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New York gives you numerous choices when you are in a mood to attend an art gallery exhibition or be a part of an exhibition opening. Some sources say that there are more than a thousand of art galleries in NYC and, of  course, you do not have time to attend them all. But the good thing is that art galleries are usually located in clusters and so if you go to one of them, there is, basically, a 100% chance that you will be able to see art works, be that paintings or photos or scupltures, in many other art galleries located just nearby, whatever neightborhood you happen to be in.

The very first neighborhood where artist lived and art galleries thrived in New York City was Grenwich Village, which boated active art scene as far back as 1850. That active art scene did last: Greenwich Village was the place where Gertrude Vanderbilt Whitney opened her Whitney Studio Club Gallery in 1914, which would become the Whitney Museum for American Art (now located in Chelsea).

With immigrants pouring into the city in larger numbers than ever before at the turn of the century, the wealthy families tried to outrun their spread uptown by moving to the Upper East Side. The art galleries followed the buyers and established themselves in the neighboorhood as well.

Midtown, Grenwich Village and the Upper East Side housed most of the New York art galleries for over 100 years. Those three neighborhoods continue to house many of Manhattan art galleries. Upper East Side art galleries are located mostly in the area between Park and Fifth Aves in the mid-70s. Midtown art galleries are clustered near Fifth Avenue. Many of them are on the 57th St. They usually represent big name artists.

Early in the 1960s artists started moving into the neglected commercial lofts of the cast-iron district south of Houston Street, known as SoHo. In the 1970s and ’80s SoHo was the City’s best-known art distric. But SoHo art galleries became the victims of the neighborhood's success which they themselves have created. Before the artists moved into SoHo, the neightborhood was an array of empty factories buildings and abandoned warehouses. Artists moved in as the premises had lots of light and space, and were dirt cheap. As the artists were right there, the art galleries sprang up. The neighboorhood attarcted crowds and so retailers decided to capitalize on the cool images that SoHo have attained. They flooded the area and it made the rents go skyhigh and made the area unaffordable to the artist community. This story repeats itself in many towns and cities all over the world, and so instead of dwelling on it, let us tell you which other neighborhoods have the galleries that you may want to atend. SoHo has become more of a shopping mall than a place to see intereating art work, although about 20 galleries are still located there. 

The first place that comes to mind when one talks about the artists' and galleries' flight from SoHo is, of course, Chelsea. That's where many of SoHo galleries had to run to when the skyrocketed rent forced them to leave SoHo in the 90s. Chelsea art galleries are located between 18th and 28th Streets going South/North and between 10th and 11th Avenues going East/West. If you start there you may end staying there, as Chelsea's list of galleries has about 200 names or so.

Another gallery district is the Lower East Side, which is located east of Bowery and between Houston and Grand Streets. The galleries here usually show up and coming artists. You can see there lots of local grown art. The neighborhood is filled with inviting bars, cafes and restaurants, and with small smart clothing shops. So you can combine gallery hoping with bar hoping and with shopping for something off the beaten track.
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28 Exhibition Openings at New York Art Galleries (NYC) Sat, 04/27/2024 - and on...

There are over a thousand art galleries in New York, most of which are located in six Manhattan neighborhoods: Chelsea, SoHo, Midtown, Upper East Side, Greenwich Village, and East Village. It is almost impossible to list all the exhibition openings that take place in NYC art galleries. Here is a good sampling to start with.

        

Opening Reception | Xingzi Gu: Pure Heart Hall


It was believed in the 17th century that emotion—love, in particular—quite literally warmed the heart, which then produced water vapor to cool itself down, which would then travel to the eyes and expel as tears. In their breathy dreamscapes and pools of silky jewel tones tinged with murky stains, Xingzi Gu’s paintings materialize a soft, psychically charged atmosphere in which emotional experience is also physical, akin to “heart vapor.” The misty sensibility that wells up in Pure Heart Hall, as it does so much of our lives as a source of grief, ultimately lends itself to what the artist describes as a self-generated belief system—one comprised of magically elusive properties of connection and the deeply felt alchemy of relationships that meet us where we are. Here, lightly summarized figures with unfinished limbs and wispy expressions slip in and out of odd moments of gathering and solitude, cuddling and masturbating, disassociating yet substantially present. Through their ethereal motifs of veiling and blurring, Gu obscures clarity of vision like eyes brimming with liquid, smearing distress into love into heartbreak into belonging into free-fall.
   New York City, NY; NYC
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Sat, Apr 27
6:00 pm

