Toyin Ojih Odutola

Toyin Ojih Odutola
The Second Hour
2018
Charcoal, pastel and pencil on paper
19 x 24 inches
Courtesy of the artist and Jack Shainman Gallery

Martine Gutierrez

Martine Gutierrez
Demons, Tlazoteotl ‘Eater of Filth,’ p91 from Indigenous Woman
2018
(c) Martine Gutierrez
Courtesy of the artist and RYAN LEE Gallery, New York

Liza Lou

Liza Lou
To be titled (Wall Terra)
2018
woven glass beads
26 x 25 inches (approximately)
Photo by Joshua White
Courtesy of the artist and Lehmann Maupin, New York, Hong Kong, and Seoul

Adam Silverman

Adam Silverman
Installation view, "Occupation"
Courtesy of the artist and Friedman Benda

Lygia Pape

Lygia Pape
Red and Black Amazonino (Amazonino Vermelho e Preto)
1990
Automotive paint on iron
126 x 110 3/8 x 36 in
© Lygia Pape
Courtesy of Projeto Lygia Pape and Hauser & Wirth

Artwork © Urs Fischer  
Photo by Chad Moore  Courtesy of Gagosian.

Artwork © Urs Fischer
Photo by Chad Moore
Courtesy of Gagosian.

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New York

Martine Gutierrez, Toyin Ojih Odutola, Liza Lou, and More Must See New York Shows

After a brief summer lull, the New York art world is waking back up with the first shows of the fall season. We can’t wait to get out and see these brand-new exhibitions. Join us!

Toyin Ojih Odutola Toyin Ojih Odutola
The Second Hour
2018
Charcoal, pastel and pencil on paper
19 x 24 inches
Courtesy of the artist and Jack Shainman Gallery

Toyin Ojih Odutola at Jack Shainman
September 6—October 27
Toyin Ojih Odutola’s “When Legends Die” is the final effort in a series of works sharing the legacy of one of the oldest noble clans of Nigeria. The project follows the aristocratic family in order to represent it within a wider frame, shedding light on its inner workings in hopes of creating grounds of commonality and camaraderie with the viewers. The show of new works takes place at both the gallery’s 513 West 20th Street and 524 West 24th Street locations.

Adam Silverman Adam Silverman
Untitled
2017
Stoneware
7.75 x 7 x 5.5 inches
Courtesy of the artist and Friedman Benda

Adam Silverman at Friedman Benda
September 6—October 13
“Occupation,” Adam Silverman’s largest gallery show to date, is a display of the artist’s dynamic practice in ceramics, which incorporates his background in architecture, as well as inspiration from sculpture, choreography, and painting. Included in the exhibition are two site-specific installations of Silverman’s ceramic pots (which the artist refers to as “figures”) that have been grouped in a way that suggests a variety of anthropomorphic poses.

Liza Lou Liza Lou
Pyrocumulus
2018
oil paint on woven glass beads on canvas
55.75 x 56.25 x 3 inches
Photo by Joshua White
Courtesy of the artist and Lehmann Maupin, New York, Hong Kong, and Seoul

Liza Lou at Lehmann Maupin West 24th Street
September 6—October 27
This exhibition inaugurates Lehmann Maupin’s new West 24th Street location. “Classification and Nomenclature of Clouds” is inspired by the Liza Lou’s daily observations of the skies in Los Angeles and Durban, South Africa—the two cities where she spends her time. Named for Luke Howard’s Essay on the Modification of Clouds, the show includes Lou’s mixed media works like Nimbostratus and The Clouds, a monumental piece composed of 600 cloth pieces, which were hand beaded by the local women employed at her studio in Durban.

Martine Gutierrez Martine Gutierrez
Demons, Tlazoteotl ‘Eater of Filth,’ p91 from Indigenous Woman
2018
(c) Martine Gutierrez
Courtesy of the artist and RYAN LEE Gallery, New York

Martine Gutierrez at Ryan Lee Gallery
September 6—October 20
Martine Gutierrez’s “Indigenous Woman” is a celebration of Mayan Indian heritage, the ever-evolving self-image, and the navigation of contemporary indigeneity. Using the word “indigenous” as a synonym for the natural and innate, Gutierrez’s work questions how identity is formed, expressed, weighed, and valued in the lives of women—whether they are transgender, Latinx, of indigenous descent, or femme artists and makers. The artist invites both fellow non-binary transwomen of color and the rest of the world to come together and educate themselves in order to help create an empathetic and supportive society.

Lygia Pape Lygia Pape
Red and Black Amazonino (Amazonino Vermelho e Preto)
1990
Automotive paint on iron
126 x 110 3/8 x 36 in
© Lygia Pape
Courtesy of Projeto Lygia Pape and Hauser & Wirth

Lygia Pape at Hauser & Wirth
September 6—October 20
Hauser & Wirth’s exhibition of the late Lygia Pape is a survey of the Brazilian Neo-Concrete artist’s multidisciplinary practice, illuminating a unique, human understanding and reframing of geometry and abstraction. Spanning across all three floors of the gallery, the show includes important works from Pape’s repertoire, like Jogo de Ténis (Tennis Game) and Ttéia 1A, an elision of the Portuguese world for “web,” created out of groupings of silver threads

Artwork © Urs Fischer  
Photo by Chad Moore  Courtesy of Gagosian. Artwork © Urs Fischer
Photo by Chad Moore
Courtesy of Gagosian.

Urs Fischer at Gagosian
September 6—October 13
An intermingling of choreography, behavior, and sculpture, Urs Fischer’s “PLAY” (featuring choreography by Madeline Hollander) sets the stage for chance encounters in which the visitors are invited to interact with nine office chairs. In the installation, as the viewer attempts to control the chairs, over time it becomes clear that the chairs themselves are participants, too.

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