Drawing on its remarkable collection of modern Iranian, Indian, and Turkish art, the Grey Art Gallery at New York University presents Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection. Featuring approximately thirty to forty artworks from each country, the exhibition examines the artistic practices in Iran, Turkey, and India, from the 1960s and early ’70s via selections from the Abby Weed Grey Collection of Modern Asian and Middle Eastern Art.
Coinciding with the 50th anniversary of the Stonewall Uprisings, Art after Stonewall, 1969–1989 is a long-awaited and groundbreaking survey that features over 200 works of art and related visual materials exploring the impact of the Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) liberation movement on visual culture. Presented in two parts—at New York University’s Grey Art Gallery and the Leslie-Lohman Museum of Gay and Lesbian Art—the exhibition features artworks by openly LGBTQ artists such as Vaginal Davis, Louise Fishman, Nan Goldin, Lyle Ashton Harris, Barbara Hammer, Holly Hughes, Greer Lankton, Robert Mapplethorpe, Catherine Opie, Joan Snyder, and Andy Warhol. On view at the Grey Art Gallery from April 24 through July 20, 2019 and at the Leslie-Lohman Museum from April 24 through July 21, 2019, the exhibition is organized by the Columbus Museum of Art.
For centuries, Greek and Roman myths have inspired artists. New York University’s Grey Art Gallery is pleased to present a solo museum exhibition of the New York–based octogenarian artist Wally Reinhardt, who continues in this time-honored tradition. On view from January 9 through April 6, 2019 in the Grey’s Lower Level Gallery, Metamorphoses: Ovid According to Wally Reinhardt features some 50 watercolor, gouache, and colored pencil illustrations from a series that numbers nearly 200. Reinhardt, who began working on this project in 1984, has focused solely on interpreting Ovid’s most acclaimed work of Latin poetry, Metamorphoses.
Fritz Ascher: Expressionist is the first-ever retrospective of an overlooked but significant German artist. Characterized by the Nazis as “degenerate” (along with other artists who were banned and persecuted), Fritz Ascher (1893–1970) survived two world wars, and then remained in Berlin where he lived and worked. In addition to painting and drawing, he turned to writing poetry later in life. Organized by the Fritz Ascher Society for Persecuted, Ostracized and Banned Art, Inc., the exhibition comprises some 75 paintings and works on paper, ranging from early academic studies and figural compositions to the artist’s late colorful, mystical landscapes devoid of human presence.
NeoRealismo: The New Image in Italy, 1932–1960 poignantly portrays life in Italy through the lens of photography before, during, and after World War II. While neorealism is associated primarily with cinematic and literary depictions of dire postwar conditions, this is the first major museum exhibition to highlight key photographers active at the time. Featuring approximately 175 photographs by over 60 Italian artists, NeoRealismo pairs them with the original publications in which they circulated—illustrated magazines, photobooks, and exhibition catalogues. On view at NYU’s Grey Art Gallery from September 6 through December 8, 2018, the show also includes film excerpts by such notable directors as Vittorio De Sica, Roberto Rossellini, and Luchino Visconti, alongside related movie posters.
In the current global environment—with nature threatened now more than ever—how is our contemporary landscape reimagined by artists? Landscapes after Ruskin: Redefining the Sublime explores this intriguing question through artworks that confront an increasingly sinister notion of the sublime. Curated by renowned photographer Joel Sternfeld, the exhibition features approximately 60 works by over 45 artists, including paintings, photographs, sculpture, installation, film, and video.
New York University’s Grey Art Gallery is pleased to present the first North American exhibition of the work of self-taught Algerian artist Baya Mahieddine (1931–1998), who chose to be known by her first name only. On view from January 9 through March 31, 2018, in the Grey’s Lower Level Gallery, Baya: Woman of Algiers comprises some 20 gouache paintings, all shown for the first time in the U.S.
New York University’s Grey Art Gallery is pleased to present the first major U.S. exhibition to showcase the extraordinary drawings of Santiago Ramón y Cajal (1852–1934), widely recognized as the father of modern neuroscience. On view from January 9 through March 31, 2018, The Beautiful Brain: The Drawings of Santiago Ramón y Cajal comprises some 80 drawings, most on view for the first time outside the scientist’s native Spain.
New York University’s Grey Art Gallery is pleased to present the first exhibition to focus on the groundbreaking collaboration between Alfred Barr, the Museum of Modern Art’s first director, and Philip Johnson, its first curator of architecture. On view from September 7 through December 9, 2017, Partners in Design: Alfred H. Barr Jr. and Philip Johnson illuminates the roles played by these two pioneers of international modernism in promoting design and expanding its study to encompass quotidian objects.
What happens when artists organize their own exhibitions? This is one of the key questions posed by Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, a major exhibition that examines the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism. This is the first show ever to survey this vital period from the vantage point of its artist-run galleries—crucibles of experimentation and innovation that radically changed the art world. Organized by Grey Art Gallery at New York University and curated by Melissa Rachleff, clinical associate professor at NYU Steinhardt, the exhibition includes work by artists ranging from such well known figures as Mark di Suvero, Jim Dine, Red Grooms, Allan Kaprow, Alex Katz, Yayoi Kusama, Claes Oldenburg, and Yoko Ono to artists who deserve to be better known, such as Ed Clark, Emilio Cruz, Lois Dodd, Rosalyn Drexler, Sally Hazelet Drummond, Jean Follett, Lester Johnson, Boris Lurie, Jan Müller, and Aldo Tambellini.