Free
Opening Receptions, April 27, 2024, 04/27/2024, Xingzi Gu: Pure Heart Hall

Opening Reception | Sara Anstis: Small Works


A solo exhibition of the London-based artist Sara Anstis, featuring a recent series of intimately scaled pastels. Anstis’s seductive renderings are suffused with subjectivity, depicting dream-like scenes of figures amid spare yet evocative environments. Staged in ritualistic scenes that quote mythic and medieval imagery alongside references to early iconographic Renaissance painting, Anstis engages with allegorical and symbolic modes of representation through vivid and compelling narratives. Across the trance-like meditations of her figures, Anstis exacts a series of uncanny and mysterious tableaux in which nature and human form are disassembled and entwined.
   New York City, NY; NYC
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Tue, Apr 30
5:00 pm

Free
Opening Receptions, April 30, 2024, 04/30/2024, Sara Anstis: Small Works

Opening Reception | Maurizio Cattelan: American Contradictions


Maurizio Cattelan's first solo gallery exhibition in more than two decades. Cattelan's new project will once again confront the contradictions of American society and culture, and also touch on a sensitive issue confronting the world at large. Born in Padua in 1960, Cattelan is one of the most provocative figures in the art world. Often dismissed as a prankster, he is a deeply political artist whose work investigates issues that affect us all. In Sunday, his debut solo exhibition at Gagosian, Cattelan will affirm his ability to address art history and current affairs simultaneously, presenting them as two parallel but paradoxically convergent tracks.
   New York City, NY; NYC
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Tue, Apr 30
6:00 pm

Free
Opening Receptions, April 30, 2024, 04/30/2024, Maurizio Cattelan: American Contradictions

Opening Reception | Niki de Saint Phalle: Tableaux Éclatés


French-American artist Niki de Saint Phalle's show features five works of her late-career Tableaux Éclatés, the series first exhibited in her retrospective at the Musée d'Art Moderne de Paris in 1993. The dynamic Tableaux Éclatés (“burst paintings”) are vibrant, mechanized pictures depicting landscapes upon which animals and still lifes, as well as her trademark Nanas, dance across beaches, deserts, and seas. Each painting’s composition is animated through an intricate motorized armature activated through a photo sensor: when the artwork recognizes a viewer, internal motors trigger motion of the work’s disparate elements or illuminate the scene with brilliant electric bulbs.
   New York City, NY; NYC
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Tue, Apr 30
6:00 pm

Free
Opening Receptions, April 30, 2024, 04/30/2024, Niki de Saint Phalle: Tableaux &Eacute;clat&eacute;s

Opening Reception | The Ancestor’s Future: An Afrofuturist’s Journey Through Time


This exhibition is a personally curated journey from the past of Black America to the future of the African diaspora with performance artist and public historian Cheyney McKnight. It will explore community bonds, community healing, and community adaptability. McKnight speculates on a distant future while looking to the past and present to inform us on how Black Americans may get to a future where Black bodies and communities reap the full benefits of their creativity, ingenuity, resources, and labor.
   New York City, NY; NYC
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Tue, Apr 30
6:00 pm

Free
Opening Receptions, April 30, 2024, 04/30/2024, The Ancestor&rsquo;s Future: An Afrofuturist&rsquo;s Journey Through Time

Opening Reception | Shuang Li: I'm Not


The first institutional solo exhibition by artist Shuang Li, featuring newly commissioned sculpture and video installations. Li’s work explores how language, relationships and identities are formed and mediated through screens and the internet. Li delves into her own life as a fan to ruminate on how these technologies inform the social bonds and materiality of fandom, and the complexities of building a world predicated on a fervent love of something distant. Growing up in a small town in Southeast China, Li became (and remains) an ardent fan of My Chemical Romance, a band that introduced the possibility of subcultural belonging as well as the English language into the artist’s life. MCR fandom unfolds as a case study in the exhibition for an examination of distant bodies and displaced desires.
   New York City, NY; NYC
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Wed, May 1
6:00 pm

