{"id":1936,"date":"2023-09-11T23:15:23","date_gmt":"2023-09-11T15:15:23","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1936"},"modified":"2023-09-11T23:15:23","modified_gmt":"2023-09-11T15:15:23","slug":"the-cant-miss-gallery-shows-opening-in-tribeca-this-week","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-cant-miss-gallery-shows-opening-in-tribeca-this-week\/","title":{"rendered":"The Can\u2019t-Miss Gallery Shows Opening in Tribeca This Week"},"content":{"rendered":"<p class=\"paragraph larva \/\/ a-font-body-m     \">Tonight, <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">Manhattan galleries<\/a> will open their doors for an extended first-look of fall exhibitions. Don\u2019t be dissuaded by the rain; there are some exceptional offerings this year, from remixed retrospectives, to solo shows that spill out of the front door and over the facade, to irreverent painting that subvert some of art histories most hallowed masters. Treat it as a breather from the breakneck buffet of art fairs across the island.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m     \">Here are five exhibitions to add to your season\u2019s to-do list.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m     \"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">1.Helen Mirra at Peter Freeman<\/span><\/p>\n<div id=\"pmc-gallery-vertical\">\n<div class=\"c-gallery-vertical\">\n<div class=\"c-gallery-vertical__slides\">\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234679211\" data-slide-index=\"0\" data-slide-position-display=\"1\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/43bf2b7ada05a901bb440a401ee56469.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/43bf2b7ada05a901bb440a401ee56469.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/43bf2b7ada05a901bb440a401ee56469.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/43bf2b7ada05a901bb440a401ee56469.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/43bf2b7ada05a901bb440a401ee56469.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/43bf2b7ada05a901bb440a401ee56469.jpg?w=1280 1280w\" alt=\"\" width=\"862\" height=\"575\" \/><span style=\"text-align: center;\">Helen Mirra, ;Sky-wreck 1\/22&#8242;, 2001.<\/span><span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of Peter Freeman, New York.<\/span><\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m     \">I would call the \u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">green holotrope<\/a><em>\u201d<\/em>, a solo show of new and past work by Helen Mirra, a retrospective, but not in the conventional sense. Rather than an outside force proposing an overarching meaning in her oeuvre, Mirra has taken that responsibility upon herself. Many of the new canvases are revisions to some of her best-recognized work, and eschew notions of a sacrosanct oeuvre in favor\u00a0of a live-wire take on art-marking, one that acknowledges that meaning is derived from the self; and the self is always changing. Several sections from the geodesic textile-work \u201cSky-wreck\u201d, unseen in the United States since 2001, have returned to New York. In its first iteration, Mirra flattened 110 triangles of indigo-dyed fabric over a large part of the floor. It was a bit playful, dragging the heavens to earth in a corporeal form. The pieces have fallen apart in its second life, torn apart on a whim, in a reflection of our ruined biosphere.<\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-1\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\">\n<div id=\"gpt-dsk-tab-list-inlist1-uid0\" class=\" adw-300 adh-250\" data-is-adhesion-ad=\"\"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">2.Jonathan Lyndon Chase at Artists Space<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234679217\" data-slide-index=\"1\" data-slide-position-display=\"2\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/jlc-edit-2-2560x.jpg?w=500\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 640px, (max-width: 1440px) 640px, (max-width: 2560px) 640px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/jlc-edit-2-2560x.jpg?w=200 200w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/jlc-edit-2-2560x.jpg?w=400 400w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/jlc-edit-2-2560x.jpg?w=500 500w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/jlc-edit-2-2560x.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/jlc-edit-2-2560x.jpg?w=853 853w\" alt=\"\" width=\"479\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\">Jonathan Lyndon Chase, &#8216;City of Beauty&#8217;, 2023.<span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of the artist and Company Gallery, New York.