Between 2021 and 2023, Sigfrids ran a gallery in New York as well. She is the second dealer in the city to announce a closure this week, after Simone Subal, who will shutter her 12-year-old Lower East Side gallery this month. News of the closure of Sigfrids’s gallery and her hiring by Canada was first reported by Annie Armstrong in Artnet News’s “Wet Paint” column.

First opened in 2013 in Los Angeles, Tif Sigfrids showed artists such as Thomas Dozol, Mimi Lauter, and Becky Kolsrud. The gallery relocated to Athens, Georgia, in 2018. The gallery’s last show, a group exhibition called “Bedroom Furniture,” closed in May.

“I’ve been doing this thing by myself for 11 years now, and while some people would love to have all that autonomy, I miss being part of a bigger world, or something that feels bigger than myself,” she told Artnet.

Although artists that Sigfrids has shown will be integrated into Canada’s programming, her roster will not be entirely ported over to that gallery.

Canada’s stable includes Katherine Bradford, Katherine Bernhardt, Matt Connors, Samara Golden, Joan Snyder, and Rachel Eulena Williams. In 2018, the gallery relocated from the Lower East Side to Tribeca, which has become one of the central gallery districts in New York.

Represented by the gallery in Europe and Asia in collaboration with Canada Gallery in the US, Snyder’s work will now have an expanded international reach. Her inaugural solo exhibition with Thaddaeus Ropac is scheduled for November 2024 at the gallery’s London location.

Snyder’s paintings are currently featured in two prominent exhibitions: “Painterly Gestures” at Tate Modern, London, and “Making Their Mark” at the Shah Garg Foundation in New York. Her works are held in major institutional collections worldwide, including the Museum of Modern Art in New York, Tate Modern in London, and the Art Institute of Chicago.

“Joan Snyder’s important contribution to the field of American abstraction from the 1970s onwards is distinguished by her intuition for fearless mark making and composition,” Ropac told ARTnews in an email. “Her practice over the course of nearly six decades has remained steadfast to a deeply felt truth.”

Snyder’s contribution to American abstraction has been significant, as she consciously worked against the male-dominated conventions of Minimalism, Abstract Expressionism, and Color Field painting. Her paintings often incorporate personal motifs such as roses, totems, and abstracted figures, challenging the boundaries of traditional painting techniques.

Organized into three main groups of work—Strokes, Symphonies, and Fields—Snyder’s oeuvre explores various themes and formal approaches. The Strokes feature brightly colored bars dancing across canvases, while the Symphonies evoke the influence of music in her artmaking. The Field paintings, inspired by rural landscapes, reflect Snyder’s personal and mythical narratives, utilizing an allover treatment of the canvas to express ideas of renewal and transformation.

Last year at Christie’s 20th Century Evening Sale, Snyder’s 1973 picture The Stripper nearly quadrupled its high estimate of $120,000 to sell for $478,800, a record for the artist at auction. The following day, that success was repeated in the Post-War & Contemporary Art Day Sale, where her large canvas, Celebration (1979), sold for $239,400 against a high estimate of $50,000. (Both prices include fees.)

According to the CBC, a man was arrested on the evening of Easter Sunday after firefighters had to rescue him from inside the Talus Dome, a monumental roadside sculpture comprised of nearly 1,000 handmade stainless steel spheres.

Authorities say the 26-year-old man was climbing the bulbous form when he somehow fell through an opening near the top and became trapped inside. Three crews “including a technical rescue team” were on sight to extricate the man, who was later charged with one count of mischief and released.

Edmonton Fire Rescue Services district chief Troy Brady told CTV News Edmonton that it took an hour and a half to get the man out of his shiny, globular prison. Brady added that both a saw and the hydraulic rescue tool known as the “jaws of life” were needed cut through the steel structure. 

“It’s definitely a first for me,” Brady told CTV. “It’s definitely different than what we would typically use it [the jaws of life] for.”  

Authorities say the man damaged several of the spheres before he fell into the sloping sculpture, and one ball was removed during the rescue.

