Alec Baldwin Hosts New ‘Art Fraud’ Podcast

Amagansett property owner Alec Baldwin is web hosting iHeartRadio’s new Art Fraud podcast primarily based on fellow Hamptonite Michael Shnayerson‘s 2012 Vainness Fair report on Manhattan’s now-infamous Knoedler Gallery, which unknowingly, or knowingly — relying on who you talk to — offered dozens of Summary Expressionist forgeries and defrauded collectors out of thousands and thousands of dollars above virtually two many years. Baldwin’s desire could have been piqued due to his personal history as a sufferer of a fraudulent art sale.

Portion of the wildly well-liked correct crime style of podcasts, brought to the fore by Sagaponack native Sarah Koenig‘s Serial in 2014, the eight-episode Art Fraud sequence is touted as an “investigative journey by means of 1 of the largest circumstances of artwork fraud in US history.” This tale, which is also informed incredibly well in Barry Avrich‘s 2020 documentary Produced You Glance: A Legitimate Tale About Bogus Artwork, now streaming on Netflix, explores art planet greed, willfulness, gullibility and, in lots of methods, the fragile believability of the full gallery system.

Art Fraud podcast cover logo
Courtesy iHeartRadio

Many of the artists who had been forged are amongst all those who lived and labored in the Hamptons, which includes Jackson Pollock, Robert Motherwell and Willem de Kooning. East Hampton artist Alfonso Ossorio, former proprietor of Ron Perelman‘s The Creeks estate, also played an essential purpose in the story, as the first seller of the forgeries, Long Islander  Glafira Rosales, stated he brokered the deals that inevitably landed the paintings in her palms.

In a statement, iHeartRadio clarifies the show and why the story was particularly scandalous, provided the point that Knoedler Gallery was at its center. “In operation considering the fact that 1846 and property to some of the metropolitan areas finest artists, the gallery’s fortune modified the instant an unassuming girl walked via the door with a canvas less than her arm allegedly painted by the Summary Expressionist master Mark Rothko,” it suggests. “So started a 17-calendar year partnership that would result in the sale of approximately 40 paintings from the likes of Motherwell, de Kooning and Jackson Pollock totaling far more than 80 million pounds. The only problem was that they were being all faux.”

Baldwin is no rookie in the podcasting world. He hosted his Here’s the Matter conversation podcast for WNYC Radio from 2011 to 2020, recording additional than 150 interviews, before shifting it to iHeartRadio, where he carries on to make episodes.

It must be pointed out that Baldwin may well have had a special affinity for internet hosting Artwork Fraud because he experienced his have taste of perfectly-heeled artwork galleries performing in poor faith when NYC art seller Mary Boone agreed to offer him Hamptons artist Ross Bleckner’s 1996 portray “Sea and Mirror” for $190,000, but she couldn’t get the piece from the collector who owned it, so the seller had Bleckner paint a copy and gave that to Baldwin in 2010, without having his information, rather.

Ross Bleckner, Alec Baldwin, Mary Boone
Ross Bleckner, Alec Baldwin, Mary Boone, Photos: Courtesy El Dorado Photos, ©PATRICKMCMULLAN.COM

The New Yorker chronicled the tale in “Moist Paint,” describing that Baldwin received the portray signed and dated with the suitable inventory range assigned to Bleckner’s unique “Sea and Mirror.” Baldwin found the big difference, and when he requested Boone about it, she mentioned the portray had been cleaned. Then, right after five several years of owning the painting, Baldwin experienced it examined by an specialist from Sotheby’s who uncovered the fraud, and Bleckner admitted to developing the duplicate when the actor confronted him about it.

In the conclude, Boone dodged legal prosecution because of to the statute of limitations on the crime, but she lost a civil match and was forced to give Baldwin a six-determine settlement in 2017.

Baldwin and Shnayerson are equally credited as govt producers of Art Fraud, which aired its initially two episodes yesterday, February 1, on iHeartRadio and is out there on all main podcast platforms, which includes Apple Podcasts. Hear to the preview below.

Beautiful art comes in small packages

Tiny in scale but visually powerful, the Handweavers Guild of The united states, Inc.’s Modest Expressions show features perform that speaks to the intricacy of expression, intimacy of style, thoughtful conversation and visible pleasure. The Gallery at 48 Natoma in Folsom hosts the West Coast premiere of the nationally touring 2022 show via April 7. This annual, juried exhibition showcases modern compact-scale functions utilizing fiber tactics in any media.

