Featured Events in New York in June 2024 (May Updated)

This mini-retrospective features over 35 pieces that demonstrate Liu Shiming’s (1926-2010) stature as a leading figure in modern Chinese sculpture, and an artist whose vision resonates across cultures and countries.

Joan Jonas creates meditations on bodies, space, time, and nature. As she has explained, “The performer sees herself as a Medium: Information passes through.” The most comprehensive retrospective of Jonas’s work in the United States, this exhibition provides new insights into the artist’s process, unprecedented access to archival materials, and fresh historical perspectives on Jonas’s work. Drawings, photographs, notebooks, oral histories, film screenings, performances, and a selection of the artist’s installations, drawn from MoMA’s collection and institutions around the world, will trace the development of Jonas’s career, from works made in the 1960s and 1970s exploring the confluence of technology and ritual to more recent ones dealing with ecology and the landscape.

On the centennial anniversary of the birth of artist Toshiko Takaezu (1922–2011), The Isamu Noguchi Foundation and Garden Museum announced its forthcoming major touring retrospective and monograph centered on her work and life. This will be the first nationally touring retrospective of Takaezu’s work in twenty years. To coincide with the exhibition, the Museum will publish a new monograph in association with Yale University Press. Also titled Toshiko Takaezu: Worlds Within, it represents the most ambitious monograph on an American ceramic artist to date. The retrospective is organized by The Isamu Noguchi Foundation and Garden Museum with assistance from the Toshiko Takaezu Foundation and the Takaezu family. It is co-curated by art historian Glenn Adamson, Noguchi Museum Curator Kate Wiener, and composer and sound artist Leilehua Lanzilotti. The exhibition was conceived and developed with former Noguchi Museum Senior Curator Dakin Hart. The show at The Noguchi Museum will feature approximately 200 works from private and public collections around the country. Following its presentation at The Noguchi Museum, the exhibition will travel to several additional venues across the United States.

The eighty-first edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features seventy-one artists and two collectives grappling with many of today’s most pressing issues. This Biennial is like being inside a “dissonant chorus,’ as participating artist Ligia Lewis described it, a provocative yet intimate experience of distinct and disparate voices that collectively probe the cracks and fissures of the unfolding moment. The exhibition’s subtitle, Even Better Than the Real Thing, acknowledges that Artificial Intelligence (AI) is complicating our understanding of what is real, and rhetoric around gender and authenticity is being used politically and legally to perpetuate transphobia and restrict bodily autonomy. These developments are part of a long history of deeming people of marginalized race, gender, and ability as subhuman—less than real. In making this exhibition, we committed to amplifying the voices of artists who are confronting these legacies, and to providing a space where difficult ideas can be engaged and considered. This Biennial is a gathering of artists who explore the permeability of the relationships between mind and body, the fluidity of identity, and the growing precariousness of the natural and constructed worlds around us. Whether through subversive humor, expressive abstraction, or non-Western forms of cosmological thinking, to name but a few of their methods, these artists demonstrate that there are pathways to be found, strategies of coping and healing to be discovered, and ways to come together even in a fractured time. The 2024 Whitney Biennial is organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator and Meg Onli, Curator at Large, with Min Sun Jeon and Beatriz Cifuentes. The performance program is organized by Iles and Onli, with guest curator Taja Cheek. The film program is organized by Iles and Onli, with guest curators Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr, and Zackary Drucker. View the film and performance program.

In the early decades of the 20th century, when many artists were experimenting with abstraction, Käthe Kollwitz remained committed to an art of social purpose. Focusing on themes of motherhood, grief, and resistance, she brought visibility to the working class and asserted the female point of view as a necessary and powerful agent for change. “I have no right to withdraw from the responsibility of being an advocate,” she wrote. “It is my duty to voice the sufferings of men, the never-ending sufferings heaped mountain-high.” The first major retrospective devoted to Kollwitz at a New York museum, this is also the largest exhibition of her work in the US in more than 30 years. Born in the Prussian city of Königsberg (now Kaliningrad, Russia), Kollwitz was based in Berlin from the 1890s through the early 1940s, a period of turmoil in German history marked by the upheaval of industrialization and the traumas of two world wars. Though she had trained briefly as a painter, she quickly turned to drawing and printmaking as the most effective mediums for social criticism. This exhibition includes approximately 120 drawings, prints, and sculptures drawn from public and private collections in North America and Europe. Examples of the artist’s most iconic projects will showcase her political engagement, while preparatory studies and working proofs will highlight her intensive, ever-searching creative process.

Drawing has been integral to Horn’s oeuvre for nearly 40 years. Describing it as her ‘primary activity,’ she expands the language of mark-making by constructing, deconstructing and then reconstructing images and texts. A meditation on meaning, Horn’s unique process of taking things apart and putting them back together anew tests the limits of draftsmanship by exploring its sculptural potential. For her latest series, titled ‘Slarips’ (the word ‘spirals’ written in reverse), Horn began by making watercolor spirals in an array of hues. She then cut up the painted images and collaged them together into new tessellated compositions. Each is titled with a deliberate misspelling of the word ‘spirals,’ signaling a profound departure from the work’s original source material. Horn is an avid reader, and as much a writer as she is a visual artist. Words naturally permeate her practice. In this exhibition, her use of language pertains to the works’ titles, which act as entrance rather than explanation. Horn’s wordplay also figures in the sculptures on view: the titles of the six luminous cast-glass forms feature quotes from novels, films and radio broadcasts. These shallow tapered circular forms––a new shape in Horn’s ongoing glass works––are infused with a singular color drawn from a palette of whites, blacks and blues. As daylight pours in from the skylights, moving across the gallery and changing temperature over the course of the day, the saturation and transparency of the colors likewise shift. The subtle effects of varying light, combined with viewers’ movements in the room, activate these works, which defy any fixed reading. The artist began making cast-glass sculptures in the mid-1990s, pouring colored molten glass into molds that would then gradually anneal over the course of several months. Horn spent years developing a specific technical process that furnishes her finished works with a nearly alchemical quality: they appear simultaneously fluid and solid. Visually ambiguous, their opaque, roughly textured sides bear impressions of the molds in which they were cast, while their glossy, fire-polished tops recall the crystal-clear surface of an undisturbed pool of water. Water, often considered a universal symbol for change, is a constant theme for Horn, once stating she is ‘…fascinated by this idea of water as a form of perpetual relation, not so much a substance but a thing whose identity was based on its relation to other things…. Rather than an object, water becomes a metaphor for consciousness—of time, of physicality, of the human condition.’ This spring, Horn’s work will be presented in the following solo exhibitions: ‘Roni Horn. Give Me Paradox or Give Me Death,’ at Museum Ludwig in Cologne, Germany (23 March – 11 August); ‘Roni Horn. The Detour of Identity,’ at the Louisiana Museum of Modern Art in Humlebæk, Denmark (2 May – 1 September); and at Hauser & Wirth Menorca (11 May – 27 October).

Both artists developed new modes of artistic production to create a visual language for abstraction, space, and an ever-expanding network of energy and forms. The often-forgotten interplay between these two titans of modern art unfolds in and encourages visitors to consider their overlapping expressions of what Klee described as “latent realities.” marks the first dedicated reunion of Klee and Calder since 1942, when the Cincinnati Modern Art Society assembled one of the earliest known exhibitions to juxtapose the artists’ work. While this early pairing explored their mutual penchant for versatile experimentation related to temporal and spatial relationships, seeks instead to emphasize their respective investigations and interests in natural forms and kinetic energies. The works of Klee and Calder are placed in conversation once more, in an exhibition designed as a dreamlike realm where rare masterpieces by each artist are meaningfully presented to illustrate their explorations of the spiritual and unknown. In a 1962 interview, Calder was asked, “What artists do you most admire?” He replied, “Goya, Miró, Matisse, Bosch and Klee.”[1] These artists shared a commonality — namely the ability to conceptualize existence without heavy, dramatic overtones, but rather with a rhythmic lightness and vibrancy. Calder likely viewed Klee as a Modern master of this feat, whose lyrical investigations of space and form were inspirational. A prolific creator, Klee’s works are cornerstones of nearly every major institutional collection. He continually demonstrated a masterful command of line and color, revealing the intricate connections that both capture and bind us to the concrete and metaphysical realms. For Klee, natural phenomena served as a metaphor for both artistic and cosmic creation. In his (1920), Klee furthers this notion, stating, “formerly we used to represent things which were visible on earth… we reveal the reality that is behind visible things, thus expressing the belief that the visible world is merely an isolated case in relation to the universe and that there are many more other, latent realities.”[2] Though part of the subsequent generation, Calder's nonobjective sculptures exploit atmospheric effects to engage time and space within and beyond the human realm. His diverse body of work, celebrated in public collections and commissions throughout the world, transports viewers into the fourth dimension, evoking notions of immateriality and the sublime. In a 1946 catalogue essay, Jean-Paul Sartre wrote: “Although Calder has not sought to imitate anything ... his mobiles are at once lyrical inventions, technical, almost mathematical combinations and the tangible symbol of Nature, of that great, vague Nature that squanders pollen and suddenly causes a thousand butterflies to take wing.” The exhibition includes loans from distinguished private collections and international institutions including the Fondation Beyeler, The Metropolitan Museum of Art, and the Art Institute of Chicago, as well as an impressive selection of works from the Calder Foundation. Enchanted Reverie: Klee and Calder will be accompanied by a fully illustrated catalogue featuring a selected chronology and major essays written by the historian Olivier Berggruen and Dr. Elizabeth Hutton Turner, renowned specialists in the emergence and development of Modern and Post-War art. To ensure a pleasant experience for guests and safe conditions for the works on view, this exhibition will be viewable by timed entry. For updates on timed entry, stay tuned for an announcement when reservations open in the coming weeks. [1] Katharine Kuh, “Alexander Calder” in The Artist’s Voice: Talks with Seventeen Artists (New York: Harper & Row, 1962), 39. [2] Paul Klee, “Creative Credo V” in Tribune der Kunst und Zeit (Berlin: Erich Reiss Verlag, 1920).

Wayne Thiebaud rose to prominence in the 1960s at the same time as Pop artists Andy Warhol, Roy Lichtenstein, and James Rosenquist, though he did not feel aligned with the movement. Unlike these contemporaries, many of whom embraced commercial techniques, Thiebaud described himself as a traditional painter of illusionistic forms. He repeatedly tackled familiar, everyday subjects to challenge and explore the formal possibilities of painting. His meticulously crafted surfaces are steeped with art historical references and a subtle longing for a sweeter time. In (1969) the simplicity of the composition highlights Thiebaud’s technical approach to his paintings. Richly painted in pastel shades of pink, the ice cream emerges almost sculpturally against a stark, blank background, its thick layers of paint bulging past the flat plane of the canvas. Dedicated to a tradition of figuration, Thiebaud’s demonstrates the artist’s strength in color and masterful use of impasto and brushwork, with the swaths of creamy paint suggesting the ice cream melting in front of the viewer. His painting (2002) reflects his sustained interest in the role of sweets as a collective experience, imbuing the painting with the same strain of nostalgia that he employed nearly four decades earlier. Though most famous for his persistent rendering of still lifes, portraiture and landscapes were also central to the artist’s practice over the many decades of his career. His portraits reflect a similar modality as his scenes of food– highly stylized, colorful subjects set against distilled backgrounds. (1965) presents the artist’s wife sporting a striped swimsuit in profile, extending her focus past the edge of the frame. Rendering the face with a playful veracity, Thiebaud subverts the image subtly by changing the perspective of the torso to a three-quarters position, flattening the swimsuit’s stripes against the contours of the body. The brightly patterned swimsuit creates a moment of technical interest and abstraction that hints at a body in motion, ready to dip into summer’s waters. This same subversion of perspective also defines the artist’s landscapes, blending points of view to create dreamy realities of the beach bending against water and heat. (2004–2014) pushes the artist’s strength in landscapes to its limits, casting his beachgoers into oscillating passages of color. In the foreground, the beachgoers buzz with detail and motion, inducing a feeling of summer ease and nostalgia. As the painting recedes, however, the rendering of the beach distorts and twirls. In lucid hues of yellow, purple, and blue, Thiebaud disrupts the atmospheric perspective with a quickening flatness, rejecting the vanishing point for an absorbing color field thick with movement and animated brushwork. Echoing lapping waves and the long hours of summer days, welcomes the viewer into a hypnotizing scene reminiscent of calm, playful vacations in thick heat. tracks the career of the artist over six decades, revealing his retained interest in lighthearted subjects while casting them in traditional modes of painting. This exhibition celebrates the artist’s regard for the delights of the quintessentially American summer experience, from its sweet ice creams and chilled soda pops to beach games and barbecues, melting a grey winter into a fading memory. In his paintings, an American nostalgia gently invites the viewer into the season’s space, readying them for warmer days ahead. The exhibition will be accompanied by an illustrated catalogue with essays by curator and art historian Steven Nash and art historian Mary Okin.

Materialized in varying ways, kinship and cultural inheritance are frequent touchstones for many of these artists. William Eric Brown’sworks — the source images for which were taken in Antarctica in the 1960s by the artist’s father while serving in the US Navy and stationed on an icebreaker — are instilled with new significance through his manipulation and reconceptualization, which address the current reality of climate change and its effects on the arctic. Sophia Chai explores her memory of learning the Korean alphabet as a child through her work. By drawing and painting the shapes and lines of the characters on the walls and floor of her studio, Chai reimagines them in space, thereby abstracting written communication into an embodiment of the sensation of each word being formed inside the mouth. Sheida Soleimani stages elaborately constructed tableaux to address interwoven narratives of family, politics, and caregiving that trace both personal and public histories. Her carefully fabricated scenes demonstrate her commitment to approaching her practice with measured sensitivity; rather than divorcing her subjects from their own realities, Soleimani creates a contemplative space in which each incorporated object or image conveys an intentional message. Similarly, Shaun Pierson’s work illuminates the complex dynamics in the relationship between photographer and subject. Entwining conflicting sensations of inhibition and desire, Pierson lays bare the often simultaneously transactional and vulnerable apparatus and process of making photographs. Kevin Landers’ photographs, taken on the streets of New York, are rooted firmly in the here and now. He documents a collection of seemingly unnoticed moments, paying careful attention to unexpected details that, more often than not, most people would simply walk past — ephemera such as an abandoned shopping cart or an intricately woven spider web. Queer desire and a longing for another space and time are explored through the re-authoring of found or archival images in the works of Gonzalo Reyes Rodriguez and Brittany Nelson. Rodriguez pairs images from his own history with a series of photographs he purchased from a bookshop in Mexico City — dated between 1987 and 1993, the found snapshots evidence the personal experiences of a young, presumably queer, man known to us as “Technoir.” By combining the two archives, Rodriguez invites us to dwell in a space of merged memories, neither of which we can fully inhabit, and of the desire to know more. While at first glance Brittany Nelson’s use of archival materials is less overtly personal, her work considers themes of otherness, isolation, and the desire for connection. In one of the series on view, she perceived a sense of romantic devastation in the images taken by , the Mars rover, which she amplifies by re-printing them using the 1920s analog bromoil photographic process, thereby infusing them with an added eerie, otherworldly quality. Though varied in their approaches to photographic practice, what unifies these artists is their investigation of longing, care, and lineage—familial and otherwise—and the way in which they use the medium and the process of making the work as a means to engage with others, with themselves, and to challenge expectations. Generating a constellated conversation that draws upon photography’s history, yet turns toward something altogether new, the artists included in imbue the seemingly unknown with flashes of recognition.

Kosovar artist Petrit Halilaj (born 1986 in Kostrci, former Yugoslavia) was commissioned to create a site-specific installation for the museum's Iris and B. Gerald Cantor Roof Garden. For the artist's first major project in the United States, Halilaj transformed The Met Roof with a massive sculptural installation. Halilaj's work is closely tied to the recent history of his native Kosovo and the consequences of cultural and political tensions in the region. After studying art at the Brera Academy in Italy, he moved to Berlin in 2008, where he still lives and works. His projects span a variety of media including sculpture, painting, poetry and performance.