Free
Opening Receptions, May 01, 2024, 05/01/2024, Shuang Li: I'm Not

Opening Reception | Teresita Fernández: Soil Horizon


Over the course of her decades-long career, Fernández’s practice has been characterized by an expansive reimagining of what constitutes a landscape: from the subterranean to the cosmic, to contentious borderlines and borderlands. In Soil Horizon, the artist turns inward, to the elusive and numinous landscapes we carry within. Returning repeatedly to the question “Where am I?” as an emotive and conceptual point of origin, Fernández unravels the intimacies between matter, human beings, and places. The artist’s subtle conceptual practice and material processes have positioned her at the forefront of contemporary art, cementing her place in the canon and contextualizing her work within art historical discourse on art and land. Following Soil Horizon at Lehmann Maupin, SITE Santa Fe will present Teresita Fernández / Robert Smithson. Opening in July 2024, this two-artist exhibition will feature over 30 works by Fernández and mark the first time Robert Smithson’s oeuvre has been placed in conversation with an artist working today.
   New York City, NY; NYC
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Wed, May 1
6:00 pm

Free
Opening Receptions, May 01, 2024, 05/01/2024, Teresita Fern&aacute;ndez: Soil Horizon

Opening Reception | Richard Diebenkorn: Figures and Faces


From the artist: "With the small paintings of heads, I would like the expression of the whole surface to be felt as the nature of the subject's character (as opposed to the facial expression and the facial form presenting the character)."
   New York City, NY; NYC
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Thu, May 2
12:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, Richard Diebenkorn: Figures and Faces

Opening Reception | Barbara Nessim: That '70s Show


This show is a joint project in which 19 New York galleries highlight an artist who made work during the 1970s. We are pleased to present paintings and works on paper by barrier-breaking artist Barbara Nessim (b.1939, lives and works in New York, NY). Nessim, who forged a career in magazine illustration at a time when there were very few women working in the field, developed a painterly vocabulary of brilliantly colored forms and recurrent motifs which reflected the visual zeitgeist of the early 1970s. Our presentation will focus on her abstract landscape paintings which depict concepts for sculptural installations and incorporate a dynamic ribbon motif. We will also expand the context, by including several concurrently made works on paper of Nessim’s iconic WomanGirls, nubile dancers who brandish the ribbons as a kind of prop.  
   New York City, NY; NYC
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Thu, May 2
5:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, Barbara Nessim: That '70s Show

Opening Reception | 2 Art Shows: Thinking in Trees / Limbo


Alexi Worth: Thinking in Threes Alexi Worth presents a group of three-part paintings, colorful and puzzling ensembles of disparate images. “More like triplets than triptychs,” as Worth describes them, the new works resemble rebuses or comics sequences, bands of adjoining, semi-independent pictures that complicate and complement each other. Each has a different scale, touch, and temperament, a different claim to our attention. Together, they create an associative, subtly enriched kind of pictorial experience. Amy Cutler: Limbo Known for her intricate, narrative paintings and drawings of women and hybrid beings absorbed in enigmatic tasks, Amy Cutler’s latest works evoke points of transition. Her reoccurring, symbolic imagery gives form to latent thoughts and feelings, building a layered world of visual metaphors. Images of horses, turtles, boats, and travelers’ bags reoccur, invoking themes of time, movement, and progress––often impeded. These surreal narratives make sharp observations about individual and collective struggles, obsessions, and dilemmas. The burdens carried and labor performed by the women in Cutler’s paintings are suspended in action, leaving the viewer to draw their own conclusions.  
   New York City, NY; NYC
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Thu, May 2
6:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, 2 Art Shows: Thinking in Trees / Limbo

Opening Reception | A Chromatic Affair: A 3-Artist Show


An exhibition featuring paintings and sculptures by Latchezar Boyadjiev, Gadi Fraiman, and Belle Roth. The show investigates the artists’ personal relationships with color and the significance it holds in conveying messages and emotions.  Bulgarian sculptor Latchezar Boyadjiev stands as a leading figure in contemporary glass art, with an impressive 50 solo exhibitions marking his career. Latchezar Boyadjiev’s monochromatic creations gracefully inhabit the space, casting an aura of ethereal beauty. Evocative of the female body, they curve elegantly along fragmented color planes, each sculpture vibrating at a different energetic frequency. Through the sensual intersection of light, color, and form Boyadjiev integrates beauty into modern architecture and contemporary environments.  A recent addition to the gallery, Gadi Fraiman has maintained a successful sculptural practice in Israel for three decades, creating large-scale statues from stone, and more recently bronze and stainless steel. Fraiman displays two bronze and stainless steel pieces from his newest Balloon Girl series, which portrays young children gleefully immersed in play, symbolizing the innocence and joy of childhood. The exhibition also features two colored bronze sculptures by the artist, Swan and Colored Tango, an exploration of the effect of color on our lives and emotions.  Filipino-American painter Belle Roth will present her newest collection of abstract acrylic paintings, evolving from her signature patterned aesthetic. The pieces feature one or two large circles in the center of the canvas amidst vibrant splashes of color, as symbols of simplicity and peace amidst everyday chaos. Through appeasing blue and pearl tones, each artwork offers stillness to the gaze, reflecting the artist’s quest for balance. 
   New York City, NY; NYC
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Thu, May 2
6:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, A Chromatic Affair: A 3-Artist Show

