Brushed Off


What is there to look forward to as the art scene shifts from August idle into high gear? Call it justice, long overdue. It had a head start in the summer, with Alice Neel and Martha Rosler’s work featured in museum shows. Now four more innovative, influential, and unduly ignored women artists get their due: Yoko Ono, Adrian Piper, Bridget Riley, and Lee Krasner. If they were male, surely we wouldn’t have had to wait so long.

First up is a big show of dizzying stripe paintings from the mid ’60s to the mid ’80s by British artist Bridget Riley, the once and forever high priestess of op art. With neo-op enjoying a resurgence, this should be of more than historical interest. (September 20-June 17, Dia Center for the Arts, 548 West 22nd Street, 229-2744.)

Next, the traveling retrospective of Lee Krasner’s art (organized by Independent Curators International) lands in Brooklyn, its final stop. Among the 60 paintings and collages spanning five decades are early works from her days as a student of Hans Hofmann and large collages from the 1950s, made by ripping, cutting, and violently merging husband Jackson Pollock’s drawings with her own. “A posthumous homecoming,” says the museum. (October 6-January 7, Brooklyn Museum of Art, 200 Eastern Parkway, Brooklyn, 718-638-5000.)

“YES YOKO ONO” follows at Japan Society. A comprehensive exhibition, it includes some 150 quirky objects, instruction pieces, installations, films, videos, and performance works done since 1960 by the daring Japanese-born artist, who, like Krasner, was long in the shadow of a celebrated spouse. This show should clarify her pioneering role not only within Fluxus but in pre-conceptual, interactive, and site-specific art. (October 18-January 14, Japan Society, 333 East 47th Street, 715-1200.)

And finally, organized by the University of Maryland Fine Arts Gallery, “Adrian Piper: A Retrospective” comes to the New Museum. This African American philosopher-artist’s identity-probing, race- and gender-bending work of the ’60s and ’70s played a part in the emergence of conceptual art and, later, in the development of identity-based art, as this retrospective of her confrontational objects, videos, installations, performances, and soundworks should reveal. (October 26-January 21, New Museum of Contemporary Art, 583 Broadway, 219-1222.)

That’s not all. The Gugg makes up for past omissions with “Amazons of the Avant-Garde,” featuring work by six radical women artists who took part in the revolutionary art scene of early-20th-century Russia: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova. (September 7-January 7, Guggenheim Museum, 1071 Fifth Avenue, 423-3500.)

What else is new? Older women, younger men. New York gets introduced this fall to the work of Bjarne Melgaard and Uri Tzaig, two artists who’ve made their names in Europe and elsewhere but are still unknown here. Artists Space devotes its entire gallery to recent work by Tzaig, an Israeli artist whose deceptively sportive art encompasses video, sculpture, installation, design, sociological issues, and quirky gamesmanship. Expect it to unnerve and possibly bewilder. (September 8-November 4, Artists Space, 38 Greene Street, 226-3970.)

Melgaard, a Norwegian artist with a big vision and a bad-boy reputation (in Europe and Australia) lets loose in Alleged’s space. His over-the-top and sometimes out-of-control installations (which incorporate everything from drawings, video, string, and mutant wax dolls to a helicopter dropping hot dogs) have been described as “a mixture of Jason Rhoades, Martin Kippenberger, and Romper Room.” Wrong. Involving hybridity, humor, rage, and gay martyrdom, his subject matter and sensibility are uniquely his own. (October 25-November 25, Alleged Galleries, 809 Washington Street, 646-486-1110.)


September 7-October 7

Lehmann Maupin, 39 Greene Street, 965-0753

This site-specific installation by the smart young artist promises a glass floor, 180,000 tiny plastic figures, and allusions to individuality, collectivity, and cultural displacement.


September 7-October 30

Galerie Lelong, 20 West 57th Street, 315-0470

Initially projected beneath the A-Bomb Dome in Japan, The Hiroshima Projection is now here.


September 9-October 28

Exit Art, 548 Broadway, 966-7745

It’s not only scientists who are obsessed with the human genome. Curated by Marvin Heiferman and Carole Kismaric, this show includes 39 artists—Nancy Burson, Alexis Rockman, Eduardo Kac, Iñigo Manglano-Ovalle, and Julian LaVerdiere among them—who explore the implications of genetics.


September 9-October 14

Paula Cooper Gallery, 534 West 21st Street, 255-1105

Can anything top her transformation of P.S. 1’s duplex gallery a while ago into a waterfall and limpid pool? This show promises an undulating ceramic-tile floor piece and a lagoon environment.


