Nothing says summer in New York like a slew of July group shows before galleries shut their doors for August and everyone juts off to somewhere cool or coastal to escape the heat.
Jonathan Lyndon Chase, summer dream number one, 2024. Image courtesy of Company Gallery.
Summer in the city is the time when art world behemoths flex their rosters and the lesser-known give a sampler of their programming. The season is an evening of the playing field, if you will, with shows that celebrate decades-long bonds and others that introduce new names to the scene. With countless group shows to see, and a finite amount of time, here are Family Style’s top picks, those that cut through (or drown out) the noise and offer enough to chew on until September.
Rirkrit Tiravanija, Untitled (lunch box), 1996. Image courtesy of Anat Ebgi.
“Mama’s in the Kitchen” at Anat Ebgi
Through August 16, 2024
At Anat Ebgi, the underpinnings of domestic labor are unpacked through food. Tuesday's lunch, 2024, Stephanie Temma Hier’s chair is just as the title suggests: a composite of Brussels sprout stalks, asparagus, lobster, and sandwiches—albeit all made of glazed stoneware and linen. Kemar Keanu Wynter's painting aptly titled McRib, 2021, renders the aforementioned fast-food favorite into a delightfully messy, saucy-fingerprint-stained abstraction. Other works offer a more austere interpretation, such as Ryan Johnson’s monochrome white Bread (Limestone), 2023. And Rirkrit Tiravanija’s Untitled 2010 (BBQ corner), 2010, in which stainless steel appliances are staged and atop mirrored chrome panels—the opposite of another work on view by Tiravanija, Untitled (lunch box), 1996, in which Thai takeout from a local restaurant is staged font-and-center.
Anat Ebgi, 372 Broadway, New York, NY 10013
Marco Paul Lorenzetti, Sunrise on Grand Street (in yellow ochre, like gold), 2024. Image courtesy of Amanita.
Through August 10, 2024
The eight painters on view at Amanita, including Robert Nava and Marco Pariani, all live and work in Brooklyn. This love letter to the sprawling borough captures everyday views with reverence: some look inwards to friends such as Cristina BanBan’s tender and gestural portrait of three women in states of undress; some look outwards—to Manhattan through their barred windows like Paul Cooley’s pink-hued Bushwick December 9th (early afternoon sun), 2023, and down the street in Williamsburg, as in Marco Paul Lorenzetti’s Sunrise on Grand Street (in yellow ochre, like gold), 2024.
Amanita, 313 Bowery, New York, NY 10003
Jeff Williams, Sleeveless Denim, 2024. Image courtesy of Jack Hanley.
"Contemporary Fossil Record” at Jack Hanley
Through August 9, 2024
At Jack Hanley, cultural artifacts from everyday life are fossilized through unconventional means, and decay is a muse rather than a threat, from Marie Lorenz’s metronomes made from matter sourced from New York City waterways to city streets where dancers are caught mid-motion by Liz Magic Laser as they drag their jean-clad bodies across the sidewalks. To Lyric Shen's photographs imposed via water onto hand-made clay. In Jeff Williams’ Sleeveless Denim, 2024, a study in material hangs from the ceiling, salmon-hued and latex- and aluminum- cast. A model building, sans roof, by Lorenzo Bueno invites a closer look at the string of photographs (and even tinier building) housed inside.
Jack Hanley, 177 Duane St, New York, NY 10013
Y. Malik Jalal, keloidal ridge push, 2023. Image courtesy of Shrine.
“A Thousand Plateaus” at Shrine
July 12 through August 16, 2024
A cohort of emerging artists from Yale’s MFA Sculpture Class of 2024 employ a range of materials at Shrine. New forms arise from porcelain, iron sourced from bathtubs, hair pins, and a traditional Korean skirt, the latter metabolized in a scarlet assemblage with fake orchids by Rachel Youn. Patrick F. Henry's bronzes peel and twist, and Y. Malik Jalal’s keloidal ridge push, 2023, straps a large glacial stone to the ground via stainless steel watch-bands. Andrew Ordonez’s repurposed trampoline, orb 2, 2024, appears to have been excavated from a bygone era, dirt and debris still clinging to its frame.