Dubuffet and Giacometti, both born in 1901 in France and Switzerland, respectively, forged deeply philosophical artistic outlooks inspired by the devastation and disorientation of the two world wars. While there is no record of direct correspondence between them, the Paris-based artists rubbed shoulders often enough to interpret reciprocity in their practices. They exhibited regularly with Pierre Matisse Gallery, where Dubuffet’s first solo exhibition occurred in 1947 and Giacometti’s in 1948. With singular bodies of work articulating the alienation and estrangement of a generation, the artists became icons of a postwar European vision at home and across the Atlantic. In New York, they both found acclaim and were among the roster of artists in the Museum of Modern Art’s (1959) curated by Peter Selz, who also organized solo exhibitions for each of them (Dubuffet in February 1962 and Giacometti in June 1965) at the museum. In the late 1950s, prior to Dubuffet’s commission to create his landmark (1969–72) for Chase Manhattan Plaza, Giacometti was initially chosen for the space. Unfamiliar with the city and unconvinced about how his figures would compete with the surrounding skyscrapers, he withdrew from the project. However, when he traveled to New York for his MoMA retrospective, shortly before his untimely death at the beginning of the following year, Giacometti made a special visit to the plaza and asked his wife Annette to stand where his sculptures would have been. is made possible by generous loans from American and European institutions, including Fondation Beyeler, Riehen; Fondation Maeght, Saint-Paul-de-Vence; and Pierre and Tana Matisse Foundation, New York, as well as from worldwide private collections. The exhibition will be accompanied by a fully illustrated catalogue featuring new research by Nairne, as well as essays by Giacometti expert Casimiro Di Crescenzo and Dubuffet scholar Camille Houzé.

For more than two decades, LaToya Ruby Fraser has used photography, text, moving image, and performance to resurrect and preserve forgotten narratives of labor, gender, and race in the post-industrial age. Bringing together work from 2001 to 2024, this exhibition highlights the full range of Fraser’s practice to date, including several rare and never-before-seen works.

Close to Home is an installation that honors the domestic space as a custodian of cultural and spiritual traditions by providing support and comfort to forge appreciation for heritage and their continuity. Modeled after Nsenga Knight’s family residences from their past six years living in Cairo, Egypt, the installation’s eclectic atmosphere reflects the historic and cosmopolitan. While furnished in various materials and styles, old and new, this family home is also adorned with artifacts from the 1964-1965 New York World’s Fair as well as artworks by Knight, including paintings, prints, videos, and wallpaper. A Brooklyn-born Afro-Caribbean American Muslim artist, Knight researched the Queens Museum’s 1964-1965 New York World’s Fair Archives with a focus on the representations of the then-newly postcolonial Islamic African and Caribbean nations. The historical trajectory of these nations and their influence on Black Americans has emerged as the central focus of her exhibition. Knight presents this exhibition as both a home and a forum for “Peace Through Understanding,” echoing the theme of the 1964-1965 New York World’s Fair. She extends this concept into the exterior section of the installation. Hovering above are words initially spoken by martial arts masters at the SWAM Academy of Modern Martial Arts in South Jamaica, Queens. Transcribed by Knight word-by-word, these “poems” encapsulate their wisdom about self defense, spirituality, and ethical integrity imparted at the renowned Black Muslim-owned dojo. The act of safe-keeping and hope for peace extends to the toy paragliders in the exhibition. These airborne devices carry complex yet arbitrary layers of symbolism related to the Museum’s building history. The New York City Building housed the General Assembly of the United Nations in 1947 when they passed Resolution 181 to partition Palestine into Arab and Jewish states. By juxtaposing SWAM poetry with paragliders and parachutes, Knight considers how to position peace and safety amidst conflict and oppression. Food culture also played a pivotal role in the World’s Fair. Close to Home will host a scheduled series of social gatherings by serving tea and coffee in this installation. With this act of hospitality, Knight calls on viewers to consider the power of sensorial and experiential engagement to foster understanding, connection, and appreciation among people from various corners of the world. Close to Home is curated by Hitomi Iwasaki, Director of Exhibitions/Curator. Nsenga Knight (b. Brooklyn, New York, 1981) is an In Situ Artist Fellow at the Queens Museum. She earned an MFA from University of Pennsylvania and a BA from Howard University. She has exhibited her work internationally, including: Contemporary Image Collective, Cairo, Egypt (2022); Drawing Center, New York, NY (2017, 2016); Project Row Houses, Houston, TX (2015); New Museum of Contemporary Art, New York, NY (2011); among others. Knight is a recipient of grants from Pollock-Krasner Foundation (2019), Foundation for Contemporary Art (2016), Brooklyn Arts Council (2007). She was an artist-in-residence at BRICworkspace, Brooklyn, NY (2019); and Film/Video Arts Center, New York, NY (2005) among others. She lives and works in New York.

