dust for the Museum of Modern Art in New York.

Price: Free with registration
Time: 7 p.m.–8 p.m.

—Tanner West 


Tuesday, February 2–Saturday, March 20

Eric Standley, <em>Omnia</em> detail). Photo courtesy of Dinner Gallery, New York.

Eric Standley, Omnia detail). Photo courtesy of Dinner Gallery, New York.

3. “Eric Standley: Songs for the Living” at Dinner Gallery, New York

The former VICTORI + MO gallery presents a selection of Eric Standley’s stunning laser cut-paper sculptures. These labor-intensive works, with their ornate geometric designs, recall the intricate detail of carvings found in Gothic cathedrals.

Location: Dinner Gallery, 242 West 22nd Street, New York
Price: Free
Time: By appointment

—Sarah Cascone


Wednesday, February 3

Irving Penn, <em>Eye In Keyhole, New York</em> (1953). Photo courtesy of Pace, New York.

Irving Penn, Eye In Keyhole, New York (1953). Photo courtesy of Pace, New York.

4. “On Radical Modernism, ‘Photographism,’ and Irving Penn” at Pace, New York

On the occasion of Pace’s current solo show “Irving Penn: Photographism” (on view through February 18) the gallery brings together three heavy hitters: Grace Coddington, of Vogue fame; Jefferson Hack, of Dazed Media; and critic and newly minted Gagosian director Antwaun Sargent. They will discuss the artist’s career and legacy in a Zoom panel moderated by gallery curatorial director Mark Beasley.

Price: Free with RSVP
Time: 1 p.m.

—Sarah Cascone


Wednesday, February 3, and Thursday, February 4

Galerie Chenel at Masterpiece London 2019. Ben Fisher Photography, courtesy of Masterpiece London.

Galerie Chenel at Masterpiece London 2019. Ben Fisher Photography, courtesy of Masterpiece London.

5. “Masterpiece Symposium | Journeys through the Material World” at Masterpiece London

Masterpiece London is launching its digital program for 2021 with a series of discussions surrounding the different materials that are used to create artworks. On Wednesday, a panel of leading curators and scholars will discuss “The Stories of Materials,” from mythological narratives to historical trade. On Thursday, experts will discuss “Materials in the Museum,” including methods of display and interpretation for materials from metal to glass.

Price: Free with registration
Time: 5 p.m.–6:30 p.m. GMT (12 p.m.–1:30 p.m. ET)

—Naomi Rea


Thursday, February 4

Duke Riley "scrimshaw" sculptures made from discarded plastic. Photo courtesy of Praise Shadows Art Gallery, Boston.

Duke Riley “scrimshaw” sculptures made from discarded plastic. Photo courtesy of Praise Shadows Art Gallery, Boston.

6. “Artist’s Talk: Duke Riley with Curator Jen Mergel” at Praise Shadows Art Gallery, Boston

Timed to the opening of the artist’s first solo show in his hometown of Boston—”Lovers, Muggers, and Thieves,” on view through March 7—Duke Riley will give a Zoom talk with curator Jen Mergel about the exhibition, which features “scrimshaw” sculptures made with discarded plastic and a mosaic depicting the Great Molasses Flood, the 1919 disaster that saw a literal wave of 2.3 million gallons of scalding hot molasses that killed 21 Bostonians.

Price: Free with registration
Time: 7 p.m.

—Sarah Cascone


Installation view, "Tworkov: Towards Nirvana/Works from the 70s" Jack Tworkov,  <i>Q3-72 #5</i> (1972). Photo courtesy of Van Doren Waxter, ©2021 Estate of Jack Tworkov/Artists Rights Society (ARS), New York.

Installation view, “Tworkov: Towards Nirvana/Works from the 70s” Jack Tworkov, Q3-72 #5 (1972). Photo courtesy of Van Doren Waxter, ©2021 Estate of Jack Tworkov/Artists Rights Society (ARS), New York.

7. “Jason Andrew and Dorsey Waxter in Conversation” at Van Doren Waxter, New York

Right now at Van Doren Waxter’s stately Upper East Side gallery, a historical exhibition of Jack Tworkov’s geometric compositions is on view in “Tworkov: Towards Nirvana / Works from the 70s.” The Polish artist is considered among the first generation of Abstract Expressionists, though his work is best known in its later iterations, when he turned from gestural abstraction toward rigid geometric compositions informed in large part by the Fibonacci sequence of numbers. On the occasion of the show, which runs through March 20, Jason Andrew, of the late artist’s estate, and the gallery’s Dorsey Waxter will discuss Tworkov’s painting practice, and his quest for ultimate artistic expression.