According to the City of Edmonton’s public art website, “The sculpture is located at a major junction of the city’s river valley trail system, and is accessible to a wide range of people – walkers, runners, bikers, skiers, inline skaters. While visible from the road, the best way to experience Talus Dome is from the adjacent trail.” The Dome was created by Ball Nogues Studio in 2012.

The news comes less than six months after the departure of Sasha Suda, who left her role as the institution’s chief operating officer and director in July to become the director of the Philadelphia Museum of Art in September.

A memo from interim director and CEO Angela Cassie said a restructuring was the reason for the departures of NGC deputy director and chief curator Kitty Scott; director of conservation and technical research Stephen Gritt; senior manager of communications Denise Siele; as well as Greg A. Hill, Audain senior curator of Indigenous Art.

“The workforce changes are the result of numerous factors and were made to better align the Gallery’s leadership team with the organization’s new strategic plan,” Cassie wrote. “For privacy reasons, the Gallery is not at liberty to discuss details regarding these departures.”

Hill, who worked at the NGC for 22 years and was the museum’s first Indigenous curator, said he was immediately let go for much clearer reasons. “I want to put this out there before it is spun into meaningless platitudes,” he wrote on Instagram on Thursday. “The truth is, I’m being fired because I don’t agree with and am deeply disturbed by the colonial and anti-Indigenous ways the Department of Indigenous Ways and Decolonization is being run.”

In 2013, Hill co-curated the groundbreaking survey exhibition “Sakahàn: International Indigenous Art,” with associate curator of Indigenous Art Christine Lalonde and guest curator Candice Hopkins, who won the Independent Curator International Leo Award last year. That exhibition brought together the work of more than 80 contemporary Indigenous artists from the world and was among the first in Canada to be opened with a land acknowledgement. In 2018, Hill was also an Indspire Award winner for the Arts.

Vancouver art collector and philanthropist Michael Audain, who had endowed the Indigenous curatorial job since 2007, told the Globe and Mail in an email that the firing of Hill was “a great surprise.”

He continued, “I was under the impression that Greg had done a creditable job of introducing Indigenous art into the gallery, something which was sadly missing when former director Pierre Théberge originally asked me to endow Greg’s position.”

Scott has more than 27 years of experience in major art museums like the Art Gallery of Ontario in Toronto and the Serpentine Galleries in London. She also acquired one of Louise Bourgeois’s iconic spider sculptures that now sits at the front of the National Gallery of Canada’s entrance.

The National Gallery of Canada and its former staffers did not immediately respond to ARTnews’s requests for further comment.

Over the past two decades, Bernhardt, who is based in St. Louis, Missouri, has established herself as one of the most sought-after painters working right now. Her vibrant paintings offer contemplative and multifaceted reflections of various facets of everyday life and pop culture, from toilet paper and coffee makers to E.T., Darth Vader, and the Pink Panther. She cites Henri Matisse, the Pattern and Decoration movement, Peter Doig, and Chris Ofili as artistic influences.

In an email to ARTnews, dealer David Zwirner recalled first coming across Bernhardt’s work in 2014, when he was paging through the New York Times and came across a review of her work. “I made my way over to Canada later that day and was struck by the power of the work. [Canada cofounder] Phil Grauer was kind enough to sell me a painting, which I cherish,” Zwirner said.

Zwirner described the experience of seeing new paintings by Bernhardt at Frieze New York in May as “a shock to the system.” He added, “Katherine is one of the most unique voices in contemporary painting, straddling the history of the medium itself with pop and street-art sensibilities, via a true American vernacular. Visiting her studio in St. Louis together with Phil was an amazing experience.”

In a statement, Grauer added, “Katherine is a force. Her courage as both artist and person is legendary. We are excited to see her take on this new opportunity.”

On the secondary market, Bernhardt’s star is also on the rise. Last week, Phillips set an auction record when it sold a 2016 untitled painting by Bernhardt during a contemporary art day sale. Estimated to sell between $40,000 and $60,000, the work went for $233,100, beating her previous record of $138,000, set earlier this year.

Bernhardt’s work is held in the collections of the Carnegie Museum of Art in Pittsburgh, the High Museum of Art in Atlanta, the Portland Museum of Art, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C., among other venues. She has had institutional solo shows at Modern Art Museum of Fort Worth in Texas in 2017 and the Museo Mario Testino (MATE) in Lima, Peru, in 2018.