September 13-June 17

Dia Center for the Arts, 548 West 22nd Street, 229-2744

As utilitarian as it is off-the-wall, Pardo’s hybrid art—a mix of installation, product design, life, and post-utopian desire—transforms Dia’s lobby. The new bookstore, the reconfigured gallery, and an exhibition are all part of it.


September 22-December 31

Brooklyn Museum of Art, 200 Eastern Parkway, Brooklyn, 718-638-5000

Organized by the Rock ‘n’ Roll Hall of Fame and Museum in Cleveland, this show traces the evolution of hip-hop culture from its birth in the Bronx to its global influence on fashion, music, and language today.


September 28-November 4

303 Gallery, 525 West 22nd Street, 255-1121

The British video twins return from Moscow with Star City, a four-panel projection made at the formerly off-limits space center, plus another new projection and photographs.


October 7-November 4

D’Amelio Terras, 525 West 22nd Street, 352-9460

With paintings and watercolors of photographs of performances that she directs, this artist’s first solo covers all bases. But then, its subject is media lust.


October 12-March 4

Bronx Museum of the Arts, 1040 Grand Concourse, Bronx, 718-681-6000

A large new installation and related drawings by this African American artist, whose work refers simultaneously to the days of ab ex and a heritage of cotton-bale slavery.


October 20-November 25

Bonakdar Jancou, 521 West 21st Street, 414-4144

A new installation by the Icelandic-born artist.


October 20-November 25

Andrea Rosen, 525 West 24th Street, 627-6000

The latest installment of his freewheeling cosmic narrative.


October 21-January 1

Frederieke Taylor Gallery, 535 West 22nd Street, 966-9059

This Chinese American artist transforms a Soho gallery’s new Chelsea space into “KNOWMAD”—a nomad’s tent that contains a computer game involving tribal rugs and a complex weave of allusions and implications.


October 21-November 22

Lombard/Freid, 470 Broome Street, 334-5060

This Taiwan-born artist, who invited viewers to dinner by lottery in a previous project, holds another: This time the winners get to spend the night with him. “The Sleeping Project” also offers pajamas and possibly breakfast.


October 24-November 25

Alexander and Bonin, 132 Tenth Avenue, 367-7474

Her first show of new work since those traumatized tables at the New Museum is a room-size sculpture made of lead and steel, involving numerous elongated chairs.


October 26-November 30

Bose Pacia Modern, 508 West 26th Street, 989-7074

Her largest exhibition so far will include several installations throughout the gallery.


October 28-December 20

Drawing Center, 35 Wooster Street, 219-2166

“Untitled Passages,” the Belgian artist and poet’s first big show here in two decades, includes about 100 works.


November 10-December 22

Henry Urbach Architecture, 526 West 26th Street, 627-0974

This time they transform a cement “Mixer” into a revolving media cocoon and invite viewers to climb in.


November 11-December 16

Andrew Kreps, 516A West 20th Street, 741-8849

A painting, sculpture, and architectural installation by an artist whose space-warping work and words desolidify meanings as well as walls.


November 11-December 16

303 Gallery, 525 West 22nd Street, 255-1121

She pushes further into the realm of corporeal abstraction in large new paintings.


November 18-December 23

Gorney Bravin + Lee, 534 West 26th Street, 352-8372

Deutsch always manages to turn the most banal (and beautifully painted) suburban landscapes into enigmas. His newest paintings are here.


November 19-January 7

The Project, 427 West 126th Street, 662-8610

This digital artist was a standout in both the Whitney Biennial and “Greater New York.” Now he has an exhibition at the Project.


November 23-December 30

GreeneNaftali, 526 West 26th Street, 463-7770

Melding stereotypical images of “traditional” Africa with Western, Eastern, and technological imagery, her photo collages mirror a complex and symbiotic reality. She’ll show sculpture too.


December 1-January 13

James Cohan, 41 West 57th Street, 755-7171

His latest eye-popping pill paintings.


December 7-February 25

Whitney Museum of American Art, 945 Madison Avenue, 570-3676

“The idea becomes the machine that makes the art,” he said, delegating the task to others. Four decades’ worth of wall drawings, structures, and other works—plus a new site-specific inverted ziggurat—charts his progress from minimalist to colorist in this retrospective, organized in San Francisco by SFMOMA.


December 12-January 27

Sculpture Center, 167 East 69th Street, 879-3500

The Sculpture Center devotes its space to three strong women artists from different generations.


December 16-January 27

Luhring Augustine, 531 West 24th Street, 206-9100

The master of mystical LED digits shows new work.