The artists in this exhibit create a huge impression as a result of small items. Functions juried into Small Expressions do not exceed 15 inches (38 centimeters) in any way and are of exhibition excellent, concluded in the final two decades and not earlier revealed. The artists whose functions are exhibited skillfully use a selection of textile techniques, incorporating the two regular and nontraditional supplies while shelling out distinctive interest to the limits concerned in making compact-scale works. Artworks consist of numerous fiber methods this kind of as weaving, interlacing, basket building, bead weaving, embroidery, felting and mixed media.

Founded in 1969, the Handweavers Guild of The usa Inc. is a nonprofit association of fiber artists with the mission to educate, help and inspire the fiber artwork group. This exhibition was generated by the HGA and all performs are courtesy of the artists. This exhibition is made attainable with support from the Fiber Rely on.

The Gallery at 48’s adjacent group gallery will function the once-a-year exhibit from the Folsom Arts Affiliation titled It’s a Small Earth.  Either modest in structure or depicting an additional portion of the globe, the artwork in this screen will contain a wide variety of media.

The Gallery at 48 Natoma is located at 48 Natoma St. in Folsom and is managed by the Folsom Parks and Recreation Division. The gallery shows art by regional and countrywide professional artists, space museum collections and traveling exhibitions, offering significant good quality, unique artwork exhibits to the group that if not could not be skilled in this location. Extra details is accessible at folsom.ca.us, the Gallery at 48 Natoma.

The Folsom Artwork Heart and Gallery at 48 Natoma are open up to the community 9 a.m. to 3 p.m. Monday by way of Friday with night hrs 6-8 p.m. Tuesdays and Thursdays get in touch with (916) 461-6601 for existing hours or to reserve a free tour appointment time. The gallery is totally free and open up to the community and art is readily available for invest in  For more facts get hold of Gallery Director Cindy Abraham at [email protected].

Inside the Home of Art Collector Chara Schreyer

Renowned art collector Chara Schreyer has five distinct homes scattered across the point out of California. Their function? To property the around 650 functions of artwork she has amassed all over her 50 many years in the industry—why buy art if it’s likely into storage? As she accumulates both equally properties and artwork, every single house and corresponding installation, as she phone calls them, will take on a persona of types. Her Belvedere property pays homage to the art and structure of the ‘60s even though her home at the San Francisco Four Seasons strikes extra of a minimalist chord. As the Tiburon assets was the initially of the ton (procured in 1976), it serves as a microcosm of her overall collection. Boasting sculpture, images, painting, video, “it’s sort of an amalgamation of the entire history of [contemporary] artwork.”

Due to the fact Schreyer’s target skews greatly toward the artwork, interior designer Gary Sutton techniques in to assist to frame her selection with style and design. The two have labored in tandem for 40 years (“longer than I’ve been with any husband”), a collaboration that led to the book Art Property: The Collaboration of Chara Schreyer and Gary Hutton.

“The home has so much visible integrity that it seriously stands the take a look at of time,” she points out. “It has not needed several updates.” Within just the 9,000-sq.-foot household that sits just north of San Francisco, the pickled-wooden and straightforward home furnishings serves as a backdrop to the illustrious artwork assortment that features Andy Warhol, Marcel Duchamp, Louise Bourgeois, and Robert Gober, between a lot of some others. It is the minimalism of a gallery sans the sterility variable. “My property is pretty extremely at ease,” the Berkeley-educated artwork historian points out of a home environment that assists soften the edge of the masterpieces in just. “I want individuals to come to feel cozy with contemporary art.”

Schreyer, who resides on the boards of the San Francisco Museum of Artwork, The Museum of Up to date Artwork Los Angeles, and the Hammer Museum, normally personifies her art as talking, no matter whether which is to a viewer, a prior era, or yet another piece in her collection. This dialogue is fluid and even normally takes the variety of her have own fantasy: the opening scene of the 1952 movie rendition of Moulin Rouge exactly where artist Henri de Toulouse-Lautrec envisions his masterpiece come to everyday living. Following a long time of evolution, the selection has achieved a position where it sings (read through about it in another fittingly named tome, Generating Unusual: The Chara Schreyer Assortment).

