Top 10 des expos à New York

En ce tout début d'année, léger travelling arrière sur les meilleures expositions de l'automne-hiver à New York. Parmi elles, celles d'artistes que Lola Kramer, commissaire indépendante, a rencontrés dans leur atelier, autour d'interviews exclusives, à decouvrir ci-dessous.

Eva LeWitt - Jewish Museum (2 novembre 2018 – 19 mars 2019) / par Lola Kramer

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Eva Lewitt

Nina Beier & John Miller - 80WSE Gallery (29 septembre 2018 – 18 janvier 2019) / par Lola Kramer

Trisha Baga - galerie Greene Naftali (14 septembre – 20 octobre 2018) / par Lola Kramer

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Trisha Baga

Urs Fischer & Madeline Hollander - Gagosian Gallery (6 septembre – 13 octobre 2018) / par Lola Kramer

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URS FISCHER and MADELINE HOLLANDER

Zak Kitnick - galerie Clearing (1er novembre – 22 décembre 2018) / par Lola Kramer

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ZAK KITNICK

LES EXPOS QU'IL NE FALLAIT PAS MANQUER CET AUTOMNE-HIVER À NEW YORK

• Bruce Nauman : MoMA PS1 et MoMA (21 octobre 2018 – 25 février 2019)

• Charles White : MoMA (7 octobre 2018 – 13 janvier 2019)

• Hilma Haf Klint : Guggenheim (12 octobre 2018 – 23 avril 2019)

• Marianna Simnett : New Museum (4 septembre 2018 – 6 janvier 2019)

• Kevin Beasley : Whitney Museum (15 décembre 2018 – 10 mars 2019)

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Bruce Nauman. Light Trap for Henry Moore, No. 1. 1967. Black-and-white photograph, 62 × 41 5/8″ (157.5 × 105.7 cm). Glenstone Museum, Potomac, Maryland. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Alex Jamison.

Bruce Nauman. Human Nature/Life Death/Knows Doesn’t Know. 1983. Neon tubing with clear glass tubing suspension frames, 107 1/2 × 107 × 5 3/4″ (273.1 × 271.8 × 14.6 cm). Los Angeles County Museum of Art, Modern and Contemporary Art Council Fund. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo © Museum Associates/LACMA.

Bruce Nauman. White Anger, Red Danger, Yellow Peril, Black Death. 1984. Steel, aluminum, cast iron, paint, and wire, 62 3/4 × 215 1/8 × 192″ (159.4 × 546.4 × 487.7 cm). The Museum of Modern Art, New York. Gift of Werner and Elaine Dannheisser. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Digital image © 2018 The Museum of Modern Art, New York. Photo: Jonathan Muzikar.

Bruce Nauman. Untitled (Heads). 2005. Pencil on paper, 30 1/8 × 44″ (76.5 × 111.8 cm). Private collection. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo: Jason Mandella.

Bruce Nauman. Contrapposto Studies, i through vii. 2015/16. Seven-channel video (color, sound, continuous duration), dimensions variable. The Museum of Modern Art, New York. Jointly owned by The Museum of Modern Art, New York, acquired in part through the generosity of Agnes Gund and Jo Carole and Ronald S. Lauder; and Emanuel Hoffmann Foundation, on permanent loan to Öffentliche Kunstsammlung Basel. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York. Photo courtesy the artist and Sperone Westwater, New York.

Charles White. Sound of Silence. 1978. Printed by David Panosh, Published by Hand Graphics, Ltd. Color lithograph on paper. 25 1/8 × 35 5/16″ (63.8 × 89.7 cm) The Art Institute of Chicago. Margaret Fisher Fund. © 1978 The Charles White Archives.

Charles White. Folksinger. 1957. Ink on board. 52 × 34″ (132.1 × 86.4 cm) Collection Pamela and Harry Belafonte © 1957 The Charles White Archives. Photo Credit: Christopher Burke Studios.

Charles White (American, 1918-1979). Our Land. 1951. Egg tempera on panel, 24 x 20″ (61 x 50.8 cm). Private Collection. © The Charles White Archives/ Photo: Gavin Ashworth. Courtesy Jonathan Boos.

Charles White (American, 1918-1979). Love Letter III. 1977. Color lithograph. 30 1/16 x 22 5/8″ (76.3 x 57.4 cm). The Art Institute of Chicago. Margaret Fisher Fund. © The Charles White Archives/ © The Art Institute of Chicago.

Charles White (American, 1918-1979). Ye Shall Inherit the Earth. 1953. Charcoal on paper, 36 x 26″ (99.1 x 66 cm). Private Collection. © The Charles White Archives/ Courtesy Princeton University Art Museum.

Hilma af Klint Group I, Primordial Chaos, No. 16 (Grupp 1, Urkaos, nr 16), 1906-1907 from The WU/Rose Series (Serie WU/Rosen) Oil on canvas, 53 x 37 cm The Hilma af Klint Foundation, Stockholm Photo: Albin Dahlström, the Moderna Museet, Stockholm.

Hilma af Klint Group IV, The Ten Largest, No. 7, Adulthood (Grupp IV, De tio största, nr 7, Mannaåldern), 1907 from untitled series Tempera on paper mounted on canvas, 315 x 235 cm The Hilma af Klint Foundation, Stockholm Photo: Albin Dahlström, the Moderna Museet, Stockholm.

Hilma af Klint Group IX/SUW, The Swan, No. 17 (Grupp IX/SUW, Svanen, nr 17), 1915 from The SUW/UW Series (Serie SUW/UW) Oil on canvas, 150.5 x 151 cm The Hilma af Klint Foundation, Stockholm Photo: Albin Dahlström, the Moderna Museet, Stockholm.

Hilma af Klint Tree of Knowledge, No. 5 (Kunskapens träd, nr 5), 1915 from The W Series (Serie W) Watercolor, gouache, graphite and metallic paint on paper 18 1/16 x 11 5/8 inches (45.8 x 29.5 cm) The Hilma af Klint Foundation, Stockholm Photo: Albin Dahlström, the Moderna Museet, Stockholm.

Hilma af Klint Group X, No. 1, Altarpiece (Grupp X, nr 1, Altarbild), 1915 from Altarpieces (Altarbilder) Oil and metal leaf on canvas, 237.5 x 179.5 cm The Hilma af Klint Foundation, Stockholm Photo: Albin Dahlström, the Moderna Museet, Stockholm.

Marianna Simnett, Blood In My Milk, 2018 (still). 5-channel HD video installation with 9.1 surround sound; 73 min. Courtesy the artist and Jerwood/FVU Awards.

“Marianna Simnett: Blood In My Milk,” 2018. Exhibition view: New Museum, New York. Photo: Maris Hutchinson / EPW Studio.

Marianna Simnett, Blood In My Milk, 2018 (still). 5-channel HD video installation with 9.1 surround sound; 73 min. Courtesy the artist and Matt's Gallery.

Marianna Simnett, Blood In My Milk, 2018 (still). 5-channel HD video installation with 9.1 surround sound; 73 min. Courtesy the artist and Comar.

Kevin Beasley, Rebuilding of the cotton gin motor, 2016 Courtesy of the artist and Casey Kaplan, New York. Image courtesy of Carlos Vela-Prado.

Installation view of Kevin Beasley: A View of a Landscape (Whitney Museum of American Art, New York, December 15, 2018-March 10, 2019). Photograph by Ron Amstutz.

Installation view of Kevin Beasley: A View of a Landscape (Whitney Museum of American Art, New York, December 15, 2018-March 10, 2019). From left to right: Campus, 2018; The Acquisition, 2018. Photograph by Ron Amstutz.