An installation view of the 2017 exhibition “Matt Connors: Hocket” at Canada, 333 Broome Street.

COURTESY CANADA

The Tribeca art district continues to blossom, with Canada gallery, a stalwart of Manhattan’s Lower East Side, planning to open up shop next spring at 60 Lispenard Street, just below Houston between Church and Lafayette.

Canada will join a bounty of galleries that have opened in Tribeca over the past few years—Postmasters, Queer Thoughts, Alexander & Bonin, and Bortolami among them—as well as others with plans to do so soon, including James Cohan and Andrew Kreps.

Canada has been located a short walk away from its future home, at 333 Broome, since 2012. That space is to be torn down to make way for a hotel, according to Phil Grauer, a co-founder of the gallery.

The gallery’s lease included a demolition clause, so the proprietors knew a need to move was a possibility. Consequently, they have embraced the news. “Sometimes being on the earlier end of everyone’s lease coming up, you are kind of at an advantage,” Grauer said. “This place in Tribeca was one of the few spaces that made sense” in terms of its proportions, size, and price.

The new location, first reported by Tribeca Citizen, will be about the same size as Canada’s current home, and will similarly offer the potential of having two shows at once. (Los Angeles’s Regen Projects had earlier this year been considering a move into the same location but pulled out.)

The area around Canada has also presented some challenges, Grauer said. “There’s so much demolition and construction between the condos and the hotels, it’s gotten noisy and hard to deliver crates.” (As some gallery goers may also be aware, the city has also been storing masses of construction materials outside the gallery for quite some time.)

The new Tribeca abode will require a buildout, and the plan at the moment is for Canada to decamp from Broome Street at the end of January to open on Lispenard—a fairly quiet street that was once home to the first Printed Matter bookstore and is currently home to Nancy Whiskey Pub—sometime in early spring.

“It’s kind of a sabbatical,” said Grauer, noting that the gap in programming would provide an opportunity for the team to think through the gallery, which represents artists like Xylor Jane, Katherine Bernhardt, and Michael Mahalchick. “It wouldn’t be great if it went on forever, but a little break’s not bad.”

And as similar as the new home may be to its current space, it does have one distinct advantages: it’s registered as a historic building. “There won’t be a demolition,” Grauer said, “because the building is protected.”

George Grosz’s Weiblicher Halbakt (Female Nude), 1922.

ARTNEWS

For this year’s edition of the Frieze New York fair, which is having its private preview today and runs through Sunday on Randalls Island, the Lower East Side gallery Canada has not one but two booths on display. One features a giant drawing presentation curated by the artist Jason Fox featuring around 100 artists, and the other has a two-person painting show with the aforementioned Fox and Daniel Hesidence. The latter is part of a larger program at Frieze curated by Matthew Higgs, the director of White Columns, that celebrates the legacy of the late dealer Hudson, who was the proprietor of the legendary Chicago and New York–based gallery Feature Inc.

“It’s just killing us,” Canada’s Phil Grauer told me. “Matt Higgs called us up and wanted us to help with this Hudson memorial show and so we put out for it, and here we are with two damn booths.

“Not enough people, but enough art,” Grauer said, gesturing to the many drawings in front of him, which are hung densely and by everyone from Tom of Finland to Nicole Eisenman to Richard Prince.

This marks the third year in a row that Canada is running an artist-curated booth. The first two were taken on by Katherine Bernhardt and Marc Hundley. “The Carol Rama’s are really expensive and making me nervous,” Grauer said. “Strangely enough, this George Grosz is only like $18,000 and it’s from 1922 and I don’t understand it because it’s such an important artist.”  Was the drawing perhaps the best deal of the entire fair? “I think it’s the deal of the fair. In my mind I can’t make sense of that,” he said.

Talk quickly turned to the Grauer’s band The Honey Badgers, which is an art world rock supergroup of sorts. The gallerist broke down the most recent lineup: Grauer is on organ; the painter Tyson Reeder plays rhythm guitar and is “kind of the Brian Wilson” of the band; longtime Canada artist Michael Mahalchick holds it down on the bass; the painter Steve DiBenedetto plays drums (Grauer: “Apparently he used to play for Bongwater but maybe that’s just a lie, I don’t know, but that’s why we hired him.); the gallerist Jack Hanley handles lead guitar duties.

