Tag Archives: Marlene Dumas

ALICE NEEL — FREEDOM

Two years after Alice Neel, Uptown, David Zwirner presents ALICE NEEL—FREEDOM, another great exhibition of the painter’s work, this time focused on Neel’s portrayal of the nude figure.

The show’s catalogue features contributions by Marlene Dumas, Helen Molesworth, and Ginny Neel, Alice’s daughter-in-law and the organizer of FREEDOM.

ALICE NEEL—FREEDOM

Through April 13.

David Zwirner

537 West 20th Street, New York City.

From top: Alice Neel, Pregnant Julie and Algis, 1967; Alice Neel, Degenerate Madonna, 1930; Alice Neel, Untitled (Alice Neel and John Rothschild in the Bathroom), 1935; Alice Neel, Bronx Bacchus, 1929; Alice Neel, Joe Gould, 1933. All artwork © The Estate of Alice Neel, courtesy The Estate of Alice Neel and David Zwirner.

TO FRANK WAGNER

Frank Wagner (1958–2016) introduced Berlin to Félix González-Torres, Cady Noland, Marlene Dumas, Alfredo Jaar, Barbara Kruger, and Nan Goldin, and in 1992 curated Close to the Knives—A Memoir of Disintegration: Ein Gedenkraum für David Wojnarowicz at KW.

For nearly four decades, Wagner was involved with RealismusStudio, a curatorial working group of Berlin’s neue Gesellschaft für bildende Kunst (nGbK). The memorial show TIES, TALES, AND TRACES—DEDICATED TO FRANK WAGNER draws from a selection of artworks and documents from his estate—Wagner left over 10,000 books and catalogues and about 350 artworks—and includes talks, tours, and symposia conducted by his friends and colleagues.

TIES, TALES, AND TRACES—DEDICATED TO FRANK WAGNER

Through May 5.

KW Institute for Contemporary Art

Auguststrasse 69, Berlin.

From top: Frank Wagner at LOVE AIDS RIOT SEX, 2014, neue Gesellschaft für bildende Kunst (nGbK), Berlin, installation view photograph by Christin Lahr, artwork by Anna Charlotte Schmid, Gabor and Stefano III, Budapest, 2012, C-Print, courtesy the artist, the photographer, and nGbK; Wagner at the exhibition Félix González-Torres (1957–1996), RealismusStudio, 1996, photograph by Jürgen Henschel, courtesy KWWagner and AA Bronson, photograph by Alyssa DeLuccia, courtesy Visual AIDS.

HILTON ALS — A COLLECTIVE PORTRAIT OF JAMES BALDWIN

“Troubled times get the tyrants and prophets they deserve. During our current epoch, the revival of interest in author James Baldwin has been particularly intense. This is in part due, of course, to his ability to analyze and articulate how power abuses through cunning and force and why, in the end, it’s up to the people to topple kingdoms.

“As a galvanizing humanitarian force, Baldwin is now being claimed as a kind of oracle. But by claiming him as such, much gets erased about the great artist in the process, specifically his sexuality and aestheticism, both of which informed his politics.” — Hilton Als*

GOD MADE MY FACE—A COLLECTIVE PORTRAIT OF JAMES BALDWIN—a group show curated by Hilton Als, featuring the work of Njideka Akunyili Crosby, Diane Arbus, Richard Avedon, Alvin Baltrop, Beauford Delaney, Marlene Dumas, Ja’Tovia Gary, Glenn Ligon, Alice Neel, Cameron Rowland, Kara WalkerJane Evelyn Atwood, and James Welling—is on view through mid-February.

In conjunction with the exhibition, the Metrograph and Als will present a series of films featuring Baldwin through the years, at home and abroad.

GOD MADE MY FACE—

A COLLECTIVE PORTRAIT OF JAMES BALDWIN*

Through February 16.

David Zwirner

525 and 533 West 19th Street, New York City.

HILTON ALS ON JAMES BALDWIN FILM SERIES

Friday and Saturday, February 1 and 2.

Metrograph

7 Ludlow Street, New York City.

See “The Energy of Joy: Hilton Als in conversation with David Bridel and Mary-Alice Daniel,” PARIS LA 16 (2019): 217–221.

From top: Marlene Dumas, James Baldwin, 2014, from the Great Men series exhibited at Manifesta 10 in St. Petersburg, image credit: Marlene Dumas and Bernard Ruijgrok PiezographicsBeauford Delaney, Dark Rapture, 1941, oil on canvas; Alvin Baltrop, The Piers (man sitting), 1975-1986, photograph; Richard AvedonJames Baldwin, writer, Harlem, New York, 1945, © The Richard Avedon Foundation; Ja’Tovia Gary, An Ecstatic Experience, 2015, video still; Jane Evelyn AtwoodJames Baldwin with bust of himself sculpted by Larry Wolhandler, Paris, France, 1975 (detail), gelatin silver print. All images courtesy David Zwirner.