Opening Reception | Huong Dodinh: Transcendence


The show, which marks the artist’s first- ever solo presentation in the US, will bring together paintings and works on paper she has created over the course of her career, from the 1960s to the present day. Coinciding with the 2024 edition of Frieze New York, the show will be accompanied by a new catalogue from Pace Publishing, which will be released during the exhibition. Dodinh was born in Soc Trang, Vietnam in 1945. Forced to flee the country, her family sought refuge in Paris in 1953 after the outbreak of the First Indochina War. Dodinh has lived and worked in the French capital ever since, cultivating a solitary life in service of her artistic pursuits. Insulating herself from art market trends, she has maintained a commitment to authenticity, purity, contemplation, and truth in her work since she began painting in the 1960s.
   New York City, NY; NYC
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Thu, May 2
6:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, Huong Dodinh: Transcendence

Opening Reception | Lubaina Himid: Street Sellers


A new series of paintings as well as works on paper and domestic objects. For decades, Himid’s vibrant and incisive artworks have operated in the gaps of the historical record, lending lush visibility to issues of labor, migration, and the human toll of empire. Her latest cycle of paintings affirms the dignity of work through depictions of street vendors who ply their wares, outfitted with the tools of their particular trade and seen on a grand scale. Here the genre of the full-length portrait—long the domain of aristocrats and monarchs—is recast with new protagonists, shown deep in thought yet fully at one with their respective métiers. Asserting the centrality of Black subjects to art historical arenas long denied them, Himid contends that she is “not a painter in the strictest sense,” but rather “a political strategist who uses a visual language to encourage conversation, argument, change.”
   New York City, NY; NYC
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Thu, May 2
6:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, Lubaina Himid: Street Sellers

Opening Reception | Ming Smith: On the Road


A selection of photographs from the artist’s archive that encapsulates the arc of her exploratory impulses as she sought and probed new subject matter and formal innovation from 1970 through 1993. Encompassing never-before-seen vintage and contemporary prints of images captured during her travels around the world, On the Road embodies the spirit of adventure and curiosity that advanced Smith’s singular entry into, and scrutiny of, the provinces of urban existence, nature’s quietude, family intimacy, popular culture, military life, and jazz milieus. In the 1970s in New York, Smith’s practice was propelled by inquiry—both through her immersion in the Kamoinge Workshop and her preoccupation with the ideas of prominent twentieth-century American and European photographers. Cultivating her own radical sensibility in early experiments, she alluded to the virtuosity of Brassaï, Roy DeCarava, Diane Arbus, and Robert Frank. These artists set a tempo upon which Smith developed her own dexterity in portraiture, landscape, and street photography—highly attuned to the textures, geometries, and thrums pulsing through every spectrum of life. She recognized the haunting allure of an oil-slicked roadside and the liquid lightning of brass instruments in musicians’ animated hands. Smith listens through her camera, sensitive to the harmony and dissonance that enliven her subjects and surroundings. At times, it is easy to forget that she works in a static medium, since each photograph transports its viewer into the energetic nucleus of the moment she captures. Through paint application, double exposure, and low shutter speed, Smith pushes photography’s form to the point of its brim and break. Like harnessing a memory, Smith underlines the evanescent—at once vivid and obscure.
   New York City, NY; NYC
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Thu, May 2
6:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, Ming Smith: On the Road