I asked Grauer about rumors I’ve heard over the years regarding Hanley’s musical role in The Grateful Dead—some have said that when Jerry was too strung out to play, Hanley, a former guitar tech for the band, handled guitar duties off stage. “A lot of those shows are actually Jack,” Grauer confirmed. “It is a bit of a dark secret.”

A recent Honey Badgers show went down at a mall under the Manhattan Bridge in Chinatown. The painter Joe Bradley sat in for some guitar and his wife Valentina Akerman handled vocal duties. “She is ear piercing. Like, oh my god. So, she’s just great,” Grauer said. His review of the show as a whole? “It was noisy, my ears are still ringing and it was two weeks ago. So I’ve probably done damage.”

In 2016, I had the opportunity to see Wendy Red Star’s photographs in “Contemporary Native Photographers and the Edward Curtis Legacy,” a group show at the Portland Art Museum. The superimposed alterations in Red Star’s photo work and collages indicate a breadth of knowledge, and a personal commitment to educating the viewer. In “Medicine Crow & the 1880 Crow Peace Delegation” (2015), Red Star uses digital reproductions of archival photographs, writing directly on the blown-up images of tribal members’ explanations of their position, their garments, and the setting. Her self-portraits in the “Four Seasons” series (2006) present another response to history: a modern restaging of traditional scenes. For “Um-basax-bilua ‘Where They Make the Noise,'” her solo show at CUE Art Foundation in New York this summer, she collaged photographs to create a visual history of Crow Fair, an annual tribal event established in 1904 (and the largest such event in the United States). At its start, Crow Fair was largely similar to county fairs elsewhere in the US. But in recent years participants have made an effort to center traditional customs. Raised on the Apsáalooke (Crow) reservation in Montana, Red Star makes work informed both by her cultural heritage and her engagement with many forms of creative expression.

Last year the Missoula Art Museum in Montana, which presented Red Star’s first solo museum exhibition in 2011, invited her to curate a group show. The result, “Our Side,” on view through February 24, 2018, with work by Elisa Harkins (Cherokee/Muscogee Creek), Tanya Lukin Linklater (Alutiiq), Marianne Nicolson/‘Tayagila’ogwa (Scottish and Dzawada̱’enux̱w First Nations People), and Tanis S’eiltin (Tlingit). Each of the artists investigates questions of identity, language, and territory using a variety of mediums, including textiles, text works, video, and sound. I spoke with Red Star at her home in Portland.

CHLOE ALEXANDRA THOMPSON  In 2011 the Missoula Art Museum presented your work as a solo exhibition. Now you have been invited back to curate “Our Side.” What did you want to accomplish with the show?

WENDY RED STAR  I wanted to focus on four artists. As an artist, I’m sometimes approached to be in group shows with twenty-five or more other people. But in contexts like that, your work tends to get washed over in ways that doesn’t aid you or Native artists in general. Indigenous artists need to have space for people to view their work. They need to be placed in the contemporary art section, not only a historical Native art section. They need to have solo exhibitions, or at least smaller group shows so people can focus on the work.

THOMPSON  Viewing the work, and the statements about the work, it seems that the politics of this show manifests as sewing. Tanis S’eiltin has physically sewn work in the show, but what I am contemplating is the calm and considered action of taking a needle in and through a fabric with thread.

RED STAR  That is what is so beautiful. The works tie together. Perhaps that is what you see as sewing. The fact that we can insert our overlapping experiences into the artist’s pieces and connect with them speaks to the strength of the work. A lot of responsibility and courage comes with showing Indigenous artists. I think that is why non-Indigenous curators of contemporary art can have such a hard time. They may be confronted with their own ignorance, and no one wants to feel ignorant. Even me.

THOMPSON  What work you have asked of each artist is representative of these very individual experiences. These works seem to also be coming together to facilitate a larger conversation.

