8 THENEWYORKER, NOVEMBER 11, 2019
A RT
WINTER PREVIEW
Saharan Empires, Mexican Murals
This fall, Tribeca became Manhattan’s
latest art destination as multiple galler-
ies decamped there from Chelsea. The
essential nonprofit Artists Space re-
turns to its roots—it was founded in the
neighborhood, in 1972—inaugurating
its new home on Cortlandt Alley with
an adventurous show of works by Dan-
ica Barboza, Jason Hirata, Yuki Kimura,
and Duane Linklater (opens Dec. 6).
Few painters have achieved the
pop-culture stature of Kehinde Wiley,
whose fans include President Barack
Obama. The Brooklyn Museum pairs
a 2005 canvas by Wiley with the neo-
classical French picture it’s based on,
Jacques-Louis David’s “Napoleon
Crossing the Alps,” from 1801 (opens
Jan. 24). Wiley’s equestrian subject has
a spiritual ancestor in a majestic ancient
terra-cotta figure excavated in Niger,
in 1985; it’s a highlight of “Sahel: Art
and Empires on the Shores of the Sa-
hara,” in which the Met surveys fifteen
centuries’ worth of African treasures
(opens Jan. 30).
The candy-colored canvases that
spring from the wild mind of the
Pop-surrealist Peter Saul have been
taking aim at political targets since
before the Nixon Administration; the
New Museum surveys Saul’s nearlysix-decade-long career in “Crime and
Punishment” (opens Feb. 11).
A corrective to the deplorable at-
titude of the current Administration
toward Mexico arrives at the Whitney:
the blockbuster “Vida Americana: Mex-
ican Muralists Remake American Art,
1925-1945,” which considers the impact
of “Los Tres Grandes”—the painters
José Clemente Orozco, Diego Rivera,
and David Alfaro Siqueiros—and their
peers on artists north of the border, from
Jacob Lawrence to Jackson Pollock
(opens Feb. 17).
Dora Kallmus is far less well known
than the people she photographed—Jo-
sephine Baker, Colette, Pablo Picasso,
and others she encountered in Vienna
and Paris. After the Second World
War, the subject of the Austrian pho-
tographer’s work shifted dramatically;
in 1956, at the age of seventy-five, she
documented the slaughterhouses of
Paris. “Madame d’Ora,” at the Neue
Galerie, includes selections from her
œuvre (opens Feb. 20).
OMA, the firm of Rem Koolhaas, is
an acronym for Office of Metropolitan
Architecture. In the Guggenheim’s ro-
tunda-filling show “Countryside, the Fu-
ture,” Koolhaas and his team turn their
attention to rural concerns in a series of
speculations on subjects ranging from
A.I. and automation to migration and
political radicalization (opens Feb. 20).
Donald Judd is considered a min-
imalist, but it wasn’t a label he used.
For the American artist, who died in
1994, his colorful, industrially produced
“boxes,” “stacks,” and “progressions”
opened a new space between painting
and sculpture. moma mounts the first
U.S. retrospective of his work in thirty
years (opens March 1). Another master
of the in-between, the German painter
Gerhard Richter, has shifted between
representation and abstraction through-
out his brilliant career. More than a hun-
dred of his pieces will fill two floors of
the Met Breuer in “Gerhard Richter:
Painting After All” (opens March 4).
—Andrea K. Scott ILLUSTRATION BY SIMON LANDREIN