New Art Bank Exhibit at the Annenberg Community Beach House

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by Clove Galilee, Naomi Okuyama&#13

Quit by the Annenberg Community Seashore Dwelling for Artwork Financial institution: Picked Is effective from the Town of Santa Monica Art Collection and see pieces by standout artists from Southern California and additional afield. Paintings, prints, images, and sculpture sign up for general public art project maquettes and preparatory drawings for an eclectic mixture of model and subject. The Art Lender municipal art assortment was instituted in 1984 to provide artwork into Santa Monica’s general public spaces, and is funded via the Town of Santa Monica’s Percent for Artwork Method.

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Ali Acerol – It Is, 1993 &#13

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Robin Brailsford – Maquette for River of Lifestyle: Garibaldi, 2013 &#13

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Roberto Chavez- Musicians, 1992 &#13

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Kai Bob Cheng – Sealife, 1985 &#13

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John Divola – Traveling/Slipping, 1984 &#13

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Eugenia Zink Everett – Untitled, c 1930s &#13

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Anthony Friedkin – Gibson Frazier, Buffalo Nights Theatre Organization Dressing Room, Powerhouse Theatre, 2002 &#13

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Charles Garabedian – Phrasius, Thrasius, or Thaisus, 1994 &#13

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Helen & Newton Harrison – Proposal Drawing for California Wash, A Memorial, 1996 &#13

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Ernst Hesse – 3 Ladies, Santa Monica, 1989 &#13

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Tom Jenkins – Maquette for Roadster: NES Park proposal, 1984 &#13

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William M. Lecillo – Portrait of A Female, nd &#13

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Margaret Lazzari & Lauren Evans – Maquette for Exuberant Birds, 2014 &#13

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Linda Lopez – La Mano Poderosa, 1997 &#13

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Ed Moses – Q-UBO-T, 2001 &#13

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Roland Reiss – Blue Moon, 1992 &#13

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John Hubbard Wealthy – Juan and José, 1933 &#13

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Ilene Segalove – T.V. Rerun – Pass up America, 1987 &#13

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William Tunberg – Hand to Mouth, 1986 &#13

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Efram Wolff – Theatre, 1984 &#13

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Ann Wolken – The Studio, 1985 &#13

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Norman H. Yeckley – Adobe La Cañon, 1941 &#13

The Beach Dwelling Gallery is open 9 a.m.-4 p.m. just about every working day several hours are subject matter to modify, connect with ahead to (310) 458-4904 to confirm. For more data, visit annenbergbeachhouse.com. This exhibit is made attainable with assistance from Gregory Annenberg Weingarten, Increase @ Annenberg.

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Clove Galilee
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Cultural Affairs Supervisor&#13

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Naomi Okuyama
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Arts, Lifestyle & Entertaining, Beach front, Areas To Check out, The Arts&#13

Petra Cortright on Why She Has No Interest in Jumping on the Political Art Bandwagon

Petra Cortright will make rather paintings—an irreverent enterprise in an artwork globe that is a lot more than at any time aligning itself with the problems of the working day (to different degrees of effect). The U.S.-born artist doesn’t concern herself with that development, just as she does not problem herself with critics who can’t recognize how she will make paintings with no paint. She has extended been interested in the internet, and her paintings warp and distort no matter what she lands on there into lovely, if unfamiliar, imagery.

In the early 2010s, Cortright became identified among the a cohort of millennial digital publish-world wide web artists for her small assertion movie functions that innovated and confounded the notion of selfies and other forms of self-presentation on the web. And her work proceeds to come across relevance these days: Just very last year, in a flurry of pandemic acquiring, MoMA in New York acquired Cortright’s prescient early get the job done VVEBCAM (2007), which features the artist staring vacantly at the display screen as minimal JPEGs flicker throughout. This yr, she will head to Saudi Arabia to just take portion in collector Pierre Sigg’s recently recognized artist residency.

In portray, her visible language is not very low-res portraiture, but somewhat lively and comprehensive landscapes on cold aluminum that feel to radiate mild, which she will make by overlaying and distorting photos she finds on the Net.

Artnet News spoke with the artist about how she adapts to a modifying World-wide-web, escalating into a new stage of her everyday living and occupation, and why she likes to depart politics outside the studio door.