RED STAR  My goal was to understand who Elisa Harkins, Marianne Nicolson, Tanis S’eiltin, and Tanya Lukin Linklater are as artists. It is also important to me to support artists. In my curatorial statement, I tell the origin story of the Crow people. The term Bíiluuke, which means “I’m Crow and this is our side,” describes my approach. I wanted to share this story with each artist, so that they would in turn share their stories and the stories of their people.

Marianne Nicolson’s four-panel painting [Láam’lawisuxw yaxuxsans Å?alax (Then the Deluge of Our World Came), 2017] is based on an origin story, and sets the tone for the show. Nicolson says that her territory is full of pictographs, where the ancestors marked that land and their engagement with it. Her painting shows how colonialism has affected the people as well. There is a resulting duality in these depictions of her ancestors before and after contact. It’s powerful. She makes the surface look like a slate or rock, as if trying to make the painting as close as possible to what you might see on the land.

THOMPSON  Those materials have a lot of weight.

RED STAR  They speak to the cultivation of the land. The works in the show are tied together by their use of similar materials: beads, shells, references to wampum and trade. Interconnection is very important to Indigenous people.

THOMPSON  I have been reading Lukin Linklater’s text installations, large forms that house texts about hunting and beading. How do you view the landscape they both create and reference within the gallery setting?

RED STAR  For The Harvest Sturdies [2013-17], she interviewed her partner’s aunts about beading, making moose-hide mitts, hunting, tanning, and garment design. She translated the information into these poetic visual texts. For Lukin Linklater, who is not Cree, the beadwork designs of these Cree women are a way of learning about the community and the land.

When they talk about hunting moose, they are alluding to the confinements, the restrictions on Indigenous people to certain territories where they have hunting rights. The two tables in the work, The treaty is in the body, are based on the tables that Lukin Linklater used as a child. She talks about them as a place where the family would gather. She includes blue delica beads, cylindrical seed beads that are quite uniform in diameter, making a very fine, calculated type of beadwork, and includes the American Spirit cigarettes as symbols of cultural appropriation.

THOMPSON  S’eiltin and Lukin Linklater both work with cultural material. Could you speak to the relations you see between their work?

RED STAR S’eiltin also uses traditional skills and makes work about trade, but it still has deep roots in Tlingit culture. I love the work of Northwest Coast peoples and how almost all of it has a conversation written all over it, from the carving on spoons and the weaving to the adornment of their outfits with the family crests. These details say exactly who they are and where they come from. These are things people don’t even have to say because they are embedded in their clothing. For S’eiltin, using ancestral design or historic objects as a jumping-off point allows her the freedom to envision more futuristic outfits.

Yet all the garments and the designs are still rooted and tied to the anchor of Tlingit culture, I enjoy thinking about that. Her untitled sculpture alludes to the octopus bag, which originated in Canada. Through exchange, each tribal nation that received it would add designs to the octopus bag; it came to express the idea of fluid trade.

THOMPSON  Could we investigate how Elisa Harkins’s two-channel video addresses ideas of both cultural appropriation and fluidity of tradition?

RED STAR  In her 2014 performance Fake, Part 1, Harkins wore imitation powwow attire while singing “Die don’t die / Get the money” to reinterpreted Cherokee flute music from the 1820s, set to a techno beat. For Fake, Part 2, she called the Indian Arts and Crafts Board hotline and reported herself for the illegal acts she committed in the first part of the performance. It’s funny that Harkins turned herself in because a performance like that wouldn’t even be on their radar. While I understand the importance of the 1990 Indian Arts and Craft Act, I don’t feel that I fit its definition of Indian art. I’m an enrolled tribal member, but I don’t think they were thinking about the type of work that I make.

THOMPSON  It seems that the IACA is mostly a protection for commercial work or the retail sale of traditional work. When you walk into a “spiritual” store, they have sacred items or things based on sacred items that may or may not be made by people of the corresponding tribal affiliations.

RED STAR  Yes, and what do you do with a person who is from one tribe making another tribe’s work? Do they get in trouble? It’s Native-made.

