By Tom Sellar
By R. C. Baker
By Tom Sellar
By Tom Sellar
By Jessica Dawson
By Tom Sellar
By Jennifer Krasinski
By Jennifer Krasinski
If there's a trend this fall in the art world, it's the embrace of the unfamiliar. Sure, you can get your servings of comfort food via Matisse (MOMA, October 12), Helen Frankenthaler (Gagosian Gallery, September 11), or yet another round of Cubism (the Met, October 20). But for whatever reason—new curatorial energy, a general hunger for the offbeat—numerous well-conceived shows are bringing us the forgotten, the neglected, the obscure, and the freshly innovative.
For starters, the major AbEx entry (Jewish Museum, September 12) goes back almost 70 years to consider the early but imaginative work of two underrated painters, Lee Krasner (forever known as Jackson Pollock's widow) and the Harlem-born Norman Lewis, who often found inspiration in African-American life.
Intriguing, too, are separate surveys of two avant-garde consortiums from the 1960s. The Guggenheim devotes its rotunda to Group Zero (October 10), a trio of Germans (Heinz Mack, Otto Piene, and Günther Uecker) who, in the aftermath of World War II, attempted an artistic rebirth with kinetic and light-based work, and whose transformative notions would expand, globally, to other renegades, many of whom remain little-known in this country. Up at Hauser and Wirth's 69th Street location, you'll find rarely seen work by the radical Vienna Actionists (September 9), an iconoclastic clan that purged their postwar trauma through violence, destruction, and flagrantly lewd acts, typically using their bodies as surfaces or tools for their defiant, paint-based art.
See also: The 2014 Fall (Arts) Issue: An Index
At the opposite extreme, the renovated 68th Street gallery at Hunter College presents the exquisite wire constructions and the delicate, network-like drawings of Gertrud Goldschmidt ("Gego") and Gerd Leufert (October 2). Partners in life and art who'd fled the Nazis for Venezuela, they explored similar geometric motifs in parallel, but their long relationship, strangely enough, has received little attention, and their work is hardly ever shown together — which makes this exhibit a particular treat.
All in all, the eclectic season promises, more than most, to be revelatory. Here are eight more recommendations on the same "out of the ordinary" theme, featuring reconsiderations of two faded stars from the mid-20th century, remarkable pictures from the ends of the earth, a contest of insults between two singers, and lots of quirky art from Brooklyn.Nam June Paik: Becoming Robot
The idolatry of smartphones hardly stirs the cynics anymore, so leave it to Nam June Paik—father of video art, coiner of "electronic superhighway"—to remind us how obsessed we've become with our little televisions. Paik, who died in 2006, was a visionary, but also a humorist, mocking technology's power to command our reverence. Among numerous creations, the survey here displays his TV Chair (you sit on the screen), TV Bra (worn, infamously, by cellist Charlotte Moorman), TV Penis, and the endearingly scruffy Robot K-456, which "died" in 1964 in a staged car accident, lampooning our affection for a machine. Asia Society, 725 Park Avenue, asiasociety.orgMarcel Dzama: Une Danse des Bouffons (A Jester's Dance)
A few years ago, Dzama paid homage to Marcel Duchamp's final work — that enigmatic diorama of female nudity glimpsed through a peephole — by assembling a comical version of the infamous tableau. Now Dzama offers A Jester's Dance, a silent black-and-white film that turns the same Duchamp vision into a nightmare of sinister mayhem. Combining horror shtick, Felliniesque buffoonery, the cinematic magic of Jean Cocteau, and a haunting score by the band Arcade Fire, the 35-minute sequence features (among many bizarre moments) an exploding head and the gooey birth of a full-grown man. David Zwirner, 525 & 533 West 19th Street, davidzwirner.comAllora & Calzadilla: Fault Lines
Last seen here with their carved-out piano (which allowed a performer to stand inside its belly and play Beethoven), wife-and-husband provocateurs Jennifer Allora and Guillermo Calzadilla are staging another piece of musical theater with Fault Lines. On large stones arranged as a choral platform, two boy sopranos engage in a choreographed duel of insults, singing a litany of retorts taken from centuries of literature. The creators cite Lacan and geology to explain the performance, but the ethereally voiced jabs may bring to mind, at times, P.D.Q. Bach's intelligent fun. Gladstone Gallery, 515 West 24th Street, gladstonegallery.comSebastiao Salgado: Genesis
Having documented the lives of manual laborers and refugees around the world, renowned photojournalist Salgado turned to the Earth itself in 2004, traveling the next eight years to remote locations to capture images of pure, unsullied nature. Shot in lush black and white, his compositions are striking for their drama and immediacy. A strangely square formation on an Antarctic iceberg looms above the sea like a manmade fortress. A naked monkey hunter in Brazil seems to defy gravity in a jungle tree. Two lounging albatrosses admire the view of stark South Atlantic islands, as if they'd posed for a vacation selfie. The planet has never looked more wondrous. International Center of Photography, 1133 Sixth Avenue, icp.orgCy Twombly: Treatise on the Veil
A wide receiver could run a slant pattern for first-down yardage across the area of Cy Twombly's Treatise on the Veil — a painting so immense that it rarely gets displayed. Inspired by Pierre Henry's Veil of Orpheus (a nightmarish composition of sounds and voices) and a photographic sequence by Eadweard Muybridge, Twombly created the minimalist work in 1970 during his "blackboard" period, applying chalk-like smudges and mysterious notations to the vast, gray background. The spectacle of the cryptic thing will no doubt spark another spirited debate over whether Twombly was a mystical genius or a pseudointellectual scribbling nonsense. Morgan Library and Museum, 225 Madison Avenue, themorgan.orgCrossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond