Isamu Noguchi 
Pierced Table prototype and Pierced Seat 
1982 - 1983 
Hot-dipped galvanized steel  
© The Isamu Noguchi Foundation and Garden Museum, New York / ARS 
Courtesy of Friedman Benda.

Isamu Noguchi
Pierced Table prototype and Pierced Seat
1982 - 1983
Hot-dipped galvanized steel
© The Isamu Noguchi Foundation and Garden Museum, New York / ARS
Courtesy of Friedman Benda.

Hock E Aye Vi Edgar Heap of Birds 
Standing Rock Awakens the World 
2019 
90 x 176 in and 90 x 176 in 
24 primary mono prints and 24 ghost prints on paper 
Courtesy of the artist and Fort Gansevoort, New York.

Hock E Aye Vi Edgar Heap of Birds
Standing Rock Awakens the World
2019
90 x 176 in and 90 x 176 in
24 primary mono prints and 24 ghost prints on paper
Courtesy of the artist and Fort Gansevoort, New York.

Andy Warhol 
Table Setting 
1979
unique gelatin silver print 
8 x 10 inches (print) 
13 5/8 x 16 1/4 x 1 3/4 inches (framed) 
© 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York.

Andy Warhol
Table Setting
1979
unique gelatin silver print
8 x 10 inches (print)
13 5/8 x 16 1/4 x 1 3/4 inches (framed)
© 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York.

Landmark Penthouse at 111 W 57th Street 
© Robert Granoff 
Courtesy of Gabriel & Guillaume.

Landmark Penthouse at 111 W 57th Street
© Robert Granoff
Courtesy of Gabriel & Guillaume.

Michael Rakowitz 
The invisible enemy should not exist (Room F, section 1, panel, 10, Northwest Palace of Nimrud) 
2019 
Middle Eastern food packaging and newspapers, glue, cardboard on wooden structures, museum label 
Courtesy of the artist and Jane Lombard Gallery

Michael Rakowitz 
The invisible enemy should not exist (Room F, section 1, panel, 10, Northwest Palace of Nimrud)
2019
Middle Eastern food packaging and newspapers, glue, cardboard on wooden structures, museum label 
Courtesy of the artist and Jane Lombard Gallery

View Gallery - 5 images
New York

Andy Warhol, Michael Rakowitz and More Must-See New York Shows

Need an escape from the winter blues? Visit some of these top shows in New York City, on view at galleries like Jane Lombard, Jack Shainman, and Fort Gansevoort.

Michael Rakowitz 
The invisible enemy should not exist (Room F, section 1, panel, 10, Northwest Palace of Nimrud) 
2019 
Middle Eastern food packaging and newspapers, glue, cardboard on wooden structures, museum label 
Courtesy of the artist and Jane Lombard Gallery Michael Rakowitz 
The invisible enemy should not exist (Room F, section 1, panel, 10, Northwest Palace of Nimrud)
2019
Middle Eastern food packaging and newspapers, glue, cardboard on wooden structures, museum label 
Courtesy of the artist and Jane Lombard Gallery

Michael Rakowitz: The invisible enemy should not exist (Room F, section 1, Northwest Palace of Nimrud)
Jane Lombard Gallery
Now—February 22
Michael Rakowitz’s “The invisible enemy should not exist (Room F, section 1, Northwest Palace of Nimrud)” is part of the artist’s ongoing project and features a series of bas-reliefs alongside the New York debut of his film The Ballad of Special Ops Cody. Creating a narrative surrounding colonialism, preservation, and the culturicide of a civilization, the Iraqi-American artist’s reliefs were created from Room F, a banquet courtyard in the ancient city of Nimrud, in a palace that was destroyed by ISIS in 2015. Rakowitz created a stop-motion animation work telling the true story of an Iraqi insurgent group’s efforts to convince Americans that one of their soldiers had been taken hostage—which was, in fact, only a Special Ops Cody plastic doll.

Landmark Penthouse at 111 W 57th Street 
© Robert Granoff 
Courtesy of Gabriel & Guillaume. Landmark Penthouse at 111 W 57th Street
© Robert Granoff
Courtesy of Gabriel & Guillaume.