THOMPSON  It’s amazing to hear Harkins describe her experience at the end of the Fake, Part 2 portion of the video, where she speaks of being adopted and not having the direct connection to her culture that she would have had growing up on the rez. I hear an urban Native experience of feeling displaced in her identity. It’s a gray area as far as the Indian Arts and Crafts Act is concerned. If we actually look at the history of colonization, the history of removal, and the cultural ruptures that result from it, then where do post-colonial experiences of Indigeneity fit in? What is Native art, and who can make that? As a Cree woman who has never been to my own reservation, I often wonder myself.

RED STAR  Who gets to tell you what that is? When you look into the Indian Arts and Crafts Act, it says you have to be enrolled in a federally recognized tribe, so we’re falling back on the government’s standard. There was a time when Duane Linklater went on social media and told people to turn him in to the Indian Arts and Crafts board, call 1-888-ARTFAKE. It made me laugh. I thought I could get turned in, too, because I feel like a fraud according to their definition of Native art.

For Linklater and for me it was a joke, but Harkins actually made this work. It feels very authentic, even when she’s trying to tell you that she’s not authentic. The twist is that she is now enrolled in the Cherokee tribe. She lives near her community in Oklahoma.

THOMPSON  The way that this show is laid out reads as participatory. As you walk through the space, there are interventions guiding your path, and these dialogues playing into each other.

RED STAR  The works aren’t totally segregated. Like you said, they are sewn into each other. I remember being told I make political art as an undergrad, when I didn’t have any knowledge of contemporary art. I made an installation where I brought lodge poles on the hours-long drive from my reservation and erected them on campus, which I had found out was traditional Crow territory. My professor said I made very political work. I was shocked. I thought I was just stating the truth. Years later I understood why my professor thought of my work as political. It resides outside the colonial norm and that can make people uncomfortable. The artists in “Our Side” aren’t afraid of that. If we as Native contemporary artists are to be included in the mainstream, we need more shows like this out there, along with more concentration on individual Native artists and their voices.

Demian DinéYazhi´ in collaboration with Noelle V. Sosaya, Untitled (Sovereignty), 2017, fabric and thread, installation view.

COURTESY THE ARTIST AND CANADA, NEW YORK

Today’s show: “Tomorrow Tomorrow” is on view at Canada in New York through Friday, July 21. The group exhibition, which is curated by Stephanie Snyder and Wallace Whitney, includes work by nine Portland, Oregon-based artists who “are part of a highly collaborative artistic community with a history of migration, mysticism, indigenous strength, and literary soul-searching,” according to a press release.

01

Installation view of "Tomorrow Tomorrow," 2017, showing works by Evan La Londe, at Canada, New York.

COURTESY THE ARTIST AND CANADA, NEW YORK

Installation view of "Tomorrow Tomorrow," 2017, showing works by Jessica Jackson Hutchins and Storm Tharp, at Canada, New York.

COURTESY THE ARTIST AND CANADA, NEW YORK

Installation view of "Tomorrow Tomorrow," 2017, showing works by Jessica Jackson Hutchins and Storm Tharp, at Canada, New York.

COURTESY THE ARTIST AND CANADA, NEW YORK

Installation view of "Tomorrow Tomorrow," 2017, at Canada, New York.

COURTESY THE ARTIST AND CANADA, NEW YORK

Installation view of "Tomorrow Tomorrow," 2017, at Canada, New York.

COURTESY THE ARTIST AND CANADA, NEW YORK

Storm Tharp, Spiritual Guidance, 2017, ink on paper.

COURTESY THE ARTIST AND CANADA, NEW YORK

Storm Tharp, Conclusion Index, 2017, ink on paper.

COURTESY THE ARTIST AND CANADA, NEW YORK

Jessica Jackson Hutchins, Sea Man, 2016, iron, glazed ceramic, denim, leather, enamel paint, installation view.

COURTESY THE ARTIST AND CANADA, NEW YORK

Installation view of "Tomorrow Tomorrow," 2017, at Canada, New York.

COURTESY THE ARTIST AND CANADA, NEW YORK

Demian DinéYazhi´ in collaboration with Noelle V. Sosaya, Untitled (Sovereignty), 2017, fabric and thread, installation view.

COURTESY THE ARTIST AND CANADA, NEW YORK

Heather Watkins, First Law, 2017, India ink, cotton cord, installation view.