Exploring the intersection of art making and play, Cas Holman designs innovative toys and tools that inspire participatory imagination. Prototyping Play experiments with the different modes of intuitive and child-directed free play in an art museum environment by extending the body’s movements with uniquely crafted elements and prompts. Released in two phases, Holman’s open-ended playthings and playspaces foster collaboration, inventive thinking, and interactivity. Prototyping Play invites artists of all ages to create, exchange, cooperate, and leave your mark through these new devices. Tracing Play (launching May 19, 2024): Drawing Tools and Drawing Pads invite collective acts of drawing. The awkwardly shaped, human-sized Drawing Tools are equipped with large-scale crayons which challenge users to collaborate in figuring out how to use them. The fun is in the creative process. You can make marks using these tools on the Drawing Pads, or Tyvek paper surfaces, where your drawings will inspire future markmakers. Alternatively, you can collaborate with markmakers who visited the exhibition beforehand. Critter Party (launching July 2024): For this playscape, Holman has created different elements: the Mama Critter, Baby Critters, and Thingies. The arched Critters invite various types of interaction and opportunities for transformation, while the add-on objects, or Thingies, offer the possibility to adapt each structure with new narratives and identities. Encouraging crawling, sliding, building, storytelling, pretending, and more, the assorted sizes of Critters demonstrate how scale can change our relationship with shapes and spaces. Each critter, as well as the open-ended, reconfigurable Thingies, accommodate various types of play, depending on the desired sensory and social engagements. Here, Holman creates inclusive environments where many different types and ways of playing can coexist together. Prototyping Play will activate the Skylight Gallery as the Queens Museum prepares for a children’s museum that encourages intergenerational learning experiences. This playscape will further the Museum’s knowledge of its audiences and facilitates test thinking for future family programming. Prototyping Play is curated by Lauren Haynes, Director of Curatorial Affairs and Programs, and Kimaada Le Gendre, Director of Education.

In Buenos Vecinos, which translates to “good neighbors,” Catalina Schliebener Muñoz confronts the impact of two Walt Disney animated films: Saludos Amigos (1942) and Los Tres Caballeros (1944). Both films emerged from Disney’s state-sponsored research trips to South and Central American nations as part of The Good Neighbor Policy, which sought to discourage Nazi influence and improve the United States’ public image in Latin America following its numerous military invasions throughout the early 20th century. Disney and his team of artists toured Argentina, Brazil, Bolivia, Chile, Peru, and Mexico to generate visual motifs and storylines for recognizable characters like Donald Duck and Goofy, as well to create new characters, songs, and dances based on local customs and archetypes. Schliebener Muñoz examines how these films functioned as a form of soft power, enlisting children’s media towards the economic and geopolitical interests of the United States. Through installation, collage, sculpture, and murals, the artist subverts reductive and exoticized representations of Latin American cultures in the films to center its secondary characters and rebellious underdogs. Schliebener Muñoz also contends with Disney’s depictions of gender, sexuality, race, and Indigeneity by appropriating and fragmenting the films’ imagery to create critical narratives of resistance. Acknowledging the capacity of stories to shape value systems, the exhibition employs mirroring, queer coding, ambiguity, and humor to challenge the imposed boundaries between the real and fictional, natural and synthetic, spectacular and grotesque. As World War II gave way to the Cold War, the United States abandoned Pan-American unity to support coups and dictatorships in many of the countries depicted in Disney’s films. Schliebener Muñoz incorporates archival materials that address the aftermath of The Good Neighbor Policy, U.S. interventionism, and imperialist ideology through the history of the Queens Museum’s site. This building hosted the former United Nations, where decisions ranged from the 1947 partition of Palestine to the creation of UNICEF, and is also located on the grounds of the 1964-1965 New York World’s Fair where Disney premiered the “it’s a small world” attraction. For Schliebener Muñoz, this context becomes integral to understanding the legacy of Disney’s films alongside hostile foreign policies, and how the imagination of children became a vehicle for the projection of American innocence and exceptionalism on the global stage. Buenos Vecinos is curated by Lindsey Berfond, Assistant Curator and Studio Program Manager.