Installation view of Petra Cortright's show "Baleaf Gys Akademiks Maamgic Brokig" on view until February 5, 2022, at Société, Berlin. Courtesy Société, Berlin.

Installation check out of Petra Cortright’s demonstrate “Baleaf Gys Akademiks Maamgic Brokig” on look at till February 5, 2022, at Société, Berlin. Courtesy Société, Berlin.

Can you tell me a little bit about your clearly show on check out in Berlin right now at Société?

The file is developed in Photoshop—a full sequence or a entire show comes from a person file. The supply illustrations or photos are from the world-wide-web or from my cell cellphone and the illustrations or photos are damaged aside or damaged down. Hues from the pixels can be extracted for paint strokes. The brush strokes are manufactured from Wacom tablet, so it is by my hand. You can make the brushes from scratch, so what that implies is that you can help you save a sure set of parameters and you can control the variety of bristles in the brush, the angle, and the share of h2o in the brush. All these factors we’re conversing about is about managing pixels, but it is hyper-sensible to portray. I have like a selection of about a ten years of saved brush packs that I’ve collected for yrs now.

Every ingredient of the portray is completely editable and malleable, so every small piece that you see can be changed. Quite a few files are saved, lots of versions are saved, and then I conserve as I go. I’ll go back later and decide on the kinds that are my favorites and people are sent to the printer to be made into a bodily do the job. The temper of the file dictates the substrate a very little little bit. Sure data files will go through better on aluminum or specific kinds will read through far better on linen. The selection of that just relies upon on how huge the gallery is.

When you see your get the job done as illustrations or photos on-line, it could look as if it’s painted on paper or canvas. I speculate, do you really feel like your work ever is misread?

Yeah, it is a thing that I have been conveying for a lengthy time and I imagine I’ll have to keep explaining it for a really long time. The concern is that I’m a painter, but I never use paint, so it confuses persons. I’m not attempting to confuse folks but it does. How do you make a portray without having paint? What will make a painting a portray? I usually needed to be a painter and I feel I have a painter’s mind but I really don’t have the endurance for the course of action or the resources. In addition, I never had the cash to make investments into that method, both. There is relatively of a barrier of entry into that, and I have often just felt so intelligent and strong when I use a computer. I can perform speedily and I can make so quite a few files—I consider that is a holy grail situation for an artist, when you are able to make quickly each strategy that you want to make, with no holds barred. Just the independence in that is some thing that I definitely benefit, so I really do not even know how I would not operate digitally. When I choose to generate a actual physical piece, that’s when money gets included. It’s very pricey to make awesome physical items.

Petra Cortright <i>1983 oldsmobile cutlass supreme_688(I) Hunter/Killer animorphs Nickelodeon</i> (2021). Courtesy Société, Berlin.

Petra Cortright 1983 oldsmobile cutlass supreme_688(I) Hunter/Killer animorphs Nickelodeon (2021). On look at until finally February 5, 2022 at Société. Courtesy Société, Berlin.

What sets you apart from a large amount of artists, in my viewpoint, is your disinterest in striving to be on the suitable side of problems. You often tried using to not provide ethics into your do the job and preserve art separate. How have you been considering about this currently?

The artwork globe just about has a gun to people’s heads in the current local climate, telling them to make perform that is political, social, or about someone’s identity. Art is so substantially even larger than that. I have constantly separated artwork from the artwork planet and from the art current market. It is some thing that’s definitely vital for me to be in a position to do simply because artwork would or else be ruined for me. Artwork in a incredibly pure, abstract type is value preventing for. The art environment is a social assemble: At its finest, it can be a supportive group of people and, at its worst, it has almost practically nothing to do with art and it’s just a social point. The art market is a money assemble that is barely real and totally laughable due to the fact it is just so dark. I could not sleep at the conclude of the day if I felt hypocritical about my operate or if I was striving to say that the get the job done was carrying out a little something or encouraging individuals in a way that it just wasn’t.