COURTESY THE ARTIST AND CANADA, NEW YORK

Demian DinéYazhi´, Radical Queer Indigenous Feminist Pop-up Shop, 2017, mixed media, installation view.

COURTESY THE ARTIST AND CANADA, NEW YORK

Frank Lloyd Wright, Little Dipper School and Community Playhouse, Los Angeles. 1923. Perspective from the west, pencil and colored pencil on tracing paper.

THE FRANK LLOYD WRIGHT FOUNDATION ARCHIVES (THE MUSEUM OF MODERN ART | AVERY ARCHITECTURAL & FINE ARTS LIBRARY, COLUMBIA UNIVERSITY, NEW YORK)

MONDAY, JUNE 12

Opening: “Frank Lloyd Wright at 150: Unpacking the Archive” at Museum of Modern Art
Although any time seems good to celebrate the architect Frank Lloyd Wright, now feels especially right since, as of last week, he was born 150 years ago. The Guggenheim Museum feted Wright by offering admission for just $1.50 for a day, and now the Museum of Modern Art will pay homage to the modernist master by dedicating an entire show to his models, drawings, films, archival materials, and more. But don’t expect a retrospective, or even a straightforward monograph: the show’s curators—MoMA’s architecture curator Barry Bergdoll, working with Jennifer Gray—consider the exhibition an “anthology” in 12 parts. On view will be drawings related to Fallingwater, Wright’s famed blocky 1934–37 house built over a waterfall in Pittsburgh, Pennsylvania.
Museum of Modern Art, 11 West 53rd Street, 10:30 a.m.–5:30 p.m.

Stephen Shore, Eddie’s Wagon Wheel, Bridge Street, Struthers, Ohio, October 27, 1977, from the series “Stephen Shore: Selected Works, 1973–1981,” published by Aperture.

©STEPHEN SHORE/COURTESY 303 GALLERY, NEW YORK

TUESDAY, JUNE 13

Book Signing: Stephen Shore at Dashwood Books
With a MoMA retrospective of Stephen Shore on the horizon, Aperture will give viewers a chance to see the Californian photographer’s work with Stephen Shore: Selected Works, 1973–1981, a book that collects some of his early photographs. Many are from a series known as “Uncommon Places,” for which Shore traversed America, shooting vernacular architecture and small-town lifestyles. Like William Eggleston’s work, Shore’s photographs are brightly colored, and often dryly funny too—they poke fun at the absurdities of American life while also genuinely marveling at its weirdness and warmth. Shore will be on hand to sign his new book, which features portfolios of works selected by Wes Anderson, Hans Ulrich Obrist, and others.
Dashwood Books, 33 Bond Street, 6–8 p.m.

Screening: Performance and Stage-Set Utilizing Two-Way Mirror and Video Time Delay at Light Industry
When Dan Graham and Glenn Branca’s Performance and Stage-Set Utilizing Two-Way Mirror and Video Time Delay was first performed in 1983, at the Kunsthalle Bern in Switzerland, an audience and a group of musicians were placed in front of a two-way mirror. Through the mirror, a video screen that projected the audience’s image back at them could be seen. The image appeared to be live, but it wasn’t—it was delayed by six seconds. At this screening, video documentation of the work, which Graham describes as a reorientation of the traditional gaze, will be shown alongside William Raban’s 2’45” (1972), a ten-minute film about the production of film.
Light Industry, 155 Freeman Street, Brooklyn, 7:30 p.m. Tickets $8

William Raban, 2’45” (still), n.d.

COURTESY THE ARTIST AND LUX, LONDON

THURSDAY, JUNE 15

Opening: “Tomorrow Tomorrow” at Canada
This group show zeroes in on a set of nine artists, all of whom hail from Portland, Oregon, and work in abstraction. Curated by Stephanie Snyder and Wallace Whitney, the exhibition focuses on artists whose process-based work alludes both to political issues and spiritual mindsets. Among the artists in the show are Demian DinéYazhi’, who, with Noelle Sosaya, contributes scrappy work that alludes to the histories of punk and mysticism. Also featured will be MK Guth, Jessica Jackson Hutchins, Kristan Kennedy, Evan La Londe, Charlie Perez-Tlatenchi, Michelle Ross, Storm Tharp, and Heather Watkins.
Canada, 333 Broome Street, 6–8 p.m.

