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Jim Kempner Fine Art

501 W. 23rd Street

New York, NY, 





Nov 2, 2023-Jan 3, 2024

Opening Reception: Nov 2, 2023

6 p.m. – 8 p.m.

Danny Clinch loves music. He listens to it, plays it, photographs it, and films it. Danny has established himself as one of the premiere photographers of the popular music scene. He has photographed and filmed a wide range of artists, from Johnny Cash to Tupac Shakur, from Bjork to Bruce Springsteen. Danny’s relaxed and warm approach to photography has allowed him to maintain prolonged relationships with artists - such as his 20+ year friendship with Bruce Springsteen, which has resulted in over 8 album covers with Springsteen beginning with “The Rising” up to the recent 2022 release “Only The Strong Survive.” 

His work has appeared in publications such as Vanity Fair, Spin, Rolling Stone, GQ, Esquire, The New Yorker, and The New York Times Magazine, and his photographs have appeared on hundred of album covers. As a director, Clinch has received 3 Grammy Award nominations: in 2005  for Bruce Springsteen’s “Devils and Dust” and in 2009 for John Mayer’s “Where The Light Is” and for the Ben Harper and Charlie Musselwhite collaboration short film called “Get Up.” He has also directed music videos  and concert films for Willie Nelson, Tom Waits, Pearl Jam, Alabama Shakes, My Morning Jacket, Avett Brothers, Foo Fighters, and Dave Matthews, among others.





Sean Kelly Gallery

475 10th Avenue

New York, NY



Jul 14-Aug 25, 2023

Opening Reception: Jul 13, 2023

6 p.m. – 8 p.m.

Anthony McCall is widely recognized for his solid-light installations, a series he began in 1973 with the ground-breaking Line Describing a Cone, in which a volumetric form composed of projected light slowly transforms in three-dimensional space. His new solid-light works show how McCall has progressed this format, evolving his work over time through innovative installations and configurations. Upon entering the main gallery, visitors encounter McCall’s Split Second (Mirror) III, 2022, a single projection in which the “split” is created by interrupting the throw of light with a wall-sized mirror. The plane of light is reflected onto a double-sided screen hanging in space to create a triangulated viewing field, enabling the viewer to pass through and see the shifting volumetric form from both front and back.  

The second half of the main gallery features McCall’s vertical installation Skylight, 2020. This smaller-scale piece stands alone with a gradually morphing light sculpture projected from above onto a four-foot plinth, which allows the viewer to walk around the cone of light and observe it from all sides. This work is accompanied by a sound element by acclaimed composer and musician David Grubbs. Echoing throughout the space is the sound of a distant thunderstorm accompanied by the intermittent flashes of an electrical storm. As with all of McCall’s light installations, the works evolve slowly, yet quickly enough for the viewer to clearly perceive its movement and progression.

The third-floor gallery space features a select overview of photographs and preparatory drawings illustrating the arc of McCall’s career, offering the visitor context and insight for a fuller understanding of the artist’s oeuvre.



Sundaram Tagore Gallery

542 W. 26th Street

New York, NY



Jun 15-Jul 15, 2023

Opening Reception: Jun 15, 2023

6 p.m. – 8 p.m.

For more than five decades, Salgado has made it his life’s work to document humankind and nature on photographic expeditions around the world. For this series, he traveled deep into the heart of the Amazon, capturing the unspoiled beauty of the world’s most biodiverse region and its inhabitants in stunning back-and-white images. Salgado, who was born in Aimorés, Brazil, in 1944, initiated the project with the hope that it would serve as a catalyst for raising awareness of the need to protect the Amazon and its indigenous population. Images from Amazônia have traveled to cities across the globe, including São Paulo, Rio de Janeiro, Rome, Paris, London, Manchester and Avignon. In the fall of 2022, the California Science Center in Los Angeles hosted the North American premiere, presenting more than 200 large-scale photographs suspended throughout the museum’s 13,000 square feet. The exhibition is scheduled to be shown throughout 2023 in Milan, Zurich, Madrid and Brussels. In addition to work from Amazônia, we will also be showing select work from Magnum Opus, Salgado’s special series of fifty platinum-palladium prints representing some of his most powerful series, including Amazônia, Genesis and Workers. These rare prints, made in Belgium by the printer Salto Ulbeek, were recently presented in a selling exhibition curated by Lélia Wanick Salgado at Sotheby’s. It was the largest curated solo exhibition of photography in the auction house’s history, with 100 percent of the proceeds going to Instituto Terra, the Salgados’ nonprofit devoted to reforestation and environmental education. Sales raised more than a million dollars for the foundation. 



New York Academy of Art

111 Franklin Street

New York, NY




Jun 7-Jul 9, 2023

Opening Reception: Jun 7, 2023

6 p.m. – 8 p.m.

The New York Academy of Art is pleased to announce its annual Summer Exhibition. This year's exhibition was juried by downtown NYC gallerists Eden Deering of P·P·O·W, Anna Furney of Venus Over Manhattan, and Olivia Smith of Magenta Plains. Featuring works by Academy alumni, students, and faculty, the exhibition includes paintings, drawings, and sculptures.


