Meet at 10:15, no later, at Mangia, a restaurant/deli at 50 West 57th Street near 6th Avenue.
The F train goes right there, to 57th St and 6th Avenue. Give yourself almost a hour to get there.
Also, if you're interested, check out Frank and my excellent Ottawa adventure here.
Galleries visited:
Marlborough, 50 W. 57th St. Richard Estes
Forum, 730 5th Avenue, Group show self portraits
Nohra Haime, 730 5th, Olga De Amaral
Greenberg Van Doren Gallery, 730 5th, Judy Fiskin From The New Yorker: The small black-and-white photographs in this survey of Fiskin’s work from the seventies and eighties are drawn from series (“Stucco,” “Long Beach,” “Dingbat”) that focus on vernacular architecture and landscaping. Fishkin’s oeuvre falls somewhere between Ed Ruscha’s and Bernd and Hilla Becher’s, with particular attention paid to vintage Los Angeles kitsch, although it rarely feels nostalgic. Her pictures are crisp, absorbing, and so intimately scaled that looking at them can feel like peering into a peephole. In a short film titled “The End of Photography,” the camera cruises past sites in L.A. as a female voice lists what the medium has lost with the obsolescence of darkrooms. Through Oct. 27
Mary Boone, 745 5th Avenue, Wilhelm Nay: from Time Out New York
"This three-gallery survey at Michael Werner and Mary Boone's spaces both uptown and down focuses on German postwar abstractionist Ernst Wilhelm Nay (1902–1968). As a young artist, he was influenced by the figurative Expressionism of Ernst Ludwig Kirchner, but in the years following World War II, his style evolved into a purely nonobjective one, distinguished by a bold use of color. Note to young painters: There are ideas here ripe for the borrowing."
David McKee, 745 5th Avenue, William Tucker
Pace, 32 East 57th, Robert Irwin From The New Yorker: 'The master of California’s Light and Space movement cements his storied career with this two-part exhibition focussing on early and recent work. In Chelsea, three clear acrylic bevelled columns, conceived in 1969 and realized last year, seem almost to hover, like futuristic monoliths beckoning the landing of a spacecraft. Uptown, the gallery reprises a show from the spring: contrasting milk-white and jet-black wall-mounted panels underwhelm next to the cutouts in the gallery windows, allowing the bustle of Fifty-seventh Street to come flooding inside. Lawrence Weschler, in his landmark book on the artist, “Seeing Is Forgetting the Name of the Thing One Sees,” which began as a two-part Profile in this magazine, wrote, “He is perception’s gadfly, annoyingly prodding the taken-for-granted, relentlessly combining the ordinary and uncovering its hidden wonders.” Through Oct. 20.'
The F train goes right there, to 57th St and 6th Avenue. Give yourself almost a hour to get there.
Also, if you're interested, check out Frank and my excellent Ottawa adventure here.
Galleries visited:
Marlborough, 50 W. 57th St. Richard Estes
Forum, 730 5th Avenue, Group show self portraits
Nohra Haime, 730 5th, Olga De Amaral
Greenberg Van Doren Gallery, 730 5th, Judy Fiskin From The New Yorker: The small black-and-white photographs in this survey of Fiskin’s work from the seventies and eighties are drawn from series (“Stucco,” “Long Beach,” “Dingbat”) that focus on vernacular architecture and landscaping. Fishkin’s oeuvre falls somewhere between Ed Ruscha’s and Bernd and Hilla Becher’s, with particular attention paid to vintage Los Angeles kitsch, although it rarely feels nostalgic. Her pictures are crisp, absorbing, and so intimately scaled that looking at them can feel like peering into a peephole. In a short film titled “The End of Photography,” the camera cruises past sites in L.A. as a female voice lists what the medium has lost with the obsolescence of darkrooms. Through Oct. 27
Mary Boone, 745 5th Avenue, Wilhelm Nay: from Time Out New York
"This three-gallery survey at Michael Werner and Mary Boone's spaces both uptown and down focuses on German postwar abstractionist Ernst Wilhelm Nay (1902–1968). As a young artist, he was influenced by the figurative Expressionism of Ernst Ludwig Kirchner, but in the years following World War II, his style evolved into a purely nonobjective one, distinguished by a bold use of color. Note to young painters: There are ideas here ripe for the borrowing."
David McKee, 745 5th Avenue, William Tucker
Pace, 32 East 57th, Robert Irwin From The New Yorker: 'The master of California’s Light and Space movement cements his storied career with this two-part exhibition focussing on early and recent work. In Chelsea, three clear acrylic bevelled columns, conceived in 1969 and realized last year, seem almost to hover, like futuristic monoliths beckoning the landing of a spacecraft. Uptown, the gallery reprises a show from the spring: contrasting milk-white and jet-black wall-mounted panels underwhelm next to the cutouts in the gallery windows, allowing the bustle of Fifty-seventh Street to come flooding inside. Lawrence Weschler, in his landmark book on the artist, “Seeing Is Forgetting the Name of the Thing One Sees,” which began as a two-part Profile in this magazine, wrote, “He is perception’s gadfly, annoyingly prodding the taken-for-granted, relentlessly combining the ordinary and uncovering its hidden wonders.” Through Oct. 20.'
