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2024. 11. 26

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<H1 class=headline itemprop="headline"><FONT face="Arial Black"><FONT size=7><FONT color=#ff0000>Frieze New York</FONT> </FONT></FONT></H1>
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<H1 class=headline itemprop="headline">47 Galleries That Bring You </H1>
<H1 class=headline itemprop="headline">the Art of Now</H1>
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<P class=byline-dateline><SPAN class=byline itemprop="author creator" itemscope itemtype="http://schema.org/Person">By <SPAN class=byline-author itemprop="name" data-byline-name="THE NEW YORK TIMES">THE NEW YORK TIMES</SPAN></SPAN><TIME class=dateline itemprop="dateModified" content="2017-04-28T18:38:49-04:00" datetime="2017-04-28T18:38:49-04:00">APRIL 27, 2017</TIME> </DIV>
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<DIV id=sharetools-story-meta-footer class="sharetools theme-classic  sharetools-story-meta-footer  " role=group data-media="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-LowerEastSide-2/28GALLERY-LowerEastSide-2-jumbo.jpg" data-author="By THE NEW YORK TIMES" data-publish-date="April 27, 2017" data-shares="facebook,twitter,pinterest,email,show-all,save" data-url="https://www.nytimes.com/2017/04/27/arts/design/47-galleries-that-bring-you-the-art-of-now.html" data-title="47 Galleries That Bring You the Art of Now" data-description="Here are some of our critics’ favorite gallery shows on view now. (But don’t expect a break from politics.)" aria-label="tools"><A class="visually-hidden skip-to-text-link" href="https://www.nytimes.com/2017/04/27/arts/design/47-galleries-that-bring-you-the-art-of-now.html?_r=0#story-continues-1">Continue reading the main story</A> <SPAN class="sharetools-label visually-hidden">Share This Page</SPAN> 
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<DIV class=image><IMG class=media-viewer-candidate alt="" src="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-LowerEastSide-2/28GALLERY-LowerEastSide-2-superJumbo.jpg" itemprop="url" itemid="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-LowerEastSide-2/28GALLERY-LowerEastSide-2-superJumbo.jpg" data-mediaviewer-src="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-LowerEastSide-2/28GALLERY-LowerEastSide-2-superJumbo.jpg" data-mediaviewer-caption="Lee Relvas’s sculpture reflected in the window glass at Callicoon Fine Arts." data-mediaviewer-credit="Michael Nagle for The New York Times"> 
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<META content=2048 itemprop="width"></DIV><FIGCAPTION class=caption itemprop="caption description"><SPAN class=caption-text>Lee Relvas’s sculpture reflected in the window glass at Callicoon Fine Arts.</SPAN> <SPAN class=credit itemprop="copyrightHolder"><SPAN class=visually-hidden>Credit</SPAN> Michael Nagle for The New York Times </SPAN></FIGCAPTION></FIGURE></DIV>
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<P id=story-continues-1 class="story-body-text story-content" data-para-count="653" data-total-count="653">In any given week, the art galleries of New York — and there are hundreds — are brimful of exhibitions showcasing works old and new, conventional and avant-garde, by the established and by the just discovered. This seems especially true right now, with the international art crowd set to jet into town for Frieze New York next weekend. Current shows feature repurposed pornography, depictions of the surveillance state, glass marijuana pipes, scrap metal, interpretations of a range of African-American experiences, prints from the land of Björk and a homage to the Duchamp urinal. There is magic, a little humor and no small amount of protest art.</DIV>
<P class="story-body-text story-content" data-para-count="371" data-total-count="1024">How do you navigate it all? Five art critics for The Times have fanned out across the city, each focusing on one constellation of galleries and reviewing their favorites. Interested in only painting? We have those shows. Looking for sound installations? We have those too. Art reflecting the fraught politics of our time? Of course. Pick the flavor of art that suits you:</DIV>
<H4 class="story-subheading story-content" data-para-count="38" data-total-count="1062">If You’re Feeling Politically Minded</H4><FIGURE id=media-100000005068394 class="media photo embedded layout-large-horizontal media-100000005068394 ratio-tall" role=group itemprop="associatedMedia" itemscope itemtype="http://schema.org/ImageObject" aria-label="media" data-media-action="modal" itemid="https://static01.nyt.com/images/2017/04/28/arts/28galleryles6/28galleryles6-master675.jpg"><SPAN class=visually-hidden>Photo</SPAN> 