From late February into early March of 1961, during an unseasonably warm close to a cold English winter, the 29-year-old poet Sylvia Plath (b. 1932) lay in a hospital bed, convalescing from a surgical operation—one that removed her appendix—at St. Pancras Hospital in Central London. Ten days after her stay at St. Pancras—where her husband, the English poet Ted Hughes, made frequent deliveries of “steak sandwiches & apricot tarts & milk & fresh-squeezed orange juice,” according to letters—Plath wrote Tulips, a poem in nine stanzas. The poem itself is a psychologically acute portrait of a bedridden subject who willfully modulates a painfully ambivalent return to a state of consciousness through a descriptive appraisal of a given situation. The works assembled for the second iteration of Tulips at Kapp Kapp, on the fifth anniversary of the inaugural group show, expand the scope of the exhibition’s origins, generationally as well as materially—along thematic lines that pay expressive homage to the vivid sensory imagination of a Sylvia Plath ensconced somewhere in St. Pancras. Works included in the show, though vastly different in terms of style and medium, likewise figure a set of contextual relationships—whether spatial, temporal, or material—within a given set of constraints, much like Plath does with her own stay at St. Pancras. Who best to personify a penchant for rearranging the spatial imaginary of America than Queen Martha Stewart herself, the most recent subject of a Sam McKinniss (b. 1985) portrait (and a foil to that other host of the Apprentice, who boasts immunity to any form of legal accountability let alone an electronic ankle bracelet)? Alicia Adamerovich (b. 1989) returns to part II of Tulips with a distinctively wrought, nearly pointillist handling of surrealist inspired imagery—that spawns figures and forms redolent of an earthy toned yet otherworldly landscape. Luke O’Halloran (b. 1991) continues to figure the paralyzing suspense of our compulsive investment in chance through a bold approach to color along with novel methods of framing “the” event. Paintings by Julien Ceccaldi (b. 1987) showcase the artist’s mercurial overlay of a Japanese manga aesthetic with gothic tableaux visited by a cast of characters whose props are often plucked from an algorithmically self-referential, twenty-first century landscape. Louis Osmosis (b. 1996) takes aim at the various aesthetic and cultural currencies that reinforce a contemporary art “status quo,” often devising works that critically intervene in the frequency of their own public reception. Thomas Blair (b. 1996) has recently turned to contemporary methods of image production such as AI, moreover, distorting their printing process to generate coarse yet simultaneously refined image gradients that subtly challenge our grasp of medium or source material. While Cynthia Hawkins (b. 1950) continues to draw inspiration from languages of “astrophysics, microbiology, space-time, ancient cave-painted symbols, and mathematics,” what remains consistent to Hawkins’ decades long career is a formal positioning of her work in relation to a range of sensory phenomena. We see an interest in “pure” abstraction in a 1986 painting series where dashes of red paint evoke the “excitable” hue of Plath’s tulips. Also included in the show are black-and-white photographs by Stanley Stellar (b. 1945) who frames serendipitous encounters to heighten our aesthetic appreciation of a particular historical interplay of subjects and objects in a setting. Though each is formally distinct down to the minutia of facture, we can place Justin Liam O’Brien (b. 1991) and Anthony Cudahy (b.1989) along a continuum of contemporary artists who have turned to the medium of paint in order to devise complex compositions that figure a queer contemporary sociality along with queer forms of embodiment and isolation. Though each approaches the construction of pictorial space in altogether different ways, Cudahy and O’Brien often make direct reference to pre-existing situations, settings, or imagery within their compositions, whether of Southern-Italian Renaissance paintings or modish watering holes. We are left with a group show that lends plastic credence to the persistence of an aesthetic imaginary to rouse consciousness into an awareness of itself—whether we like it or not. Text by Desiree Mitton.

Experience the captivating journey of self-discovery and reflection with Nate Hester in his debut solo exhibition, "In Search of Lost Time," taking place in June 2024 at SATELLITE LES in New York City. Delve into Hester's unique world of mixed media works on paper, showcasing his innate drive for continuous self-expression. This exclusive showcase presents a curated selection of Hester's artwork, offering a glimpse into the essence of his creative vision. Immerse yourself in the artist's intricate process and witness a true curatorial achievement. The collection of works will be available for purchase both on-site at 279 Broome Street and through our online gallery, providing art enthusiasts with the opportunity to own a piece of this extraordinary exhibition. Mark your calendars for a transformative experience in the heart of New York City this June.

Join the event "Talk and Book Signing with New York Times Best-Selling Author Ann Hood" at Bookstore1Sarasota in Sarasota. Ann Hood's latest novel, "The Stolen Child," takes readers on a captivating journey through France and Italy as an unlikely duo unravels a mystery from World War I. With warmth and depth, Hood explores themes of regret, love, and forgiveness in this timeless tale. Attendees will have the opportunity to engage in an in-person conversation with Ann Hood, where she will share insights and answer questions before signing and personalizing copies of her book. Don't miss this chance to immerse yourself in a world of romance and intrigue. Secure your spot now for the event happening on June 1, 2024, with ticket prices ranging from $0 to $7. If you are unable to attend, kindly inform the organizers to accommodate others on the waitlist.

Experience a night of entertainment at the Step or Get Stepped On event, featuring renowned comedian Rakim along with performances by Wavey Dusse Demon, Notorious Notise, Fox Hound, and other special guests. Mark your calendar for Saturday, June 1st, 2024, at 6:00pm in Upper Manhattan, New York, NY. This unforgettable event promises excitement and laughter that you won't want to miss. Secure your tickets now, priced between $23.18 and $33.85, and prepare for an evening filled with laughter and great performances.

Experience an array of captivating short films at Shorts A, part of NYIFF 2024, taking place at Village East by Angelika in New York City. Scheduled for June 1, 2024, this event will feature a diverse selection of films, including "Anu," "Life is a Bubble," "Loo," "Rhino Charge," "Stitched," "XO," and "What Just Happened." Directed by talented filmmakers such as Pulkit Arora, Aaliya Nawazuddin Siddiqui, Chanakya Vyas, Abhiroop Basu, Lorena Lourenco, and Samrat DasGupta, these shorts promise to offer thought-provoking narratives and engaging storytelling. From the themes of grief and resilience to cultural identity and love, each film presents a unique perspective on the human experience. Tickets for this event are priced at $17.85, providing an affordable opportunity to immerse yourself in the world of independent cinema. Don't miss the chance to be part of this exclusive cinematic experience at Shorts A during NYIFF 2024 in the heart of New York City.