It is really uncomplicated for me: Art in common is incredibly significant to me and I come to feel like I am a defender of magnificence and simplicity. In that perception, I have no trouble letting go of the perform, selling it, or having it be in the artwork environment, due to the fact that meaning is currently there for me, and it’s already quite individual. Making a dwelling of art is a big surprise and privilege. I failed at almost all the things else I’ve tried using to do in my life, so I experience pretty fortunate. But trying to mix that in with moral thoughts will get incredibly difficult quite speedily. I have no issue selling function or producing a dwelling off of it, since I want to have a steady and good daily life, and I’m not heading to apologize for that or say that I never want that. Since I surely do.

It seems like you have your individual ethics all over staying straightforward about why you are earning art and what it signifies to you, but it just does not align with the dominant discourse.

Artwork can assist factors in a quite summary way, but if you seriously required to help persons, you could grow to be a social employee. There are other employment that you could do that would make 1,000 times more of an effects. My intention has normally been to make function for myself. I seem to be to be non-practical in other endeavors that I’ve tried in lifetime. If there is a byproduct of other individuals savoring the work and they want to obtain it, then everyone wins.

Petra Cortright's <i>vvebkam</i> (2007) "Body Snatchers (The Church)" at the Church of San Giuseppe, Polignano a Mare (April 12 – June 20, 2021).

Petra Cortright’s vvebkam (2007) “Body Snatchers (The Church)” at the Church of San Giuseppe, Polignano a Mare (April 12 – June 20, 2021).

The performs on watch at Société seem to attract on the hues of the forest fires. You are centered in California. Is weather change something you were being imagining about actively even though creating the performs? How has lifetime been throughout these past pair a long time with these yearly disasters?

I never assume any of the get the job done I make is overtly a statement, but I consider there are delicate items that leak, which takes place when you are producing abstract visuals. The nervousness of dwelling in the Western U.S. is at any time-current. There’s anxiousness about fires and absence of water. Fires have an effect on the mild listed here and the air quality and there are particular situations when it’s extremely hard not to assume about it. It definitely bleeds in, primarily if I’m painting landscapes. I am also performing with supply visuals from the American West. I’m definitely fascinated in that aesthetic correct now for several good reasons. I am interested in the Wild West and the thought of America, liberty, and what that signifies and how that has modified so a great deal in the previous pair decades. The display at Société was also loosely heaven and hell inspired, which also goes along with the idea of The us and all the polarizing elements of lifestyle right here.

Right. It feels like you are surrounded on all sides: bodily, mentally, just about.

Yeah, but it’s wonderful. My quality of life is very fantastic. There are these constructs in people’s minds now. You can be as depressing as you want to be for several motives, no matter whether it is politics or environmental concerns, but at the conclude of the day, it can be rather a choice regardless of whether to be miserable.

How has a reworking world wide web changed the way you get the job done?

I certainly use much more of my possess images now in my paintings since it became more durable to come across appealing supply materials that wasn’t affected by algorithms, which make items tedious. They are just making an attempt to force products for sale. I use Bing impression research, which will provide up Blogspot visuals so you can from time to time get extra exciting effects. The way that I have interaction with the internet is really various now than it was like 15 decades in the past for numerous factors. There are reasons that are out of my regulate, and then also I am a various person than I was 15 several years in the past, too.

<i>Pink_Para_1stchoice</i> Time's square Electronic Billboards, New York, 2019.

Pink_Para_1stchoice Time’s square Digital Billboards, New York, 2019.

Do you truly feel much more hooked up to a specified era of the Net?

I’m generally fascinated in what I can make today. I’ve never ever seriously been the type of artist that thinks a large amount about the foreseeable future. I do get nostalgic for the earlier, but I actively try to function against that mainly because it’s not productive. We just can’t go back again to the online that was, and it results in so considerably suffering to dwell outside of actuality like that. I test to steer clear of that amount of suffering in my existence. I have just manufactured peace with the reality that the only detail that I can make is what I can make now. Obviously, my passions will keep shifting and evolving, and I truly feel like the potential will form itself out without the need of me contemplating about it or stressing about it nowadays.

A huge subject matter in art presently is NFTs.

I have manufactured a great deal of them just mainly because the work that I’m now creating slots into it so effortlessly, even the file measurements. The videos that I’ve usually built have been very a reduced file sizing. I check out to be brave and hold partaking. I don’t like considering about what is the ideal detail to do. As a great deal as possible, I try to experiment and engage, which I imagine is additional productive and interesting at the conclude of the working day.

