By Alex Distefano
By Scott Snowden
By Anna Merlan
By Steve Almond
By Jena Ardell
By Jon Campbell
By Alan Scherstuhl
By Tessa Stuart
This artist from Glasgow will be taping the gallery's floor with wall-to-wall strips of tape. If it's anything like his first taped floor installation a while ago in Soho, it will look fabulous, as bands of color wriggle around every corner and obstacle. If we're lucky, he'll also show a couple of bent door sculptures or taped record cover pieces, and a large construction of sewage pipes that meanders through the space.
April 3-May 1
Team, 527 West 26th Street, 212.279.9219
He goes to the movies, holds a video camera in his lap, and shoots from the hip. In other words, Routson bootlegs movies, transforming big-budget productions into casual video verité. It's questionable and peculiar work that pushes buttons, raises questions, and sometimes gets everything right. If there's no hint about which film (or films) he'll make use of in "Recordings II," that's because it probably isn't playing yet.
April 3-June 27
Exit Art, 475 Tenth Avenue, 212.966.7745
The artists haven't yet been selected from the 600 submissions that arrived in answer to an open call, so things are still a bit vague. But we can count on Exit Art's usual panache to pull off a timely show of brand-new installation work informed by terror, personal or political. Besides the projects by about 25 new names, there will be an extensive video program and performances.
'WORLDSCAPES: THE ART OF ERRO'
April 13-July 17
Grey Art Gallery, NYU, 100 Washington Square East, 212.998.6780
Who? This Icelandic Pop painterlong famous in Europe, nearly unknown heredecided early in the game that more, not less, was better. So he crammed his canvases with cartoon characters, political figures, mass-produced images, and consumer-culture iconsgetting a jump on his American counterparts to comment on pressing political issues. Did he move Pop art into a Baroque phase, as Arthur Danto has noted? Or is it proto-postmodern pastiche? We're about to finally find out.
GBE (Modern), 620 Greenwich Street, 212.627.5258
Our own 21st-century Boldini, who has an amazing knack for capturing pop-idol images of exhaustion and celebrity with the perfect virtuosic ennui for our time, is back with new work. Fans will find her latest paintings and drawings in the Whitney Biennial as well as in this solo show.
April 24-June 19
303 Gallery, 525 West 22nd Street, 212.255.1121
This Canadian-born cine-conceptualist's work is always cyclical and loaded with theory. So even if his new film, involving an old typewriter and a blizzard of white power, isn't as riveting as Vexation Islandand it would be hard to top his tropical island projection in which a coconut eternally conks a shipwrecked pirate on the headit's sure to be intriguing.
April 27-May 29
White Box, 525 West 26th Street, 212.714.2347
Over 30 young American artists, from a generation better known for teenage bedroom antics and trendiness than political commitment, take up the cause of participatory democracy and election issues for this benefit show, which will help a voter registration campaign in Florida this summer. Chris Johansen and Scott Hug, who has a special issue of K48 planned to coincide with the opening, are among them.
April 30-June 5
Lehmann Maupin, 540 West 26th Street, 212.255.2923
Last time, this Korean-born artistin whose work the individual tends to be inseparable from the groupstitched a wonderful gauzy re-creation of his whole New York apartment, complete with hallway and stairs to the floor above. It had a feeling of being uprooted, flimsy, and halfway around the world from home. In his current installation, a vast parachute carries the names of 3,000 individuals (family, friends, and people who signed the gallery book when they came to his previous shows), whose signatures have been stitched with pink thread. It's tethered to one tiny paratrooper.
May 8-June 12
D'Amelio Terras, 525 West 22nd Street, 212.352.9460
Doing nearly nothing to throwaway stuff like bottle caps or packaging, or simply filling a few plastic bottles with colored water, Feher has built a major reputation for work that balances between utter banality, impeccably casual form, and pure transcendence. But that's exactly its magic: Precarious, vicarious, and improvised, his arrangements of humble consumer containers never fall flat.
Hovering between physical disorientation and mind-altering reorientation, this Austrian-born maverick, living in Sweden, switches easily from magic mushroom photos to flashing, light-bedecked structures. At London's Tate Modern he recently showed a series of sliding mirrored doors that opened and closed randomly. He plans an installation of revolving ones here.
'MODIGLIANI: BEYOND THE MYTH'
May 21-September 19
The Jewish Museum, 1109 Fifth Avenue, 212.423.3200
The quintessential bohemian artist, who died young and faded into the dim mists of the early Parisian avant-garde, is resuscitated in an exhibition of 80 paintings, sculptures, and drawings that explores not only his elongated nudes but his heritage as an Italian Sephardic Jew, and his style, which looked to the art of Egypt, Africa, and archaic Greece.