Opening Reception | Neil Jenney: Idealism Is Unavoidable


Balancing idealism and realism, Jenney's landscape paintings are highly stylized and rendered with a careful attention to detail. Begun in 1971, the Good Paintings are differentiated from Jenney's previous body of work, which he designated as Bad Paintings (1969-70) after curator Marcia Tucker's 1978 New Museum exhibition "Bad" Painting, which included his work. Painted in acrylic in a loose, gestural style, the Bad Paintings represent relationships between people and things, while upending preconceptions of connoisseurship and "good taste." The Good Paintings are instead exacting studies of nature in oil paint on wooden panels. Jenney's Good Paintings impart the experience of observing the North American landscape at close range, in contrast with the expansive vistas of untamed wilderness typical of the historical Hudson River School. While describing the natural world, many of the works also remind us that the environment is never far removed from human intervention. Jenney's handmade black wooden frames are integral to these works, which he regards as "painted sculpture." Playing off the classical conception of a painting as a window into fictive space, the frames create an architectural foreground, asserting their status as physical objects. The works' mediated nature is further emphasized by the inclusion of titles stenciled in uppercase serif lettering.
   New York City, NY; NYC
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Thu, May 2
6:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, Neil Jenney: Idealism Is Unavoidable

Opening Reception | Yamini Nayar: Ouroboros


Nayar chooses the image of the ouroboros - a snake biting its own tail, which symbolizes the cyclical renewal of life, death and rebirth - as a metaphor for her own creative process. Guided by the knowledge of her "hand”, the artist builds materially-invested, often life-size assemblages using ubiquitously available materials such as paper, plaster, studio detritus and printed ephemera. During this cumulative process of building, taking apart, "risking ruin" and burrowing into, ideas emerge intuitively, often springing from the subconscious. Once recognized, Nayar then clarifies and enriches what is coming to the fore, tapping into her own bodies of research such as Alchemy and Myth. These assemblages are built for the camera apparatus, which not only gives permanence to their continuously shifting gestalt, but also serves as the photographic "eye”.    Departing from Nayar's previous concerns with modernist architecture's singularity and it's preoccupation with "the line", as exemplified in such works as Chrysalis (2013), this new body of work privileges organic, more natural forms to suggest the feminine, the ornamental, the body and Eros. Completely built by hand, Nayar's work questions the fundamental shift in our relationship to the environment as it emerged in the Renaissance when architectural drawing became the primary site of exploration, distancing concept from execution, thus putting into play our extractive relationship to the environment.
   New York City, NY; NYC
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Thu, May 2
6:00 pm

Free
Opening Receptions, May 02, 2024, 05/02/2024, Yamini Nayar: Ouroboros

Opening Reception | Gesture & Form: Women in Abstraction


This show brings together twenty modern and contemporary artists working within the mode of abstraction. In recent years, greater efforts have been made to remediate the imbalanced presence of women artists in the story of abstract painting, and this exhibition engages in that change by celebrating the formidable contributions of these painting giants, past and present.
   New York City, NY; NYC
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Fri, May 3
6:00 pm

Free
Opening Receptions, May 03, 2024, 05/03/2024, Gesture & Form: Women in Abstraction

Open Studios | Open Studios


2023–24 artists in residence sonia louise davis, Malcolm Peacock, and Zoë Pulley open their studios to the public. Visitors are invited to meet the artists and be among the first to see what they've been working in the residency.
   New York City, NY; NYC
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Sat, May 4
12:30 pm

Free
Open Studioss, May 04, 2024, 05/04/2024, Open Studios

Opening Reception | Leelee Kimmel: The Wilds and the Shore


Leelee Kimmel continues in the refinement of a certain sort of abstract painting. But that word seems uneasy, correct but subtly off. What sort of refinement is this, or elaboration, or even “study”— the anodyne quality of that word is deliberate. Kimmel is outside of fashion: not so much as a whisper of personal experience or life story, no appeal to identity, that skeleton key to all living myths and histories, omnipresent and deader than the Rev. Casuabon’s hopeless attempt to find the key to all mythology. But keeping within the conspectus of the Victorian novel, nothing is more perversely animated, more plastic with eldritch innovation, than what is dead: Dracula, Frankenstein, and a comically replete world of unquiet spirits. Kimmel would be uninterested in pursuing the Matisse idea of art, that beautiful armchair — but no one shirks Matisse, that’s just wrong and rude. But she doesn’t do that trip. Luxe, calme, et volupté — well Kimmel’s paintings have a luxurious quality, even a voluptuous one; but they’re very seldom calm.
   New York City, NY; NYC
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Tue, May 7
6:00 pm