<DIV class=image><IMG class=media-viewer-candidate alt="" src="https://static01.nyt.com/images/2017/04/28/arts/28galleryles6/28galleryles6-master675.jpg" itemprop="url" itemid="https://static01.nyt.com/images/2017/04/28/arts/28galleryles6/28galleryles6-master675.jpg" data-mediaviewer-src="https://static01.nyt.com/images/2017/04/28/arts/28galleryles6/28galleryles6-superJumbo.jpg" data-mediaviewer-caption="Works by Rainer Ganahl at Kai Matsumiya." data-mediaviewer-credit="Michael Nagle for The New York Times"> 
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<META content=675 itemprop="width"></DIV><FIGCAPTION class=caption itemprop="caption description"><SPAN class=caption-text>Works by Rainer Ganahl at Kai Matsumiya.</SPAN> <SPAN class=credit itemprop="copyrightHolder"><SPAN class=visually-hidden>Credit</SPAN> Michael Nagle for The New York Times </SPAN></FIGCAPTION></FIGURE>
<P class="story-body-text story-content" data-para-count="1013" data-total-count="2075"><STRONG>KAI MATSUMIYA</STRONG> A tradition of political art on the Lower East Side lives on in the work of the Austrian-born New York Conceptualist Rainer Ganahl, who has been responding to current events with antic, deadpan wit for almost 30 years. The work in this packed <A title="Kai Matsumiya" href="http://kaimatsumiya.com/">show</A>, “Legacy: Bush, Obama, Trump,” covers, in its references, roughly half of that time. In a series of ballpoint-pen drawings, he illustrates the phenomenon of combat as made-for-TV spectacle, introduced by George W. Bush, and of drone warfare that was business-as-usual during the Obama administration. More recently, he has made drawings of words that have been Donald J. Trump’s weapon of choice, like “fake news,” in a 1930s German-designed script. The good news, which is also bad news, is that Mr. Ganahl is unlikely ever to run out of fresh material for his art. The show, which has included public readings of Hannah Arendt’s “The Origins of Totalitarianism,” will close on May 3 with the release of a related book. HOLLAND COTTER</DIV>
<P class="story-body-text story-content" data-para-count="70" data-total-count="2145"><A href="https://www.nytimes.com/2017/04/27/arts/design/10-galleries-to-visit-now-on-the-lower-east-side.html">Here are more shows on the Lower East Side reviewed by Holland Cotter.</A></DIV>
<H4 class="story-subheading story-content" data-para-count="44" data-total-count="2189">If You Just Want to See a Beautiful Painting</H4><FIGURE id=media-100000005068642 class="media photo embedded layout-large-horizontal media-100000005068642 ratio-tall" role=group itemprop="associatedMedia" itemscope itemtype="http://schema.org/ImageObject" aria-label="media" data-media-action="modal" itemid="https://static01.nyt.com/images/2017/04/28/arts/28galleryues1/28galleryues1-master675.jpg"><SPAN class=visually-hidden>Photo</SPAN> 
<DIV class=image><IMG class=media-viewer-candidate alt="" src="https://static01.nyt.com/images/2017/04/28/arts/28galleryues1/28galleryues1-master675.jpg" itemprop="url" itemid="https://static01.nyt.com/images/2017/04/28/arts/28galleryues1/28galleryues1-master675.jpg" data-mediaviewer-src="https://static01.nyt.com/images/2017/04/28/arts/28galleryues1/28galleryues1-superJumbo.jpg" data-mediaviewer-caption="“Walsgrove Morning” (2016), a painting by Sarah McEneaney at Tibor de Nagy Gallery." data-mediaviewer-credit="Philip Greenberg for The New York Times"> 
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<META content=675 itemprop="width"></DIV><FIGCAPTION class=caption itemprop="caption description"><SPAN class=caption-text>“Walsgrove Morning” (2016), a painting by Sarah McEneaney at Tibor de Nagy Gallery.</SPAN> <SPAN class=credit itemprop="copyrightHolder"><SPAN class=visually-hidden>Credit</SPAN> Philip Greenberg for The New York Times </SPAN></FIGCAPTION></FIGURE>
<P class="story-body-text story-content" data-para-count="793" data-total-count="2982"><STRONG>TIBOR DE NAGY GALLERY</STRONG> “<A href="http://www.tibordenagy.com/">Sarah McEneaney: Land, Sea, Sleep</A>” is an impressive update on an artist who for nearly four decades has recorded her artist’s life in small, beguiling, superficially naïve paintings. Ms. McEneaney is seen infrequently, usually from the back or from a distance or when she’s asleep, her pets arrayed around her in settings notable for their bold colors, dense details and distortions of illusionistic space that exert a magnetic pull. The new works <A title="Tibor de Nagy Gallery" href="http://www.tibordenagy.com/">here</A> document both the solitude and routine of the painter’s life, as well as its perks (artist residencies! travel grants!). A stillness prevails, even when Ms. McEneaney and her partner are on a bullet train speeding across China. It slows us down to experience her spatial and chromatic daring. ROBERTA SMITH</DIV>