<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m     \">Philadelphia-based <a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">multidisciplinary<\/a> artist Jonathan Lyndon Chase excels at reimagining domestic environments\u2014the barbershop, laundromat, and bedroom\u2014as refuges for queer Black people. \u201cI\u2019m not saying that anyone\u2019s excluded, but my audience is my own people,\u201d Lyndon Chase told\u00a0<em>ARTnews<\/em> in 2021. \u201cI want them to feel seen.\u201d In his first institutional solo exhibition in New York, titled \u201chis beard is soft, my hands are empty\u201d, the passion behind this purpose is felt. Moving through the ground floor of Artists Space, visitors will find canvases, drawings, and soft sculptures that, when treated as parts of a sum, make obvious that we are being trusted with private wishes and regrets. As part of the show, Chase will transform the exterior of the building into the facade barbershop, \u201ccomplete with its tri-colored barber pole,\u201d says the gallery.<\/p>\n<p class=\"paragraph larva \/\/ a-font-body-m     \"><span style=\"color: #111111; font-family: Roboto, sans-serif; font-size: 27px;\">3.Jesse Mockrin at James Cohan<\/span><\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234679214\" data-slide-index=\"2\" data-slide-position-display=\"3\">\n<article class=\"c-gallery-vertical-featured-image\">\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/exhibition00_1064x.jpg?w=426\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 545px, (max-width: 1440px) 545px, (max-width: 2560px) 545px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/exhibition00_1064x.jpg?w=170 170w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/exhibition00_1064x.jpg?w=340 340w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/exhibition00_1064x.jpg?w=426 426w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/exhibition00_1064x.jpg?w=545 545w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/exhibition00_1064x.jpg?w=726 726w\" alt=\"\" width=\"408\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\">Jesse Mockrin, &#8216;Herself unseen&#8217;, 2023.<span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of James Cohan<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m     \">\u201c<a href=\"https:\/\/www.atelierauction.com\/globalupdates\/\">The Venus Effect<\/a>\u201d, an exhibition of new paintings by Jesse Mockrin, opens today and is a can\u2019t miss. Mockrin arrives at her first solo exhibition with the gallery with a fully realized remix of the tenants of Old Master painting: nude, voluminous forms, self-reference, and unreliable perspectives. Mockrin applies this to a stirring study of the studier\u2014the men who make and stare at female muses; thankfully, these graceful ladies have the last laugh. In art historical terms, \u201cThe Venus Effect\u201d is when the goddess is depicted looking into a mirror, fooling the viewer into where her gaze is trained.\u00a0 Mockrin makes this an apt metaphor for another art tradition, the painting of women in scenes of self-obsession, when the brush is in the hands of a man.<\/p>\n<\/div>\n<\/article>\n<div class=\"c-gallery-vertical__advert\">\n<div id=\"adm-in-list-x\" class=\"admz \">\n<div class=\"adma boomerang \" data-device=\"Desktop\" data-width=\"300\">\n<div class=\"pmc-adm-boomerang-pub-div ad-text\" data-priority=\"8\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234679220\" data-slide-index=\"3\" data-slide-position-display=\"4\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">4.Bony Ramirez at Jeffrey Deitch<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/ramirez-02.jpg?w=665\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 851px, (max-width: 2560px) 851px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/ramirez-02.jpg?w=266 266w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/ramirez-02.jpg?w=532 532w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/ramirez-02.jpg?w=665 665w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/ramirez-02.jpg?w=851 851w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/ramirez-02.jpg?w=1135 1135w\" alt=\"\" width=\"637\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\">Bony Ramirez, &#8216;The Annunciation&#8217;, 2023.<span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Photo by Genevieve Hanson. Courtesy of Jeffrey Deitch.