Free
Opening Receptions, May 07, 2024, 05/07/2024, Leelee Kimmel: The Wilds and the Shore

Opening Reception | An Homage to Curator Otto Kallir: Klimt, Schiele, Kokoschka, & More


Over 100 years ago, on November 20, 1923, Otto Kallir’s (1894 - 1978) Neue Galerie opened its doors in Vienna with an exhibition of paintings by Egon Schiele. Kallir played a key role in establishing the posthumous reputations of Schiele, Gustav Klimt, and Richard Gerstl. His exhibitions of Edvard Munch (1924), Paul Signac (1924), Caspar David Friedrich (1926), Vincent Van Gogh (1928), and Auguste Renoir (1931) awakened Vienna to the avant-garde. Kallir supported the Hagenbund artists’ association and artists such as Alfred Kubin and Oskar Kokoschka. After emigrating in 1938, he made significant contributions to the international recognition of Austrian modernism through exhibitions, sales, and donations to American museums and was duly honored by the establishment of The Neue Galerie New York, Museum for German and Austrian Art in 2001, named after his Vienna gallery. This show will present a comprehensive exhibition honoring Otto Kallir. Works by Klimt, Schiele, Kokoschka and Kubin will be on view.  
   New York City, NY; NYC
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Wed, May 8
5:00 pm

Free
Opening Receptions, May 08, 2024, 05/08/2024, An Homage to Curator Otto Kallir:&nbsp;Klimt, Schiele, Kokoschka, & More

Opening Reception | Stanley Whitney: By the Love of Those Unloved


A master colorist, Whitney takes an exploratory and lyrical approach to painting. Each of his canvases is structured as a loose grid of rectilinear blocks in three or four rows. Laying down one vivid color at a time, the artist establishes relationships between each area, its neighbors, and the composition as a whole, employing gestural brushwork to juxtapose hues applied with varied degrees of opacity. Between each row are linear bands that ground the composition and sometimes extend the tones of individual blocks. Inspired by jazz, Whitney defines a space within which to improvise, each painting setting a unique group of chromatic and spatial harmonies in motion. Peaches (2023) is dominated by the warm pinks and oranges suggested by its title, which stand in contrast to the cooler blues, blacks, and greens with which they are paired. Spanning ten feet in width, As Wild as the World 2 (2023) reveals the visual impact of scale in conjunction with Whitney’s iterative technique. High Hopes (2024) is a study in contrasts, with complementary pairs of red/green and orange/blue pressing against one another. The loose brushstrokes and more muted tones at the top and bottom of A Tribute to Billie (2024) establish a sonorous composition that evokes the expressive power and vulnerability of its namesake, Billie Holiday.
   New York City, NY; NYC
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Wed, May 8
6:00 pm

Free
Opening Receptions, May 08, 2024, 05/08/2024, Stanley Whitney: By the Love of Those Unloved

Open Studios | Exhibition Walkthrough: El Dorado: Myths of Gold


An Exhibition Walkthrough of El Dorado: Myths of Gold Part ll. Led by Jose Falconi, Professor of Art and Human Rights at the University of Connecticut, and artist Ronny Quevedo, this walkthrough will explore Quevedo's work within the context of the exhibition and the myth of El Dorado. They will guide visitors through the artworks, delving into the connection between the continuity and effects of the myth in the Americas from the pre-Columbian period to the contemporary era. Early arrival is suggested as space is limited.
   New York City, NY; NYC
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Sat, May 11
12:00 pm

Free
Open Studioss, May 11, 2024, 05/11/2024, Exhibition Walkthrough:&nbsp;El Dorado: Myths of Gold

Opening Reception | Alma Allen: New Sculpture


The exhibition brings together a combination of new sculpture in bronze, cast in the artist’s foundry, and works carved from stone sourced from areas surrounding his studio in Tepotzlán, Mexico. Realized with hybrid processes both ancient and cutting-edge, Allen’s sculptures are imbued with a timeless quality while conveying a dynamic range—from works defined by their refined formal simplicity to those brimming with complex gesture. Allen approaches sculpture by devising a series of formal parameters to foster pre-conscious and intuitive decision making via the hand, a process that complements his research into ideas relating to the structure of the physical world. This new body of work evolves various compositional and material directions explored in Allen’s recent institutional exhibition Nunca Solo at Museo Anahuacalli in Mexico City, demonstrating the artist’s ongoing experimentation into the ability of matter to embody contemplations on free will, consciousness, and the nature of time.
   New York City, NY; NYC
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Thu, May 16
6:00 pm

