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Postcard From New York by Clio Art Fair I December 5-11

Postcard From New York by Clio Art Fair I December 5-11

In partnership with Clio Art Fair, we are presenting you a new format: Postcard From New York!

 

Every week, we will share with you what's happening the NYC art scene!

Let's discover what's going on these days in the Big Apple.

 

In Museums

 

JEAN-MICHEL BASQUIAT: KING PLEASURE
@ Starrett-Lehigh Building
Now open - through January 1, 2023

Jean-Michel Basquiat’s contributions to the history of art and his explorations of multifaceted cultural phenomena––including music, the Black experience, pop culture, Black American sports figures, literature, and other sources––will be showcased through immersive environments providing unique insight into the late artist’s creative life and his singular voice that propelled a social and cultural narrative that continues to this day.

Organized and curated by the family of Jean-Michel Basquiat, this exhibition of over 200 never-before-seen and rarely shown paintings, drawings, multimedia presentations, ephemera, and artifacts tell the story of Jean-Michel from an intimate perspective, intertwining his artistic endeavors with his personal life, influences, and the times in which he lived.

King Pleasure is the title of a painting created by Jean-Michel in 1987 and the name of a bebop-loving bartender turned jazz vocalist whose first hit, in 1952, “Moody’s Mood For Love,” catapulted him to fame. The song was a favorite of the WBLS DJ Frankie Crocker, who played it at the close of his show every night in the 1970s. Gerard Basquiat, Jean-Michel’s father, was also fond of the tune.

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In Galleries

ANNA WEYANT: Baby, It Ain’t Over Till It’s Over
@ Gagosian
November 3, 2022 - December 23, 2022

Gagosian is pleased to present an exhibition of new paintings and drawings by Anna Weyant in New York. This is her first exhibition with the gallery, which announced its representation of the artist in May.

Baby, It Ain’t Over Till It’s Over features seven new paintings along with ten new drawings. The exhibition, which sees Weyant further develop the aesthetics and themes of her previous work, takes its title from a song by Lenny Kravitz—which in turn repeats Yogi Berra’s aphorism—and riffs in self-aware fashion on popular expectations of a young artist’s career trajectory. Many of the exhibited portraits depict the same figure in two slightly different poses, suggesting subtly divergent aspects of the same persona and making reference to the biblical doubled image. The paintings hang on a lush green velvet backdrop, supplied by design house F. Schumacher & Co., which resonates with the images’ hint of camp theatricality.

Weyant’s precisely rendered figures often find themselves embroiled in tragicomic narratives, while her everyday objects adopt an eerie, portentous air. In both cases, she employs a keen ironic wit to evoke myriad idiosyncrasies and contradictions. Drawing on a range of historical and contemporary influences, Baby, It Ain’t Over Till It’s Over examines aspects of an American milieu and media landscape, the subjects of which are displayed with an exactitude and intensity that is at once oneiric and all-too-real.

Weyant’s figurative paintings are images of feminine composure undercut by dream logic, the small awkwardnesses of her doll-like subjects’ smooth-skinned bodies hinting at the manipulative influence of unseen hands. But far from reacting with overt violence to the binds—expected or not—in which they find themselves, these women and girls opt instead for a cool remove, an agency in the form of quiet refusal. The atmosphere of menace with which the artist colors such images is present, too, in her still-life compositions. The arrangements of flowers in It Must Have Been Love and She Drives Me Crazy (both 2022) share a stark look and unsettling air. Reflected in the shiny surfaces of the latter is a figure with arm raised as if poised to strike—a trope borrowed from slasher cinema. “In Weyant’s telling,” writes Emma Cline in an essay on the artist for the Winter 2022 issue of Gagosian Quarterly, “the valence of the fairy tale takes on a savage and brilliant edge: the tropes are distorted, slyly rearranged, made more uncanny or hilariously deflated.”

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In Brooklyn

Shop the Studios
@ Dumbo, Brooklyn
December 10, 12:00 PM–4:00 PM

Just in time for the holidays, 35 artists in DUMBO will open their studios to the public to sell their art on Saturday, December 10, 12-4pm. Organized by the DUMBO Improvement District and Art in DUMBO, Shop the Studios is an opportunity to connect directly with artists working in DUMBO, Brooklyn, explore their studios, and take home an original artwork priced for the holidays.

Shop the Studios is organized in coordination with the DUMBO x Brooklyn Flea Holiday Market in the Archway, the iconic 45-foot-high plaza under the Manhattan Bridge. The Brooklyn Flea Holiday Market regularly attracts thousands of visitors, so this cooperative event is intended to bring artwork sales and visibility to the local creative community by encouraging market-goers to visit local art studios.

All are welcome. RSVP is not required, but if you’d like a reminder, you can register. An event map is available, too! Stop by the Shop the Studios information table at the Brooklyn Flea market to learn more.

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Outside

Your Voice
@ Lincoln Center for the Performing Arts
Through December 23, 2022
Performances on specific dates

In the spirit of the holiday season, Moët & Chandon is hosting a series of global celebrations in more than 20 cities around the world, bringing people together in celebration of connection and diversity. Of all cities, New York City in particular has a long-standing relationship with the Maison. As a hallmark of the occasion, Moët & Chandon has commissioned a public sculpture, “Your Voices” by British contemporary artist Es Devlin, installed on Lincoln Center’s Josie Robertson Plaza as a celebration of cultural connection in the most linguistically diverse place on the planet, New York, where over 700 languages are currently spoken.

The kinetic sculpture is formed of 700 glowing cords expressing the 700 languages currently spoken in New York City, which are tensioned between a series of structural arcs, enveloping visitors within a revolving illuminated network as it rotates north, south, east and west through a multilingual soundscape which interweaves languages drawn from all over the city: from Algerian Arabic, Alsation, Azeri and Ashanti to Zapotec, Zarma and Zulu.

The work responds to anthropologist Wade Davis’s observation: ‘Every language is an old growth forest of the mind, a watershed of thought, an entire ecosystem of spiritual possibilities.’

As the sculpture revolves, it acts as a lens between the viewer and their surroundings. The viewer’s perspective is spliced and framed by the shifting strands of the sculpture as it turns, evoking the way our perspectives are enriched and shaped by experiencing the linguistic structures and identities of others, amidst a soundscape composed by the contemporary composers, Polyphonia, in which the powerful text from EM Forster’s 1910 novel Howards End has been translated into multiple overlaid languages: “Only connect, and live in fragments no longer.”

Every language is a vast library of cultural, historical, and biological knowledge gathered over centuries and New York City is a living linguistic library. The luminous harmonics of this work aim to draw our attention to the complex beauty of New York’s linguistic diversity and celebrate its vital role in the resilience and civic sustainability of the city and its future. The work has been made in association with the Endangered Language Alliance. Their interactive map details every language and the location of its speakers within the city.

On select evenings at 6:00 pm, Lincoln Center for the Performing Arts curates a series of New York-based choral groups to perform live from within the sculpture. Each choir represents the vast range of unique voices and languages of this special city.

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See you next week!
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