Teju Cole, Sasabe, printed 2017, archival pigment print.

COURTESY STEVEN KASHER GALLERY, NEW YORK

Opening: Teju Cole at Steven Kasher Gallery
Teju Cole’s photographs aren’t only pictures—they also sometimes come with text. Cole may be an accomplished novelist, but as of late, he’s also known for his New York Times column “On Photography,” which earned him a National Magazine Award nomination last year. With this show, a survey of his own works from his latest photo book, Blind Spot, and a new series called “Black Paper,” Cole will present over 30 works that are accompanied by poetic text. These new works ponder sights and sites, both seen and unseen, partially in reaction to a brief period where Cole went briefly was blinded in 2011.
Steven Kasher Gallery, 515 West 26th Street, 6–8 p.m.

Talk: Jordan Wolfson at New Museum
Few will forget Jordan Wolfson’s Whitney Biennial virtual-reality piece Real Violence (2017) anytime soon. Like it or not, this disturbing work, which features the artist beating to death what appears to be a real human being (it’s actually a dummy), is hard to shake. One could say the same of Wolfson’s sculptures that include animated dolls that dance and get dropped in ways that test viewers’ empathy. At this talk, Wolfson will discuss his work with Rhizome assistant curator Aria Dean and screen several videos, including Riverboat Song (2017), which debuted at Sadie Coles HQ gallery in London earlier this year.
New Museum, 235 Bowery, 7 p.m. Tickets $10/$15

Donald Moffett, He Kills Me, 1987, poster, offset lithography.

©DONALD MOFFETT/COURTESY THE ARTIST AND MARIANNE BOESKY GALLERY, NEW YORK, ASPEN

Opening: “Voice = Survival” at the 8th Floor
Taking the famed 1987 activist project “Silence=Death” as a jumping-off point, this group exhibition looks at the legacy of the HIV/AIDS crisis. Organized by Claudia Maria Carrera and Adrian Geraldo Saldaña for Visual AIDS, the show will feature work by figureheads of late-’80s AIDS activism, such as ACT UP, a loosely held-together coalition that promoted speaking up about HIV and AIDS as an activist strategy through radical—and sometimes polarizing—demonstrations, among other tactics. Alongside these veterans will be work by newcomers, such as Kameelah Janan Rasheed, whose work typically incorporates the written word and often addresses repressed histories. Gran Fury, Donald Moffett, Mykki Blanco, Marlon Riggs, and more will also have work in this exhibition.
The 8th Floor, 17 West 17th Street, 8th Floor, 6–8 p.m.

FRIDAY, JUNE 16

Performance: Elizabeth Orr at Bodega
Last year, Elizabeth Orr debuted MT RUSH, a bizarre video about a park ranger who explores a world filled with election emails, sexts, and strange digital interfaces. Although this world may not look like our own, and even if it may seem somewhat dystopian, the ranger seems not to mind. Orr’s newest performance, 9 PLAYS 9, promises to be similarly offbeat. To some degree, Orr’s newest work is a retelling of Dante’s Inferno, although a description of the work doesn’t give away much. Per that short write-up: “9 Circles of wrongdoings by the Christian soul / 9 Fellows met along the way / The afterlife through the power of pop music, a light hard touch, gay, and video.”
Bodega, 167 Rivington Street, 7 p.m.

Work by Elizabeth Orr.

COURTESY BODEGA

SUNDAY, JUNE 18

Opening: Maja Čule at Company Gallery
Maja Čule’s photographs and videos tackle the relationship between internet users and the systems they’re knowingly—or perhaps not so knowingly—a part of. Whether in the form of stock-photography parodies for DIS or as videos that mock the utopianism of AirBnB and other sharing-economy websites, Čule’s work incisively looks at how, in a digital world, work and fun are often one and the same. This show, titled “A Feature Shared By All,” appears to be about airports and travel. “There are no good stories of air travel,” Čule notes in a statement accompanied by a digitally image of a leaf smoking a cigarette. That much, one must admit, is true.
Company Gallery, 88 Eldridge, 5th Floor, 6–8 p.m.