Free
Opening Receptions, May 16, 2024, 05/16/2024, Alma Allen: New Sculpture

Opening Reception | Farkhondeh Shahroudi: of weeping trees


This show showcases new and older works ranging in media including drawing, video, sculpture, textiles, artist books, and more across nearly 30 years of Shahroudi's practice. Evoking and reframing colonial materials and motifs such as rubber and the so-called "Oriental" rug respectively, the title of this exhibition calls forth reoccurring themes present in the artist’s oeuvre such as identity, language, family, and psychology. In her practice, Shahroudi inhabits the space between, around, and beyond language. Taking up the tradition of automatic writing, she inhabits inclusion through her process of painting her mother tongue Farsi with her dominant right hand, and distantiation of German, deliberately slowed down by writing with her left hand. Understanding all her work as three-dimensionally materialized poems, Shahroudi abstains from explicitly recounting the history of her migration from Iran to Germany in 1990, where she has lived ever since. Rather, memory, in her work, operates as a more subtle thread weaving between the political and a childlike coyness. Playfully integrating language constructions containing simultaneous elements of absurdist humor and moments of grief, Shahroudi invites us to come up with our own associations; akin to providing us with a tool – much like a tuning fork – that enables us to listen to the echoes of a multiple present.  
   New York City, NY; NYC
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Thu, May 16
6:00 pm

Free
Opening Receptions, May 16, 2024, 05/16/2024, Farkhondeh Shahroudi: of weeping trees

Opening Reception | Jamie Nares: Nares Traces


The exhibition will examine over 120 works on paper in a variety of media—namely oil, ink, and enamel—made after refocusing her artistic attention from film to painting in the early 1980s. Coolly perceptive, Nares’ works on paper share the same conceptual focus on movement, rhythm, and measurements of time that has driven the artist's various bodies of work over the last fifty years. This exhibition points to paper as an essential instrument in Nares’ ongoing exploration of these themes.
   New York City, NY; NYC
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Thu, May 16
6:00 pm

Free
Opening Receptions, May 16, 2024, 05/16/2024, Jamie Nares: Nares Traces

Opening Reception | The Instant Art of Morris Katz


“Painting,” according to Morris Katz, “is like shmearing a bagel.” A genuine performance artist, his standard routine would be to line up two dozen canvases and paint them all within the span of an hour – using only a palette knife and toilet paper – all the while cracking jokes and explaining his craft to rapt audiences. Called “a self-contained vaudeville act” by New York Magazine, Katz holds a unique place in the annals of the art world as a painter who not only worked with incredible speed – whipping up paintings within just minutes – but who did so while engaging his audiences with Borscht Belt style shtick and then auctioning the paintings off to all comers. Celebrate the launch of the exhibition with a reception.
   New York City, NY; NYC
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Thu, May 16
7:00 pm

Free
Opening Receptions, May 16, 2024, 05/16/2024, The Instant Art of Morris Katz

Opening Reception | Artist Talk: Soil Horizon


On the occasion of Soil Horizon, Teresita Fernández joins award-winning writer Jacqueline Woodson for an intimate conversation about the exhibition and vital themes that appear throughout her practice.
   New York City, NY; NYC
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Wed, May 22
5:30 pm

Free
Opening Receptions, May 22, 2024, 05/22/2024, Artist Talk: Soil Horizon

Opening Reception | Made in Cologne: 15 Artist Working in Ceramic


Fifteen artists working at the ceramics atelier of Niels Dietrich. David Adamo Richard Deacon Cameron Jamie Alicja Kwade Heinz Mack Mike Meiré Mai-Thu Perret Otto Piene Heinz-Günter Prager Norbert Prangenberg Thomas Schütte Rosemarie Trockel Paloma Varga Weisz Rose Wylie Anna Zimmermann
   New York City, NY; NYC
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Wed, May 22
6:00 pm

Free
Opening Receptions, May 22, 2024, 05/22/2024, Made in Cologne: 15 Artist Working in Ceramic
Complimentary Tickets

to shows, concerts ... (CFT Deals!)

Play | Drama with Broadway Actors

Regular Price: $77
CFT Member Price: $0.00

Play | A Play with Tony Nominated Director

Regular Price: $60.55
CFT Member Price: $0.00
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