<P class="story-body-text story-content" data-para-count="69" data-total-count="3051"><A href="https://www.nytimes.com/2017/04/27/arts/design/11-galleries-to-visit-now-on-the-upper-east-side-and-in-harlem.html">Here are more shows on the Upper East Side reviewed by Roberta Smith.</A></DIV>
<H4 class="story-subheading story-content" data-para-count="31" data-total-count="3082">If You Fancy a Rock-Star Artist</H4><FIGURE id=media-100000005068520 class="media photo embedded layout-large-horizontal media-100000005068520 ratio-tall" role=group itemprop="associatedMedia" itemscope itemtype="http://schema.org/ImageObject" aria-label="media" data-media-action="modal" itemid="https://static01.nyt.com/images/2017/04/28/arts/28chelseagallery1/28chelseagallery1-master675.jpg"><SPAN class=visually-hidden>Photo</SPAN> 
<DIV class=image><IMG class=media-viewer-candidate alt="" src="https://static01.nyt.com/images/2017/04/28/arts/28chelseagallery1/28chelseagallery1-master675.jpg" itemprop="url" itemid="https://static01.nyt.com/images/2017/04/28/arts/28chelseagallery1/28chelseagallery1-master675.jpg" data-mediaviewer-src="https://static01.nyt.com/images/2017/04/28/arts/28chelseagallery1/28chelseagallery1-superJumbo.jpg" data-mediaviewer-caption="“Media Studies ’77” (left) and “Newspaper Man” (right) in a show of works by Rodney Graham at 303 Gallery." data-mediaviewer-credit="Vincent Tullo for The New York Times"> 
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<META content=675 itemprop="width"></DIV><FIGCAPTION class=caption itemprop="caption description"><SPAN class=caption-text>“Media Studies ’77” (left) and “Newspaper Man” (right) in a show of works by Rodney Graham at 303 Gallery.</SPAN> <SPAN class=credit itemprop="copyrightHolder"><SPAN class=visually-hidden>Credit</SPAN> Vincent Tullo for The New York Times </SPAN></FIGCAPTION></FIGURE>
<P class="story-body-text story-content" data-para-count="894" data-total-count="3976"><STRONG>303 GALLERY</STRONG> Back in 1996, the astute dealer <A href="http://www.vulture.com/2014/11/lisa-spellman-is-a-national-treasure.html">Lisa Spellman</A> was among the first dealers to relocate from SoHo to Chelsea; now, <A href="http://www.303gallery.com/">303 Gallery</A> makes its home on the ground floor of one of the many brassy towers that have arisen in Highlineville. On view now is a sharp, droll exhibition of exactingly staged self-portraits by Rodney Graham, the slipperiest of the half-dozen conceptual photographers who came of age in 1980s Vancouver. In large lightboxes, the artist appears as a media studies professor in bell-bottom corduroys, smoking in class; as a sleeping antiques dealer surrounded by tchotchkes from British Columbia; and as a private detective peeping from behind a 19th-century newspaper. Like all the best wits, Mr. Graham is a tragic figure at heart — these photographic performances are all elegies for an age when artists had deeper convictions than we today can muster. JASON FARAGO</DIV><A class="visually-hidden skip-to-text-link" href="https://www.nytimes.com/2017/04/27/arts/design/47-galleries-that-bring-you-the-art-of-now.html?_r=0#story-continues-2">Continue reading the main story</A> </DIV>
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<P id=story-continues-3 class="story-body-text story-content" data-para-count="56" data-total-count="4032"><A href="https://www.nytimes.com/2017/04/27/arts/design/10-galleries-to-visit-now-in-chelsea.html">Here are more shows in Chelsea reviewed by Jason Farago.</A></DIV>
<H4 class="story-subheading story-content" data-para-count="33" data-total-count="4065">If You Like to See With Your Ears</H4><FIGURE id=media-100000005065577 class="media photo embedded layout-large-horizontal media-100000005065577 ratio-tall" role=group itemprop="associatedMedia" itemscope itemtype="http://schema.org/ImageObject" aria-label="media" data-media-action="modal" itemid="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-BROOKLYN5/28GALLERY-BROOKLYN5-master675.jpg"><SPAN class=visually-hidden>Photo</SPAN> 
<DIV class=image><IMG class=media-viewer-candidate alt="" src="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-BROOKLYN5/28GALLERY-BROOKLYN5-master675.jpg" itemprop="url" itemid="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-BROOKLYN5/28GALLERY-BROOKLYN5-master675.jpg" data-mediaviewer-src="https://static01.nyt.com/images/2017/04/28/arts/28GALLERY-BROOKLYN5/28GALLERY-BROOKLYN5-superJumbo.jpg" data-mediaviewer-caption="From Postcommodity&rsquo;s &ldquo;Coyotaje&rdquo; (2017), at Art in General in Dumbo, Brooklyn." data-mediaviewer-credit="Byron Smith for The New York Times"> 