Price: Free
Time: 4 p.m. on Instagram live @vandorenwaxter

—Caroline Goldstein


Studio K.O.S. and Wexler Gallery. Image courtesy Studio K.O.S.

Studio K.O.S. and Wexler Gallery. Image courtesy Studio K.O.S.

8. “Art, Community, Accountability & Agape Love in a Post-Trump Administration,” at School of Visual Arts, New York

MFA art practice faculty and Kids of Survival member Angel Abreu will moderate a virtual talk between Ken Tan, Jeannine A. Cook, and fellow K.O.S. member and BFA Fine Arts faculty member Robert Branch about the way forward—with a focus on community and the role artists play in healing social unrest—in order to move toward a more constructive, peaceful world as we recover from the previous administration.

Price: Free with registration
Time: 6 p.m.–7:30 p.m.

—Eileen Kinsella


Joan Jonas, <em>Vertical Roll</em> (1972). Still courtesy of Joan Jonas/Artist Rights Society (ARS), New York/Gladstone Gallery, New York and Brussels.

Joan Jonas, Vertical Roll (1972). Still courtesy of Joan Jonas/Artist Rights Society (ARS), New York/Gladstone Gallery, New York and Brussels.

9. “Viewfinder Virtual Screening Series: Joan Jonas and the Inner Worlds of Video” at the Smithsonian American Art Museum, Washington, DC

Following a virtual screening of Joan Jonas’s Left Side Right Side (1972) and Vertical Roll (1972), curators Saisha Grayson of the Smithsonian American Art Museum and Charlotte Ickes of the National Portrait Gallery in Washington, DC, will talk about the artist’s career and her use of the video camera to suggest internal space. The talk is part of the “Viewfinder: Women’s Film and Video from the Smithsonian” virtual film screening and conversation series from the Smithsonian American Women’s History Initiative, Because of Her Story.

Price: Free with registration
Time: 5:30 p.m.

—Nan Stewert


Thursday, February 4–Sunday, May 9

Curran Hatleberg, Lost Coast (8), 2014. Photo ©Curran Hatleberg, courtesy of the International Center of Photography, New York.

Curran Hatleberg, Lost Coast (8), 2014. Photo ©Curran Hatleberg, courtesy of the International Center of Photography, New York.

10. “But Still, It Turns: Recent Photography from the World” at the International Center of Photography, New York

ICP has brought together projects by nine contemporary photographers for this group show curated by Paul Graham. Those include Kristine Potter’s Manifest, photos taken in Colorado that speak to the archetype of the American cowboy and reconsiders traditions of Western landscape photography; and Curran Hatleberg’s Lost Coast, an intimate, episodic portrait of the community in Eureka, California. “This photography is ‘post documentary,’” said Graham. “The work… grapples directly with the world around—nothing staged, constructed, or dramatized. The show contains a principled refusal of photography that only pursues ‘prize-winning moments.’”

Location: International Center of Photography, 79 Essex Street, New York
 General admission $16
Time: Thursday–Sunday, 11 a.m.–7 p.m.

—Sarah Cascone


Friday, February 5

Margaret Kimbell Drawing Maps in Comics Workshop. Courtesy of the <em>Beliver</em>.

Margaret Kimbell Drawing Maps in Comics Workshop. Courtesy of the Beliver.

11. “Drawing Maps in Comics With Margaret Kimball” at the Believer, Las Vegas

My in-person art experiences have remained extremely limited even with galleries and museums open in New York City, but I’ve been periodically tuning in for Believer magazine’s weekly comics workshops. Each session offers a fascinating insight into an artist’s creative process, and a chance to test out their techniques for yourself. This week’s class on drawing maps, from Margaret Kimbell, author of the forthcoming illustrated memoir And Now I Spill the Family Secrets, sounds especially fun at a time when I’m largely confined to the few blocks around my apartment.

Price: Free with registration
Time: 7 p.m.

—Sarah Cascone


Friday, February 5–Sunday, May 23

David Hammons inside the Slauson Avenue Studio creating a body print in Los Angeles, 1974. Photo by Bruce W. Talamon, courtesy of the artist.

