New Museum

LAST CHANCE to see Peter Saul: Crime and Punishment! Buy your tickets now: https://bit.ly/2QJFXGI "His art is the work of a brilliant showman who is also a canny ethicist, one who knows about the damage power can do and who, tossing incendiary matter around as he goes, refuses to let it have its way." The New York Times Image: Peter Saul, Pinkville, 1970. Acrylic on canvas, 90 x 131 in (228.6 x 332.7 cm). Private collection. Courtesy Venus Over Manhattan, New York

Can't visit us in person? We're open 24/7 online! Visit us at newmuseum.tv for exclusive digital content including virtual tours, studio visits, bedtime stories by artists, and new video art like "Screen Shaver" (2014) by artist Wong Ping! Image: Wong Ping, Screen Shaver, 2014 (video still). Single-channel animation, sound, color; 2 min. Courtesy the artist, Tanya Bonakdar Gallery, New York / Los Angeles and Edouard Malingue Gallery, Hong Kong / Shanghai.

In response to heightened concerns relating to the spread of COVID-19 and to ensure the health and safety of the Museum’s staff and public, the New Museum will temporarily close its galleries and offices at 9:00 p.m. this evening, Thursday, March 12, 2020. We join many cultural institutions across the city and country who are also closing to help limit the further spread of the Coronavirus, and moving to remote work wherever possible. We will continue to monitor the situation and re-evaluate in two weeks, based on additional information and recommendations from public officials. Please check https://www.newmuseum.org/visit and our social media channels for updates. We look forward to welcoming our staff and visitors back to the Museum soon.

TOMORROW, Friday December 11! In this participatory workshop, "Art Making as Radical Self-Care and Community Care in Youth Education" educators Noor Jones-Bey and Nnaemeka Ekwelum will share how art making holds space for feeling, rest, and discovery in their work with youth. This program is part of the New Museum’s annual Convening for Contemporary Art, Education, and Social Justice. Register here: https://bit.ly/3nA3WXy

Open through January 3: "Screens Series: Jessica Wilson." Reserve tickets here! https://bit.ly/2QJFXGI Smile Driver" (2019) follows figures with childlike proportions through a range of movements and experiences both familiar and surreal: wind gently blows through their wispy hair; they arch their bodies backwards; their eyebrow hair grows rapidly to cover their faces; they vigorously wash their hands as if to attempt to eradicate invisible germs. Certain movements they ...perform, such as a yawn, known to be contagious, might potentially produce similar somatic responses in viewers off-screen. Throughout the video, glitches appear to contaminate the environment, most notably liquid-like lumps that move rapidly under a seemingly hard cobblestone surface, their analogous motions revealing the inherent artificiality and adaptability of digital information. Image: Jessica Wilson, Smile Driver, 2019. Computer generated animation; 7:56 min. Courtesy the artist

Join us TOMORROW, Tuesday December 8 at 4 PM to celebrate the launch of "Saturation: Race, Art and the Circulation of Value" (MIT Press, 2020) with a special discussion featuring contributing artists Xandra Ibara, Kent Monkman, and Tourmaline, moderated by artist and scholar Richard Fung, and with an introduction by co-editors C. Riley Snorton and Hentyle Yapp. Register here: https://bit.ly/2UYdb7C Image: Saturation: Race, Art, and the Circulation of Value (2020). Cover image: Kent Monkman, Miss Chief’s Wet Dream, 2018. Acrylic on canvas. Collection of the Art Gallery of Nova Scotia. Courtesy the artist

With its embrace of vernacular culture, Peter Saul’s work stands as a key link between young figurative painters and older groups of artists like the Hairy Who in Chicago and the Bay Area Funk artists, who similarly operated outside the dominant critical modes of their time. Historically, his work also connects to the Surrealist landscapes of Salvador Dalí and Roberto Matta, and to the biting political caricatures of artists such as Francisco Goya and William Hogarth. Often championed by West Coast artists like Mike Kelley and Jim Shaw, Saul’s work, pushed for so long to the margins of the art world, now proves to be a perfect expression of our horrific present. On view through January 3. Image: Peter Saul, Custer’s Last Stand #1, 1973. Acrylic on canvas, 89 1/4 x 150 1/4 in (227.3 x 382.2 cm). Collection KAWS

Now on view in our Lobby Gallery: Daiga Grantina's exhibition "What Eats Around Itself." Grantina's amorphous sculptures are created from cast silicone, paint, latex, fabric, and felt, and mimic the growth of lichen, appearing to undergo construction and decomposition at once, much as lichen reproduces and consumes its own biological matter. Read more here: https://bit.ly/3dM0Mfp

In the neighborhood! NM recommends: Sky Hopinka at Broadway, "Megan Marrin: Convalescence" at Queer Thoughts, Emily Mae Smith: Kin at Simone Subal Gallery, "Matthew F Fisher: The Great Fire" at Shrine, "Dena Yago: Dry Season" at Bodega, and "Tony Hope: Pumpkin Spice" at Ashes/Ashes. @broadwaygalleryny @SimoneSubalGallery @shrinegallery @bodega.us @ashesonashes

Take a deep dive with artist Joan Jonas, who speaks with New Museum curator Margot Norton about her solo exhibition Big Market (1984), which was in the New Museum’s WorkSpace gallery when it was on Broadway. Watch here: https://bit.ly/3m7BtHD Jonas discusses the ideas behind the exhibition, which was one of her first works in installation, and her film, also titled "Big Market" (1984), shot in the markets of Budapest, Hungary.