On your website, requests for purchases are directed to your studio electronic mail. Most artists at your career stage refer a future purchaser to their most important gallery. What is your romance to your galleries?

I most likely work a tiny in different ways than most people—there is central manage with my studio. I do the job with an artwork dealer in L.A., the notorious Stefan Simchowitz. I have fantastic relationships with all the galleries. The studio filters requests and it just will get divvied up rather geographically. If the ask for is coming in from Europe, it would make feeling for a European gallery to deal with it. I just check out to do matters logically and just. I make a great deal far more work than I can exhibit or that can be in the market place at any specified level in time. There’s not seriously like a provide issue when it comes to functioning with several galleries.

<i>3_beutyfol girls xerox desert rose</i> by Petra Cortright (2018). Courtesy of Artist and Sketchedspace

3_beutyfol girls xerox desert rose at Doota Plaza, Seoul (2018) by Petra Cortright (2018). Courtesy of Artist and Sketchedspace

What are the benefits of having several galleries, furthermore a single artwork seller, at this issue in your career?

All my galleries are mid-job galleries. None of them are blue-chip, and that is fine. That seems like a whole new established of politics and social factors. I don’t know how interested I am in that. I’m just very happy with how factors are now. Everything is extremely purposeful, and it is awesome to get the job done with folks that I actually like. I just like to perform with men and women that I also get pleasure from acquiring evening meal with. It’s a nicer way to operate.

You are a mom now. How do you navigate motherhood as an artist, offered your disinterest in id tags?

I’m incredibly protective of my child. There are individuals who know that I have a child, but he’s not really on social media or everything like that. I have really powerful emotions about youngsters and social media. I want to give him the present of privateness as significantly as I can. Each when in a blue moon, I’ll do a close mates post—but I consider to maintain him shielded as considerably as I can from the evil art globe.

I do not truly have faith in other people’s perceptions of my everyday living. That another person would believe that it’s like a weak spot, which it is not. This almost certainly also discounts with the way that I use the World-wide-web now. Fifteen a long time back, I shared a ton of particular data online. Now, I truly don’t share that many individual facts about my existence.

<i>CLINTON+CIGAR CODES OF X-MEN VS. STREET FIGHTER_Commodore 1541</i> (2021). Courtesy Société, Berlin.

CLINTON+CIGAR CODES OF X-Adult men VS. Street FIGHTER_Commodore 1541 (2021). Courtesy Société, Berlin.

Have you cleaned up your outdated stuff on the net at all?

I really don’t delete just about anything from the web. I have basically produced a level of it. It was one thing that I made a decision to do a prolonged time in the past: if you’re heading to set this out there and if you are heading to interact with the globe in this way then you ought to stay with the implications of that. There is info from 50 {6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} my everyday living decaying and rotting around on the web. If people realized in which to go searching for it they could uncover some cringe-y uncomfortable issues. My Dwell Journal is up. But there is so a lot data that it is just kind of lost.

How has turning into a mom transformed your do the job move as an artist?

I have a son. It undoubtedly changed factors. I do not get to function in an unrestricted way like I made use of to. I have to wait around in some cases if I have an thought, and then it normally takes a little bit for a longer time to uncover the time to get it performed. It is also an strength point, like just remaining much more worn out. I utilized to function in actually extended 10- or 12-hour classes on the laptop. I are unable to do that any longer. I experienced to find out how to come across a way to get some thing carried out by chipping away at a thing for like 45 minutes and taking a split and coming again to it. It is most likely good for me. I have constantly had this panic, like with any huge daily life improve that I’ll under no circumstances be able to make function all over again, or I’ll in no way be able to make function how I did, and then which is hardly ever the circumstance. Mainly because I have all my documents, I have proof of what I have carried out ahead of and can review it with what I’m undertaking now. It’s even much more elaborate than right before, in my feeling. So, it is a superior factor.

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Your Concise New York Art Guide for February 2022

Installation view of Sadie Barnette: The New Eagle Creek Saloon, The Kitchen, New York, January 18, 2022–March 5, 2022 (courtesy of The Kitchen; photo by Adam Reich)

Contrary to the art world’s discursive habits, art isn’t a code you crack; it’s more like a place you go, ideally in good company. This February, go there. Lend an ear to a sonic fusion of orchestral music and noise from a concrete plant, watch furniture spring to life in protest or pleasure, and dance in a glittery reimagining of San Francisco’s first Black-owned gay bar.