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<META content=675 itemprop="width"></DIV><FIGCAPTION class=caption itemprop="caption description"><SPAN class=caption-text>From Postcommodity’s “Coyotaje” (2017), at Art in General in Dumbo, Brooklyn.</SPAN> <SPAN class=credit itemprop="copyrightHolder"><SPAN class=visually-hidden>Credit</SPAN> Byron Smith for The New York Times </SPAN></FIGCAPTION></FIGURE>
<P class="story-body-text story-content" data-para-count="858" data-total-count="4923"><STRONG>ART IN GENERAL</STRONG> Just across the East River and nestled between the Brooklyn and Manhattan Bridges, Dumbo has been one of the most on-again-off-again art neighborhoods in the city. With the spike in tech and various creative companies occupying lofts in the area, it is on again. <A href="http://janetbordeninc.com/">Janet Borden</A>, <A href="http://www.minusspace.com/">Minus Space</A> and <A href="https://www.klompching.com/">Klompching</A> have opened galleries; <A href="http://smackmellon.org/">Smack Mellon</A> remains a nonprofit stalwart; and <A href="http://www.artingeneral.org/">Art in General</A>, another alternative space showcasing emerging artists, moved from TriBeCa to Dumbo last year. Art in General’s current show features <A href="http://postcommodity.com/">Postcommodity</A>, a collective of three artists participating in the 2017 Whitney Biennial whose work focuses on the Mexican-American border. Here, closed-circuit video and sound installations offer a poetic, sometimes creepy rumination on what it’s like to cross borders and live under surveillance. MARTHA SCHWENDENER</DIV>
<P class="story-body-text story-content" data-para-count="63" data-total-count="4986"><A href="https://www.nytimes.com/2017/04/27/arts/design/10-galleries-to-visit-now-in-brooklyn.html">Here are more shows in Brooklyn reviewed by Martha Schwendener.</A></DIV>
<H4 class="story-subheading story-content" data-para-count="33" data-total-count="5019">If You Just Want to Take a Selfie</H4><FIGURE id=media-100000005067899 class="media photo embedded layout-large-horizontal media-100000005067899 ratio-tall" role=group itemprop="associatedMedia" itemscope itemtype="http://schema.org/ImageObject" aria-label="media" data-media-action="modal" itemid="https://static01.nyt.com/images/2017/04/28/arts/28brooklyngallery1/28brooklyngallery1-master675.jpg"><SPAN class=visually-hidden>Photo</SPAN> 
<DIV class=image><IMG class=media-viewer-candidate alt="" src="https://static01.nyt.com/images/2017/04/28/arts/28brooklyngallery1/28brooklyngallery1-master675.jpg" itemprop="url" itemid="https://static01.nyt.com/images/2017/04/28/arts/28brooklyngallery1/28brooklyngallery1-master675.jpg" data-mediaviewer-src="https://static01.nyt.com/images/2017/04/28/arts/28brooklyngallery1/28brooklyngallery1-superJumbo.jpg" data-mediaviewer-caption="“Smokin Sasquatch,” by Coyle, among other works in the exhibition “Outlaw Glass” at Apexart in TriBeCa." data-mediaviewer-credit="Jake Naughton for The New York Times"> 
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<META content=675 itemprop="width"></DIV><FIGCAPTION class=caption itemprop="caption description"><SPAN class=caption-text>“Smokin Sasquatch,” by Coyle, among other works in the exhibition “Outlaw Glass” at Apexart in TriBeCa.</SPAN> <SPAN class=credit itemprop="copyrightHolder"><SPAN class=visually-hidden>Credit</SPAN> Jake Naughton for The New York Times </SPAN></FIGCAPTION></FIGURE>
<P class="story-body-text story-content" data-para-count="935" data-total-count="5954"><STRONG>APEXART</STRONG> Bob Snodgrass has been blowing glass since 1971, specializing in marijuana pipes, as he explains in a charming short documentary attached to “Outlaw Glass,” an exhibition at this <A title="apexart " href="https://apexart.org/exhibitions/bienenstock.php">gallery</A> organized by the marijuana writer David Bienenstock. He first sold the pipes outside Grateful Dead concerts. Several cases here of elaborate, brightly colored pipes made by Mr. Snodgrass’s spiritual descendants, while fascinating, tend toward the showy or grotesque, like a jar of green pickle-shaped pipes by Elbo, or “Smokin Sasquatch,” an intricate, smokable man-beast holding a joint of his own, by Coyle. (Artists of paraphernalia for what is still mostly an illegal product tend to go by nicknames.) While Mr. Snodgrass also does skulls and dragons, most of his pipes, made from clear, wavy glass and colored with mists of molten silver, look like delicate, lovely instruments borrowed from an elfin orchestra. WILL HEINRICH</DIV>
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