Nov. 11-Apr. 16

Brooklyn Museum

200 Eastern Parkway




Jimmy DeSana’s reputation might have died when his life ended, in 1990, as a result of aids. He was only forty years old. The New York-based photographer was busy, prolific, and popular during his lifetime—he was included in the buzzy exhibitions “The Times Square Show” and “New York/New Wave,” in the early eighties—but, in hindsight, he seemed stranded at the edge of the scene. A new retrospective at the Brooklyn Museum, “Jimmy DeSana: Submission” (through April 16), makes a strong case for his ongoing relevance. From the beginning, DeSana’s work was erotic, compulsive, gender fluid, and all the more unsettling for its comic flashes. The show opens with a wall-filling grid of fifty-six voyeuristic, black-and-white pictures from 1972—student work, made in imitation of amateur porn and flea-market snapshots. Nearby hang later examples of DeSana’s stylized portraiture, featuring the likes of William S. Burroughs, Billy Idol, and Laurie Anderson. A portrait of Debbie Harry, laughing in sunglasses, appeared on the cover of the influential underground magazine File, under the headline “Punk ’Til You Puke.” At a moment when the counterculture had come to define the culture, DeSana played a key role, turning rising stars into hipster pinups. He also dabbled in S & M, portraying unlikely collisions of bodies and objects, all luridly lit: a red high heel trapped under pantyhose, a suspended figure with his head in a foaming toilet bowl, a screaming mouth full of cocktail toothpicks (“Party Picks,” from 1981, above). The effect is a cross between David Cronenberg’s body horror and Guy Bourdin’s fashionable fetishism. At once laughable and alarming, playful and lethal, DeSana’s work still lands like a psychological time bomb.

— Vince Aletti


Sept. 8-Oct. 29

Hauser & Wirth

542 W. 22nd St.




Since 2016, the American artist Zoe Leonard has taken hundreds of photographs at the border of Mexico and the U.S., following the route of a body of water that divides the two countries for twelve thousand miles, known alternately as the Río Bravo and the Rio Grande (and by at least five ancestral names, in Pueblo and Navajo). The exquisitely installed exhibition “Excerpts from ‘Al río / To the River,’ ” on view at Hauser & Wirth through Oct. 29, offers only a glimpse of Leonard’s epic project—ten works consisting of fifty-six black-and-white pictures, hanging singly and in sequences on the walls—but it conveys her rare balancing act of poetics and politics. You might call Leonard’s approach concerned conceptualism, as seen in a quartet of near-abstractions portraying lines raked in dirt, a tactic used by ice to capture the footprints of migrants. These striations are echoed in five views of irrigation canals, attended by flocks of birds (above, in an untitled detail, dated 2020/2022). Leonard’s quiet vistas run counter to sensationalist media coverage of borderland conflict. Her camera lingers on landscape, not people, who appear in only six images here, as distant figures enjoying a day at the beach on a riverbank in Ciudad Juárez, under the omnipresent eye of surveillance apparatus.

— Andrea K. Scott


Sept. 14-Oct. 22


537 W. 20th St.



Fifty years ago, a posthumous retrospective of a New York photographer broke attendance records for a one-person show at moma. Crowds lined up around the block to see a hundred and thirteen black-and-white pictures by Diane Arbus, a relative unknown whose brilliance was already an open secret among her peers. (Before she took her own life, in 1971, at the age of forty-eight, Arbus had few collectors, but they included Richard Avedon, Jasper Johns, and Mike Nichols.) The exhibition generated both rave reviews and hot takes; dissecting Susan Sontag’s scathing essay “Freak Show,” published in 1973, is now almost an academic subgenre unto itself. On Sept. 14, the Zwirner gallery, in collaboration with Fraenkel, in San Francisco, opens “Cataclysm: The 1972 Diane Arbus Retrospective Revisited,” reuniting all the images from the exhibition (“Woman with a veil on Fifth Avenue, N.Y.C. 1968,” above, among them). It’s accompanied by the new publication “Diane Arbus: Documents,” a doorstop scrapbook that reproduces a half century’s worth of writing about an artist who, as Avedon once observed, “made the act of looking an act of such intelligence, that to look at so-called ordinary things is to become responsible for what you see.”