Shrine, 368 Broadway, New York, NY 10013.
Barbara Ess, Bathers (from Terrace), 2016/2019. Image courtesy of Magenta Plains.
“Swim Hole” and “Chadwick Rantanen, Eli Coplan, Hana Miletić, Rachel Fäth” at Magenta Plains
Through August 16, 2024
Works by Magenta Plains artists such as Alex Kwartler and Martha Diamond capture summer's fleeting moments of repose. In the print Bathers (from Terrace), 2016/2019, Barbara Ess peeks through the branches of a pine tree—the late photographer's her eye fixed on a group wading in uninhibited bliss through a body of water. Alexis Rockman’s effervescent watercolors of poppies and daisies poke into the sky. Upstairs, fewer artists present more challenging works that latch onto a door frame and extend past the walls in political renderings of industrial materials. Made from fiberglass, resin, wood, urethane, PVC, and sand: the mauve shape of Chadwick Rantanen’s Weightable Cutaway, 2023, is hard to place, but tilt your head just so, and the red knob in its center looks like an eye.
Magenta Plains, 149 Canal St, New York, NY 10002.
Elizabeth Englander, Ozymandiana, 2019. Image courtesy of Company Gallery.
Through August 2, 2024
For its second annual group show, Company Gallery brings out a lineup of names-to-watch, including Brianna Capozzi, Jonathan Lyndon Chase, Elizabeth Englander, and Cajsa von Zeipel. A surprising, Trypophobia-inducing tower of balled-up paper-wrappers sprouts out of a black Mary Jane. The shoe tiptoes into a leather bag emblazoned with Louis Vuitton insignia in Englander’s Ozymandia, 2019. In another Frankenstein-ed form, one of von Zeipel’s uncanny human sculptures appears to have materialized from the middle of a botched hair-cut appointment, her face streaked with red and a startled, cross-eyed expression.
Company Gallery, 145 Elizabeth St, New York, NY 10012
Shellyne Rodriguez, Anicca (Lavoe’s Existential Lamento), 2024. Image courtesy of P.P.O.W.
Through August 9, 2024
P.P.O.W's group show is a strong selection of artist-teachers, with the term “teachers” applied in the broadest sense. And true to the spirit of education, the exhibition is thought-provoking. A highlight is Jef Geys’ Large Seedbag - Carnevale di Venezia, 2016, an intricate and painstakingly executed observation by the multifaceted late artist. Works fluctuate between visceral (like Adam Putnam’s photograph of a body swathed and slouching from a hook) and heady (like Pratt professor Timmy Simonds’ text overlayed with bleached parsley, Inversions of the bad teacher, Paulo Freire (double white), 2024). While Elizabeth King’s chair, titled Theater, 1972-73, is not what it seems, animated with hidden electronics. Ideas permeate throughout the gallery, and it’s only natural that along with the exhibition, there is educational programming titled Faculty Meetings, organized by Timmy Simonds.
P.P.O.W, 392 Broadway New York, NY 10013
Lisa Spellman and Colin de Land outside the East 6th Street location of 303 Gallery. Image courtesy of 303 Gallery.
“303 GALLERY: 40 YEARS” at 303 Gallery
July 16 to August 9, 2024
Next week, 40 years of 303 Gallery will unfold across its Chelsea space. In an ode to the city and people who have shaped it, the exhibition, and an expanded companion hardcover of the same title, offers a total history of the gallery since it was founded by Lisa Spellman—underscored by ephemera displayed throughout. A testament to 303’s long-standing relationships with its artists, the show features a stellar lineup of 36 with many notable names, including Doug Aitken, Kim Gordon, Alicja Kwade, Tala Madani, Richard Prince, and Collier Schorr.
303 Gallery, 555 W 21st St, New York, NY 10011.
A new show from Public Art Fund places bronze casts of Thaddeus Mosley’s signature hand-carved wood sculptures in New York City’s City Hall Park. For the 98-year-old artist, his physically demanding practice, like life, is all about balance.
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