“L’Œil du Collectionneur”
Gabriel & Guillaume at 111 W 57th Street
Now—January 31
The Beirut- and Paris-based design gallery Gabriel & Guillaume has launched its first New York City pop-up atop Steinway Hall in the newly revealed Landmark Penthouse. Imagined as a livable gallery, it features a blend of contemporary and vintage furniture by names like Joaqim Tenreiro, José Zanine Caldas, Carlo Bugatti, Max Ingrand, Gio Ponti, and Zaha Hadid, with art by Jean-Michel Othoniel, Hans Hartung, Robert Mapplethorpe, and Diane Arbus.

Andy Warhol 
Table Setting 
1979
unique gelatin silver print 
8 x 10 inches (print) 
13 5/8 x 16 1/4 x 1 3/4 inches (framed) 
© 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York. Andy Warhol
Table Setting
1979
unique gelatin silver print
8 x 10 inches (print)
13 5/8 x 16 1/4 x 1 3/4 inches (framed)
© 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York.

“Andy Warhol Photography: 1967—1987”
Jack Shainman Gallery
Now—February 15
This presentation spanning three decades of Andy Warhol’s photography offers an insightful look into the artist’s creative process and artistic practice. Though the Warhol’s photography is a lesser-known part of his career, he often carried a camera with him to document friends like Mick Jagger and Diana Vreeland, using the images as sources for his more iconic works. On view are portraits, still lifes, a selection of stitched photos (created by sewing together a series of silver gelatin prints), and even self-portraiture.

Isamu Noguchi 
Pierced Table prototype and Pierced Seat 
1982 - 1983 
Hot-dipped galvanized steel  
© The Isamu Noguchi Foundation and Garden Museum, New York / ARS 
Courtesy of Friedman Benda. Isamu Noguchi
Pierced Table prototype and Pierced Seat
1982 - 1983
Hot-dipped galvanized steel
© The Isamu Noguchi Foundation and Garden Museum, New York / ARS
Courtesy of Friedman Benda.

“Comfort”
Friedman Benda
Now–February 15
“Comfort” is Friedman Benda’s sixth annual guest-curated exhibition, featuring works by nearly 30 artists and designers like Max Lamb, Thaddeus Mosley, John Chamberlain, Simone Fattal, Michael Anastassiades, and BLESS. Curated by Omar Sosa, the show takes the form of a visual landscape by combining a mix of paintings, photographs, utilitarian objects, and sculptures. Pieces like Isamu Nugochi’s galvanized steel Pierced Seat and a Toilet sink by Guillermo Santomà, when placed together, offer a dialogue surrounding comfort and discomfort, and how these conditions affect human behavior, norms of society, and personal identity.

Hock E Aye Vi Edgar Heap of Birds 
Standing Rock Awakens the World 
2019 
90 x 176 in and 90 x 176 in 
24 primary mono prints and 24 ghost prints on paper 
Courtesy of the artist and Fort Gansevoort, New York. Hock E Aye Vi Edgar Heap of Birds
Standing Rock Awakens the World
2019
90 x 176 in and 90 x 176 in
24 primary mono prints and 24 ghost prints on paper
Courtesy of the artist and Fort Gansevoort, New York.

Hock E Aye Vi Edgar Heap of Birds: Standing Rock Awakens the World
Fort Gansevoort
January 11—February 22
Confronting his viewers with the history of the land on which they are standing, Hock E Aye Vi Edgar Heap of Birds’ exhibition “Standing Rock Awakens the World” highlights the relationship between the body, land, and ownership, and asserts Native American jurisdiction. Questioning humanity as a whole are works like a monoprint and ghost print series comprised of phrases like “WATER IS OUR FIRST MEDICINE” and “BLACK SNAKE GREEN MONEY WHITE GREED,” offering a thought-provoking narrative that brings to the forefront topics like the importance of acknowledging and respecting Indigenous nations, the idea of time as a non-linear entity, and the artist’s personal relationship with the earth.

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