Installation view, Cosmic Geometries, EFA Project Space, 2022. From left to right: Marilyn Lerner, Queen Bee, Oil on panel, 36×48 inches, 2020. Rico Gatson, Untitled (Double Sun/Sonhouse), Acrylic on panel, 36×48 inches. 2021, Courtesy of Miles McEnery Gallery, NYC. Natessa Amin, variable small works, materials and dimensions variable, 2018-2021. Stephen Mueller, Passeggiata, acrylic on canvas, 72×66 inches, 2005, Courtesy of DC Moore Gallery, NYC. Anoka Faruqee and David Driscoll, 2017P-07, Acrylic and linen on panel, 33.75x 33.75 inches,  2017. Dorothea Rockburne, Lamenting Angels #2, Aquacryl and gouache on paper, framed, 22.5×30 inches, 2021, Courtesy of David Nolan Gallery. 

When: through February 26
Where: EFA Project Space (323 West 39th Street, Midtown West, Manhattan)

Hilma’s Ghost, a feminist artist collective cofounded by Brooklyn-based artists Sharmistha Ray and Dannielle Tegeder in 2020, used ritual divination — and an invocation of the spirit of the organization’s departed namesake, the Swedish Theosophist artist Hilma af Klint — to curate Cosmic Geometries. Work by a diverse group of 25 creators, including Carrie Moyer, Yevgeniya Baras, and Laleh Khorramian, unites around a shared affinity for the spiritual, the mystical, and the occult in abstraction.

Still from Theo Triantafyllidis, Ork Haus, 2022, video (courtesy of the artist and Meredith Rosen Gallery, New York)

When: through February 26
Where: Meredith Rosen Gallery (11 East 80th Street, Upper East Side, Manhattan)

“The feeling of presence: this is the defining quality of the metaverse,” a voice flatly tells us, borrowing some of Mark Zuckerberg’s vacant techno-utopic utterances. Among the highlights of Athens-born, Los Angeles-based artist Theo Triantafyllidis’s solo show are two video installations that connect contemporary feelings of alienation with the radicalization pipeline: one simulation depicts bored Orks on their electronic devices amid storms and kitchen fires, while the other features a violent clash of figures, some of whom carry white nationalist flags.

La Monte Young, Trio for Strings, 2021. © La Monte Young. Cover design by Jung Hee Choi with calligraphy by Marian Zazeela (courtesy of Dia Art Foundation)

When: through February 26
Where: Dia Chelsea (537 West 22nd Street, Chelsea, Manhattan)

Dia Art Foundation, which counts Max Neuhaus’s sound installation in Times Square as one of the eleven sites it manages, has been a staunch supporter of sound art for some time — and now has three releases to celebrate. In Listening Space, gallery-goers can enjoy a jukebox preloaded with the nonprofit’s sound publications, from On Kawara’s “One Million Years (Future)” (1993), in which a man and a woman methodically count, to new records by La Monte Young, Deantoni Parks and Lucy Raven, and Carl Craig.

Installation view, Looking Back / The 12th White Columns Annual – Selected by Mary Manning, White Columns, 2022 (photograph: Marc Tatti; courtesy of White Columns)

When: through March 5
Where: White Columns (91 Horatio Street, Meatpacking, Manhattan)

After a pandemic pause on the tradition, New York’s oldest alternative art space has opened the 12th iteration of its Annual, thoughtfully guest-curated by New York City-based photographer Mary Manning as a reflection on and response to their past year of art experiences. The exhibition features work by 25 intergenerational artists, including Patrick Angus, Aria Dean, Stewart Uoo, and Gordon Parks, and will be accompanied by a screening of Barbara Hammer’s films at the Lesbian, Gay, Bisexual & Transgender Community Center.