The 2024 Murder of Crows Open team registration is now open! This exciting competition will take place over two days, on June 1st and June 2nd, at the prestigious Murder of Crows Barbell in Brooklyn, NY. The event will showcase the incredible strength and skill of both men and women athletes. A grand cash prize of $1500 awaits the best team! To compete, teams must consist of five athletes who are registered for the MOC Open. Registration must be completed by May 28th, 2024. It's important to note that teams must be co-ed, with at least one male or female athlete included. Additionally, all team members must be affiliated with the same USAW sanctioned club. Each athlete can only be part of one team for this competition, but a single club can have multiple teams. Points will be awarded based on each team member's placement in their respective weight class. First place receives 6 points, second place receives 4 points, third place receives 3 points, fourth place receives 2 points, and fifth place receives 1 point. In the event of a tie, the team with the most first place finishes will be awarded the win. If the tie still remains, points will be awarded based on placing in the snatch and clean and jerk. Please note that team registration fees are non-refundable and do not include individual registration for the meet. To register for the competition, please visit USAW's BARS platform. Don't miss this incredible opportunity to be part of the 2024 MOC Open Team Registration and showcase your team's strength and determination.

Experience the thrill at Kaiju 30th Anniversary Part 4 - Third Annual Halloween Beach Party on Sunday, June 2 at The Bell House in Brooklyn. The event kicks off at 5:00 pm when the doors open, with the bell ringing at 6:00 pm. Kaiju Big Battel offers a one-of-a-kind modern conflict where colossal creatures battle it out, with a select few humans joining in the action to contain the chaos within the three-roped arena. The bar starts serving at 4:00 pm to enhance your enjoyment throughout the evening. Tickets are priced at $25 for General Admission and $35 for VIP access, available to ages 21 and above. Remember to bring a valid ID, as entry to The Bell House requires all attendees to be 21 or older. Don't miss out on this unforgettable extravaganza of monstrous proportions at Kaiju 30th Anniversary Part 4 - Third Annual Halloween Beach Party.

The Center for the Preservation of Artists' Legacies (CPAL) will hold its Annual Conference in New York at The Milton Resnick and Pat Passlof Foundation from June 3rd to June 5th, 2024. The conference, focusing on the challenges facing visual artists' legacies, will feature three days of in-depth discussions and expert panels. Day one of the conference, titled "The Artworks," will delve into the complexities of managing artworks from a legacy perspective, covering topics such as storage optimization, copyright issues, and the treatment of artworks across different mediums. Day two, "The Archives," will explore institutional art archive systems and best practices for managing materials over time. Day three, "The Assets," will examine how artists' assets contribute to their legacy and how they are managed by foundations, family members, and legal experts. The event will feature a distinguished lineup of participants, including art historians, curators, legal experts, and foundation directors. Tickets for the conference are available for $108.55, offering attendees a unique opportunity to gain insights into preserving and managing artists' legacies.

Experience the rich history of Yankee Stadium when Chicago White Sox face off against New York Yankees on June 4, 2024, in The Bronx. Secure your tickets for this exciting event ranging from $22.90 to $25.30. Yankee Stadium, located at 1 East 161 Street, The Bronx, NY 10451, sets the stage for an unforgettable MLB matchup. Dive into the legacy of this iconic venue, known for hosting legendary games and unforgettable moments. The Vivid Seats marketplace offers a seamless ticket-buying process, ensuring a hassle-free experience for fans eager to witness the action live. Explore the upcoming games on the schedule, and seize the opportunity to be part of the electrifying atmosphere as the teams compete for victory. Immerse yourself in the thrill of the game as the Chicago White Sox take on the New York Yankees in a battle that promises excitement and intensity. Secure your spot in the stands and be part of the quest for another World Series title at this historic ballpark.

Discover the captivating world of "Smoke Kings" by Jahmal Mayfield at the upcoming event, Book Club & Author Visit: Smoke Kings by Jahmal Mayfield. Immerse yourself in a thought-provoking conversation and Q&A session with the acclaimed author at Hudson Park Library in New York City. Publishers‘ Weekly praises the book as a "powerful debut" with a propulsive narrative, lucid prose, breakneck pacing, and confident handling of controversial subject matter. Don't miss this chance to delve into the intricacies of Mayfield's work on June 5, 2024. Admission is free, so mark your calendars and secure your spot for an enlightening experience.

The highly anticipated sports event, New York Yankees v Minnesota Twins, is set to take place at the iconic Yankee Stadium in New York on June 5, 2024. Fans from both teams are gearing up to witness an epic showdown between these two baseball giants. The clash between New York Yankees and Minnesota Twins promises to be a thrilling and intense battle on the field. With players giving their all to secure a victory for their respective teams, spectators can expect a nail-biting match filled with suspense and excitement. The atmosphere at Yankee Stadium is sure to be electric as supporters cheer on their favorite players and teams. Baseball enthusiasts won't want to miss this epic showdown between New York Yankees and Minnesota Twins at the legendary Yankee Stadium. So mark your calendars and get ready for a sports event that is bound to keep you on the edge of your seat until the final inning.