November 9 at 7 PM EST! Author and editor Hanya Yanagihara will interview artist Jordan Casteel about her creative practice, on the occasion of Casteel’s New Museum exhibition Within Reach. Register here: https://bit.ly/3m6YhHK

Hell, Yes! It's a lovely week to visit the New Museum! On View: Jordan Casteel, Peter Saul, Daiga Grantina, and Screens Series: Randa Maroufi. Reserve your timed tickets here! https://bit.ly/2QJFXGI Photo: Benoit Pailley

Plan Your Vote with artist Christine Sun Kim! Go to PlanYourVote.Org to learn more!

NEW IN SCREENS SERIES ONLINE: Dark Side of the Moon by Nathalie Djurberg and Hans Berg. Watch here: https://bit.ly/2FuCXfE Dark Side of the Moon continues the artist’s long engagement with the language of surreal dreams and fairy tales to visualize complex psychological narratives of contemporary life. In this new work, the young woman protagonist of the video is at turns tormented and befriended by a cadre of strange anthropomorphic creatures: an unsavory wolf, a ribald pig, a mischievous full moon, and a threatening forest cottage. The circuitous conversations between the characters, amplified by Berg’s playful and enigmatic score, reveal conflicted emotions of desire, revulsion, belonging and exclusion. As in much of the pair’s work, the viewer enters a world that is both terrifying and familiar.

Diedrick Brackens’ exhibition darling divined opens tomorrow at the Blanton Museum of Art in Austin, Texas! Read more here: https://bit.ly/3nR9RZj

On October 29 at 7 PM EST, join us for a virtual conversation with the legendary Claudia Rankine and Judith Butler. Free with registrationregister here! https://bit.ly/3nIOGbP This conversation is presented as part of the Stuart Regen Visionaries Series, an annual program honoring individuals who have made major contributions to art and culture and who are actively imagining a better future. #judithbutler #claudiarankine #visionaries

Congratulations to Simone Leigh, who is representing the United States at the 2022 edition of the Venice Biennale! https://bit.ly/33WrKO5 For her exhibition and residency at the New Museum in 2016, "Simone Leigh: The Waiting Room," Leigh considered the possibilities of disobedience, desire, and self-determination as they manifest in resistance to an imposed state of deferral and debasement.

TEACHERS WORKSHOP ALERT: on October 21, join artist Maia Ruth Lee for an art making workshop titled Signs and Symbols for Healing. In this virtual workshop, Lee will discuss themes of migration and translation in her work, and invite teachers to experiment with the process of creating symbolic languages and sculptural forms drawn from memories, experiences, and emotions. RSVP here: https://bit.ly/34Ty20f . Image: Maia Ruth Lee, Auspicious Glyphs 1.2, 2016. Steel, dimensions variable. Courtesy the artist

Diedrick Brackens featured in Vogue! The artist has a new show open at the Blanton Museum of Art in Austin, Texas. Read more here: https://bit.ly/2GKAgr1 Diedrick’s work is singular in its form, mindful in its every thread, and generative in its message. It honors, complicates, and breathes new life into the rich histories of weaving. His exhibition at the New Museum, darling divined, brought together a body of work that spoke to ideas of intimacy and divinationelevating concepts such as care, healing, and community, which are typically not embraced in a fine-arts context. His works are thoughtful and poignant allegories that are at once of our moment and timeless. Margot Norton, Curator.

Reminder! We're Open! Reserve your timed ticket here: https://bit.ly/2QJFXGI

"Noelle" (2019) is part of Jordan Casteel’s series of portraits depicting her undergraduate students at Rutgers University-Newark, which are composed as domestic tableaux wherein the sitters and the artist share moments of proximity and estrangement. Read more about the exhibition here: https://bit.ly/36fVW8v Taking inspiration from bell hooks’s 1994 text Teaching to Transgress: Education as the Practice of Freedom, in which the feminist writer and social critic outlines an... antidiscriminatory pedagogy centering on the reciprocity between students and teachers, Casteel incorporates her work as a teacher into her artistic practice. For this series, Casteel asks students how they wish to be portrayedwhether in the company of family members, in public, or at home, surrounded by personal belongings. In this painting, Noelle is seated comfortably amid the patterned textiles, toys, and artworks that decorate her bedroom, expounding a sense of intimacy which doubles as an allegory of fleeting youth. Image: Jordan Casteel, Noelle, 2019 (detail). Oil on canvas. Image courtesy the artist and Casey Kaplan, New York.