<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m     \">\u201cSince moving to the United States at thirteen, Bony Ramirez has never returned to the Dominican Republic,\u201d so begins the press release for \u201c<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">TROPICAL APEX<\/a>\u201d, which opens on Saturday. It\u2019s relevant background, as it explains the joyful conflation of memory and fantasy in this solo show of mixed media paintings and taxidermy sculpture. Drawing on vivid, if unreliable, impressions from youth, Ramierz has made his own scrapbook of DR, or at least the DR of his dreams. And what a place that must be: ornamental as an odalisque but roiling beneath its paradisiac veneer with the complexities of Caribbean history, shaped as it was by colonial interference.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<div class=\"c-gallery-vertical__slide-wrapper\" data-slide-id=\"1234679223\" data-slide-index=\"4\" data-slide-position-display=\"5\">\n<article class=\"c-gallery-vertical-featured-image\">\n<div class=\"c-gallery-vertical-featured-image__header\">\n<div class=\"c-gallery-vertical-details\">\n<h2 class=\"c-gallery-vertical-featured-image__title\">5.Ben Sakoguchi at Ortuzar Projects<\/h2>\n<\/div>\n<\/div>\n<figure class=\"c-gallery-vertical-featured-image__figure c-gallery-slide--loaded c-gallery-vertical-featured-image__figure--loaded\" role=\"presentation\"><img loading=\"lazy\" decoding=\"async\" class=\"c-gallery-vertical-featured-image__image u-gallery-react-placeholder-shimmer aligncenter\" src=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/e28b83271cbf3dcccb639dff4974cdfd.jpg?w=800\" sizes=\"auto, (max-width: 414px) 414px, (max-width: 1024px) 800px, (max-width: 1440px) 1024px, (max-width: 2560px) 1024px\" srcset=\"https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/e28b83271cbf3dcccb639dff4974cdfd.jpg?w=320 320w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/e28b83271cbf3dcccb639dff4974cdfd.jpg?w=640 640w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/e28b83271cbf3dcccb639dff4974cdfd.jpg?w=800 800w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/e28b83271cbf3dcccb639dff4974cdfd.jpg?w=1024 1024w, https:\/\/www.artnews.com\/wp-content\/uploads\/2023\/09\/e28b83271cbf3dcccb639dff4974cdfd.jpg?w=1149 1149w\" alt=\"\" width=\"767\" height=\"575\" \/><\/p>\n<div class=\"c-gallery-vertical-featured-image__share-icons\">An installation view of &#8220;Belief &amp; Wordplay&#8221; at Ortuzar Projects.<span class=\"c-gallery-vertical-slide__photo-credit-text\">Photo<\/span><span class=\"c-gallery-vertical-slide__colon\">\u00a0:\u00a0<\/span><span class=\"c-gallery-vertical-slide__photo-credit\">Courtesy of Ortuzar Projects.<\/span><\/div>\n<\/figure>\n<div class=\"c-gallery-vertical-featured-image__description\">\n<p class=\"paragraph larva \/\/ a-font-body-m     \">\u201c<a href=\"https:\/\/www.facebook.com\/AtelierAuctionsg\">Belief &amp; Wordplay<\/a>\u201d, Ortuzar Projects\u2019 second exhibition with Pasadena-based artist Ben Sakoguchi, is a mammoth survey, comprising 94 canvases painted over the last five decades. A credit to Sakoguchi and the curation, no piece is a waste of space. There\u2019s a macabre humor about his pictorial style\u2014it takes a second\u2019s inspection to spot the commercial imagery crowding, for example, a brilliant canyon vista. The most exciting entry, however, may be the multi-canvas work\u00a0<em>Comparative Religions 101<\/em>\u00a0(2014\/2019), exhibited publicly for the first time. This \u201cclassically Californian brand of conceptualism\u201d (the gallery\u2019s words) relies on the viewer to play an association game with disparate captions and images\u2014and you do, even trying\u00a0your best, until you realize the game is rigged, and that meaning in a capitalist America is a endlessly manipulated variable.<\/p>\n<\/div>\n<\/article>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tonight, Manhattan galleries will open their doors for an extended first-look of fall exhibitions. Don\u2019t be dissuaded by the rain; there are some exceptional offerings this year, from remixed retrospectives, to solo shows that spill out of the front door and over the facade, to irreverent painting that subvert some of art histories most hallowed [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":1937,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-1936","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Can\u2019t-Miss Gallery Shows Opening in Tribeca This Week - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Tonight, Manhattan galleries will open their doors for an extended first-look of fall exhibitions.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-cant-miss-gallery-shows-opening-in-tribeca-this-week\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Can\u2019t-Miss Gallery Shows Opening in Tribeca This Week - 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