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Oct 24, 2016


Pipilotti Rist, Ever Is Over All (still), 1997, two-channel color video and sound installation. ©PIPILOTTI RIST/COURTESY THE ARTIST, HAUSER & WIRTH, AND LUHRING AUGUSTINE


Opening: “Kerry James Marshall: Mastry” at Met Breuer
This mid-career survey, one of the most hotly anticipated New York museum shows of the year, focuses on the work of Kerry James Marshall, the Chicagoan painter whose paintings and drawings, for the past 35 years, have focused on the position of black artists in art history. Marshall’s subdued, slightly melancholy, slightly hopeful canvases are often allegories—they rethink various art-historical genres, such as history paintings and self-portraiture, by applying elements of African American culture to them. Jazz often plays an important role in his large-scale murals, some of which will be on view in this show. Among the 72 works on view will beUntitled (Studio), 2014, in which the artist’s studio is populated entirely by black assistants and models.
Met Breuer, 945 Madison Avenue, 10 a.m.–5:30 p.m.


Opening: “Pipilotti Rist: Pixel Forest” at New Museum
New York is long overdue for a Pipilotti Rist survey, and the New Museum has appropriately given over the majority of its exhibition space to this exhibition, subtitled “Pixel Forest.” The Swiss artist has been a video-art giant for the past three and a half decades, reclaiming the often demeaning image of women in mainstream media. (No surprise that a Beyoncé video from earlier this year featured an allusion to Rist’s 1997 video projection Ever Is Over All, in which the artist dances down a street, smashing in car windows in the process.) Known for her dreamy videos that conjure hallucinatory landscapes, Rist will debut a new video installation for this three-floor show that will look at the history of video and the role women have played in shaping it.
New Museum, 235 Bowery, 11 a.m.–6 p.m.


Opening: Michele Abeles at 47 Canal
Over the past five years, Michele Abeles has created a style unmistakably her own. They do something akin to taking the jumpy, frenetic style of Ryan Trecartin’s videos, and translating them into still photographs. With the slickness of advertising, Abeles’s dense, colorful photographs explore the nature of images in a digital era—no picture remains truly stable, thanks to Photoshop. No press release was available when this post was written, but we know Abeles’s latest show will be called “Zebra.” It was teased with a rather cryptic image—a screenshot of the mobile version of the New York Times homepage—suggesting that the New York–based artist is far from down experimenting with pictures in the age of the JPEG.
47 Canal, 291 Grand Street, 2nd Floor, 11 a.m.–6 p.m.

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