— Andrea K. Scott


Jun. 23-Apr. 2

Metropolitan Museum of Art

1000 Fifth Ave.




The Lakota expression mní wičóni—“water is life”—was heard around the world during the Standing Rock protests. Now it echoes through the halls of the Met, thanks to a small but momentous exhibition on view through April 2. Titled “Water Memories,” the show was organized by Patricia Marroquin Norby, the museum’s first curator of Native American art; as a woman of Purépecha heritage, Norby is also the first full-time Indigenous curator in its American Wing. The show traverses six centuries in a scant forty art works and artifacts by both Native and non-Native creators. An exquisite oil of a foamy wave by the American modernist Arthur Dove, from 1929, assumes a mournful edge in the company of a shimmering sculptural installation by the Shinnecock ceramicist Courtney M. Leonard, from 2021, that eulogizes the decimation of the sperm-whale population off Long Island’s East End, where Dove made his painting. Poetry and protest are inseparable in all of the contemporary pieces here, including the Chemehuevi photographer Cara Romero’s oneiric 2015 scene (pictured above) of Pueblo corn dancers reckoning with a collective water memory: the flooding of thousands of acres of tribal land by the construction of the Parker Dam.

— Andrea K. Scott


Mayo. 13-jun. 18


Calle Franklin 87



En 2016, cuando la fotógrafa Sam Contis estaba terminando el proyecto por el que es más conocida, un estudio de cinco años del alumnado exclusivamente masculino y el campus de la ganadería de Deep Springs College, en California, un encuentro casual en un viaje a Berlín llevó su arte en una nueva dirección. Al ver a la mezzosoprano Inbal Hever ensayar un solo de otro mundo del compositor Chaya Czernowin, Contis quedó fascinado por las sutiles demandas que el esfuerzo de la respiración imponía al cuerpo del vocalista. Contis pasó a fotografiar a Hever, de vez en cuando, durante los siguientes seis años, siempre en pequeñas salas de práctica con luz natural. Los resultados soberbiamente sobrios están a la vista en la nueva ubicación de la galería Klaus von Nichtsaggend, en Tribeca, hasta el 18 de junio. El formato de los retratos cambia virtuosamente: color, blanco y negro, dípticos íntimos, impresiones grandes, documentales, casi abstractos. En el proceso, Contis establece el linaje de su proyecto, desde los estudios de locomoción de Eadweard Muybridge y los fotógrafos de espíritus del siglo XIX (una alusión vista arriba en "Inbal 18 de julio de 2018") hasta el retrato compuesto de Georgia O'Keeffe de Alfred Stieglitz durante décadas. y “The Sound I Saw”, la exaltación del jazz de Roy DeCarava. El audio de la interpretación de Hever de la pieza de Czernowin anima la exposición; el 26 de mayo, a las 7, actúa en vivo, rodeada de cuadros de ventanas, el registro de Contis de los espacios en los que las dos mujeres se encontraron para crear este dúo deslumbrante y expansivo.

—  Andrea K. Scott


Mayo. 6-jun. 11


520 oeste de la calle 20



La exposición más emocionante en la ciudad en este momento es el debut en solitario de Lauren Halsey en Nueva York, en la galería David Kordansky (hasta el 11 de junio). Es una carta de amor escultórica al barrio históricamente negro del centro sur de Los Ángeles, donde la familia del artista ha vivido durante un siglo. Las catorce piezas a la vista cambian en forma de bordes duros a biomórficos, y en tono de monumento público a santuario secreto, pero sus materiales principales son el lenguaje y la vida de la calle, con su señalización de pequeños negocios (trenza Shack, Watts Coffee House) y héroes más grandes que la vida (Kobe Bryant, Nipsey Hussle). En el "LODA", del tamaño de una cartelera, densamente collage, una imagen de dibujos animados de un astronauta negro leyendo la revista Jet subraya que Halsey está construyendo tanto una cápsula del tiempo como un plan a largo plazo, este último realizado aquí, con un efecto exuberantemente funky, en "My Hope", un modelo de dieciocho pies de largo de un bloque repleto (un detalle se muestra arriba), en el que los autos de pasajeros bajos recorren un paisaje de ensueño de palmeras doradas y pirámides de Nubia en el centro sur. Piense en ello como una vista previa de un futuro éxito de taquilla: el próximo verano, la artista ampliará su notable visión en el techo del Met.

—  Andrea K. Scott


1 de octubre-julio 22

Museo de Brooklyn

200 ruta verde del este



Baseera Khan contiene multitudes. Son una india queer-afgana-estadounidense de África Oriental, una mujer musulmana, nativa de Texas y la ganadora del Premio UOVO 2021, otorgado anualmente a un artista emergente con sede en Brooklyn. En esta exposición relacionada en el Museo de Brooklyn, la ambiciosa artista se mueve a través de medios como una serpiente mudando su piel, usando la performance, la escultura, la instalación, el collage, el textil, el dibujo y la fotografía—y esa es una lista incompleta—para confrontar las historias coloniales. En “Law of Antiquities”, una animada serie de grabados de chorro de tinta, Khan superpone digitalmente bodegones y autorretratos, realizando un juego de manos conceptual con objetos de la colección Arts of the Islamic World del museo. En una imagen, el artista aparece con una lámpara de mezquita de vidrio esmaltado del siglo XIV, de la actual Siria o Egipto, y una reproducción de una alfombra de oración iraní de principios del siglo XVII demasiado frágil para manipularla, un artefacto desplazado que Khan transforma en una especie de santuario.

—  Andrea K. Scott

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