William Kentridge: New Gravures 2022 – 2024 David Krut Projects, New York June 6 - August 3, 2024 Opening Reception: Thursday, June 6 from 6-8pm David Krut Projects, New York is pleased to announce William Kentridge: New Gravures 2022 – 2024, a continuation of exhibitions showing the artist’s editioned works collaboratively created at David Krut Workshop (DKW) in Johannesburg. New Gravures will be on view from June 6 – August 3, 2024 at our Project Space in the West Chelsea Building at 526 West 26th Street. William Kentridge's gravure collaborations with David Krut Projects date back to 2000, when Krut invited Randy Hemminghaus of Galamander Press to visit South Africa to create the artist’s first gravure plates. The plates were editioned at Galamander Press in New York in the workshop that became the location of David Krut Projects in Chelsea. Twenty years later, Kentridge returned to the gravure process with plates created in South Africa and this time editioned at David Krut Workshop in Johannesburg, which was established in 2002. The reintroduction of the gravure medium to Kentridge's repertoire proved to be a versatile and effective tool, enriching his image-making process and allowing him to navigate the distance between his team of long-time collaborators, now dispersed internationally. It enabled Kentridge to continue working with Master Printer Jillian Ross, who was his primary printer at DKW for seventeen years before returning home to Canada in 2020. David Krut Workshop printers have enabled an ongoing collaboration with the artist and Ross, with the new editions in this exhibition reflecting Kentridge's expanded use of the medium - incorporating multiple plates and collaging to present the concept of a fragmented view of identity. The body of work features Kentridge's well-recognized visual lexicon of processions, trees, and self-portraits, inviting viewers to contemplate their own journey of self-discovery and the interconnectedness of human experience. The most recent work and focal point of the show is My Father is a Tree in a Forest of Fathers, born from the initial pre-production set imagery of Kentridge’s forthcoming theatrical performance, The Great Yes, The Great No. Set to premiere in July 2024 in Aix-en Provence, France, this chamber opera delves into themes of power, colonialism, and migration, drawing on diverse influences and once again inviting audiences to contemplate the complexities of human existence. For more information, please contact info@davidkrut.com. David Krut Projects, New York 526 West 26th Street, Suite 816, New York, NY 10001 T. 212-255-3094 | E. info@davidkrut.com | Hours: Tuesday - Saturday from 11-6pm

For over three decades Daniel Rozin has been exploring the mechanisms of reflection. The artist utilizes custom software and mechanical engineering to examine a range of materials that reflect the viewer’s image in real-time. For his tenth exhibition at the gallery, Contours, the artist turns his focus to the outline of the human form. Rozin’s works often invite true-to-image reflection. Exhibited works in Contours shift away from rich appearance and towards the tension of delineated borders. Modern masters such as Pablo Picasso and Keith Haring celebrated the tension between line and area, inside and out, by implementing silhouettes and abstraction. Rozin presents four new pieces that approach the minimal side of reflection through the diverse materials of lenses, straps, carbon fiber tubing, and light. One Candle Mirror is a monumental installation situated in total darkness. The sculpture’s single light is diffused by 276 lenses positioned in front of the single candle. Each lens is articulated by a motor that rotates its focal direction “bending” the light to depict the viewer’s likeness while they move around the space. Rozin references the effect to that of a solar eclipse, citing the 1919 eclipse as a notable event that historically verified Albert Einstein’s theory of gravity bending light. Einstein’s theory was proven to be true by measures taken by Arthur Stanley Eddington during a total solar eclipse. In front of Rozin’s sculpture the viewer’s reflection is expressed as a silhouette made by the absence of light. In a nod to Keith Haring’s famously defined figures, Rozin plays with art historical archetypes through physical means. RGB Lights Mirror employs color reflection and is the 25th piece in the artist’s Mechanical Mirrors series that began in 1999 with Wooden Mirror. RGB Lights Mirror returns to the idea of turning tiles towards a bright light to activate them as pixels in a physical image. The work is made from aluminum knobs that rotate to face red, green, or blue lights and become color pixels. The vivid lights, coupled with the glow of the aluminum knobs, result in a saturated display that looks deceptively like an LED screen or a projected image. Viewers standing in front of the piece see themselves in saturated color and full motion. Rozin’s latest works, Contour Mirror and Straps Mirror, exemplify the artist’s analysis of form and outline. Contour Mirror is equipped with two columns of carbon fiber tubes. Contrasting yellow caps highlight the ends of each tube. When a viewer stands in front of the sculpture, all tubes respond in a choreography that aligns their yellow ends to portray the viewer’s outline. Straps Mirror continues Rozin’s investigation of constructing images by means of straight line objects. His exploration began in 2010 using wooden slats in the artwork X by Y and Twisted Strips (2012). This latest piece approaches straight lines through ribbons consisting of half white and half black straps that roll using custom mechanics. The work creates a high contrast image that investigates the contrast between monochromatic two dimensional areas and one dimensional lines.

The upcoming sports event, New York Yankees v Minnesota Twins, is set to take place at the iconic Yankee Stadium in New York on June 6, 2024. This highly anticipated matchup between the New York Yankees and the Minnesota Twins promises to be a thrilling experience for sports fans. Located at 1 E 161st St, Bronx, NY 10451, USA, Yankee Stadium is renowned for its electric atmosphere and passionate crowd. As the two teams face off in this epic battle, spectators can expect nothing short of an intense and competitive game. Whether you're a die-hard fan of the New York Yankees or a loyal supporter of the Minnesota Twins, this event is not to be missed. So mark your calendars and secure your tickets for New York Yankees v Minnesota Twins to witness sports history in the making at Yankee Stadium.

Welcome to the thrilling ShopRite LPGA Classic Day 1 set to take place at the esteemed Seaview Golf Club in Galloway on June 7, 2024. This prestigious event promises to showcase top-tier talent from around the globe competing for glory on the greens. The Seaview Golf Club, located at 401 S New York Rd, Galloway, NJ 08205, USA, provides the perfect backdrop for this high-stakes tournament. Fans and spectators can expect a day filled with riveting golf action and fierce competition as the players vie for victory. Mark your calendars and make sure not to miss out on the excitement of ShopRite LPGA Classic Day 1. Get ready to witness golfing greatness unfold at this must-see event that will surely leave you on the edge of your seat.