Kate Millett, Dinner for One, 1967. Mixed media, 48 x 24 x 24 in. (courtesy of the artist and Salon 94 Design, New York. © Kate Millett)

When: through March 5
Where: Salon 94 (3 East 89th Street, Upper East Side, Manhattan)

In 1967, The Judson Gallery debuted a suite of fantasy furniture by downtown New York artist and radical feminist writer Kate Millett, who is best known today for her 1970 text Sexual Politics. The furnishings, currently on view at Salon 94, are whimsical, anthropomorphic, and wonderfully weird fusions of found objects and hand-carved wood that form a cabinet that opens its chest cavity, a bed with protruding feet, a stool that feeds itself, and even a table on roller skates (whose depiction on New York City’s streets in a 1967 edition of Life was weaponized as “proof” that Millett, a doctoral candidate at Columbia, was not a serious scholar).

Installation view of Sadie Barnette: The New Eagle Creek Saloon, The Kitchen, New York, January 18, 2022–March 5, 2022 (courtesy of The Kitchen; photo by Adam Reich)

When: through March 6
Where: The Kitchen (512 West 19th St, Chelsea, Manhattan)

Organized in conjunction with The Studio Museum in Harlem, The New Eagle Creek Saloon presents Oakland-based artist Sadie Barnette’s fluorescent recreation of the San Francisco gay bar that her father, founder of the Compton chapter of the Black Panther Party, operated in the early 1990s. On select Saturdays, the architectural installation is activated by DJs invited by queer scholar and artist madison moore as part of The Kitchen’s new nightlife and club culture residency; visitors are invited to dance, an homage to queer Black spaces past and present.

Liz Larner, vi (calefaction), 2015. Ceramic, glaze, stones, and minerals, 36.6 x 21 x 7.5 inches (courtesy of the artist and Regen Projects, Los Angeles)

When: through March 28
Where: SculptureCenter (44-19 Purves St, Long Island City, Queens)

Don’t put it back how it was, co-organized with the Walker Art Center in Minneapolis, surveys the work of Liz Larner, an astonishingly versatile sculptor and installation artist who came out of CalArts in the 1980s. The works on view run the gamut from Larner’s early experiments with bacterial cultures, to a kinetic wall-bashing machine, to the ceramic slabs that have occupied the artist for the past two decades. Though materially and aesthetically diverse, these sculptures are rooted in a common interest in the ways that bodies move and exist in social and architectural space.

Hugh Hayden’s Brier Patch at Madison Square Park, 2022 (courtesy of the artist and Madison Square Park Conservancy; photo by Yasunori Matsui)

When: through April 24
Where: Madison Square Park (11 Madison Avenue, Nomad, Manhattan)

Overtaking four lawns of Madison Square Park, Hugh Hayden’s ambitious sculptural installation features 100 wooden elementary school task chairs rendered unusable by the bare tree branches that aggressively sprout from them. Contemplating inequity in the American education system, Hayden’s Surrealist twist on vernacular classroom furniture depicts institutionalized learning as a thicket that is structurally uninviting, exclusionary, and absurd.

Beverly Semmes, Eye Tooth, 2021. Ink, acrylic over photograph printed on canvas. 54 7/8 x 40 in. (courtesy of Susan Inglett Gallery, NYC; photo by Chris Kendall)

When: February 3–March 12
Where: Susan Inglett Gallery (522 West 24th Street, Chelsea, Manhattan)

Initiated in the early 2000s, Beverly Semmes’ ongoing “Feminist Responsibility Project” intervenes with vintage porn magazines; using paint or ink to obliterate the bulk of women’s bodies in graphic images, Semmes transforms the subjects into awkward abstractions. Continuing this complex gesture, recent works on view in POT PEEK explore the resemblances between the effaced women and vessels, literally and conceptually.

Faith Ringgold, The Wake and Resurrection of the Bicentennial Negro, 1975-89. Mixed media, dimensions variable. (courtesy of the artist and ACA Galleries, New York, 2021 © Faith Ringgold / ARS, NY and DACS, London; photo by Ron Amstutz, courtesy Glenstone Museum, Potomac, Maryland)

When: February 17–June 5
Where: New Museum (235 Bowery, Lower East Side, Manhattan)

Celebrating six decades of art by Harlem-born nonagenarian Faith Ringgold, this long overdue retrospective features a collection of figurative paintings, narrative textiles, and soft sculptures shaped by a belief in the power of women’s labor and Black visual traditions. A highlight is the entirety of the “The French Collection” (1991–1994), Ringgold’s 12-part series of experimental story quilts exploring the life of a Black American artist and model working in the modernist circles of 1920s Paris.