David Hammons inside the Slauson Avenue Studio creating a body print in Los Angeles, 1974. Photo by Bruce W. Talamon, courtesy of the artist.

12. “David Hammons: Body Prints, 1968–1979” at the Drawing Center, New York

In the first museum show spotlighting the important early works on paper of David Hammons, the Drawing Center brings together 32 works, including monoprints, collages, and two sculpture objects. His unconventional large-scale body prints, such as Pray for America (1974)—performance-based works that transformed the body into an art-making tool—introduce the major themes that have been throughlines in the artists’s fifty-year career.

Location: The Drawing Center, 35 Wooster Street
Time: Wednesday–Sunday, 12 p.m.–6 p.m.

—Sarah Cascone


Through Saturday, February 6

Mie Yim: Psychotropic Dance, Installation View Courtesy of Olympia

13. “Mie Yim: Psychotropic Dance” at Olympia, New York

Make sure to check out Korean artist Mie Yim’s first solo show at Olympia before it closes this week. The artist was forced to reconsider her practice and the surface size of her work upon the closure of her studio at the start of the pandemic. The results are these trippy works on paper, full of vibrant colors and organic shapes that never quite make it clear what they are but seem somehow familiar.

Location: Olympia, 41 Orchard Street, New York
Time: Thursday–Sunday, 11 p.m.–6 p.m.

—Neha Jambhekar


Through Saturday, February 20

Installation view of "Iman Raad: At The Earliest Ending of Winter" at Sargent's Daughter. Image courtesy the artist and Sargent's Daughters.

Installation view of “Iman Raad: At The Earliest Ending of Winter” at Sargent’s Daughter. Image courtesy the artist and Sargent’s Daughters.

14. “Iman Raad: At the Earliest Ending of Winter” at Sargent’s Daughters, New York

This eye-catching, just-opened show marks the Iranian-born, US-based artist Iman Raad’s second solo show with the gallery, featuring large-scale canvas and reverse glass paintings. The title is taken from a Wallace Stevens poem, Not Ideas About The Thing But The Thing Itself. Raad’s work explores the landscape of the self in domestic scenes marked by vibrant hues and unusual placements of birds and other objects—the feathered friends dive into teacups or hold the edges of knives in their talons. This work “references this in-between moment where time and feeling meet in an extended pause, and a possible new knowledge of reality,” according to a statement from the gallery.

Location: Sargent’s Daughters, 179 East Broadway, New York
Price: Free
Time: Tuesday–Saturday, 12 p.m.–6 p.m.

—Eileen Kinsella


Through Saturday, February 27

Juan Gris, Paysage (Maisons à Beaulieu) (1918) Image courtesy Galerie Gmurzynska

Juan Gris,
Paysage (Maisons à Beaulieu)
(1918) Image courtesy Galerie Gmurzynska

15. “Drawing Inspiration: A Century of Works on Paper” at Galerie Gmurzynska, New York

This selection of drawings spans 100 years, and includes work by Pablo Picasso, Joan Miro, Marcel Duchamp, Zaha Hadid, Ed Ruscha, Robert Delaunay, and Jean Arp. Among the highlights is a large drawing by Miro from 1930,  executed with a single, uninterrupted line. It highlights the artists skill as a draughtsman and his affinity for draughtsmanship.

Location: Galerie Gmurzynska, 43 East 78th Street, New York
Price: Free
Time: Monday–Friday 12 p.m.–5 p.m.; appointments encouraged

—Eileen Kinsella


Through Friday, March 12

Kate Pincus-Whitney, Feast in the Neon Jungle: Last Picnic in Providence, 2020 Courtesy of Fredericks & Freiser

16. “Kate Pincus-Whitney: Feast in the Neon Jungle” at Fredericks & Freiser, New York

Fredericks & Freiser presents a solo show of Los Angeles-based artist, Kate Pincus-Whitney. The works are “maximalist” still lifes of elaborately set up dinner parties or picnics, where one can imagine a large group of friends gathered for a celebration. She populates the canvas with “things,” filling the entire surface with objects such as food, drinks, flowers, and dishes, that we are all familiar with as a way to comment on consumption. Instead of making the works look busy, this has the effect of making them look like ornately decorated objets d’art, paintings that you can stare at for a long time to keep finding hidden things that you didn’t see before.

Location: Fredericks & Freiser, 536 West 24th Street, New York
Time: Tuesday–Saturday, 10 a.m.–6 p.m.

—Neha Jambhekar

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