Exhibitions

“Alice Neel: People Come First”at the Metropolitan Museum of Artthrough August 1

What the museum says: “‘Alice Neel: People Come First’ is the first museum retrospective in New York of American artist Alice Neel (1900–1984) in 20 years. This ambitious survey positions Neel as one of the century’s most radical painters, a champion of social justice whose longstanding commitment to humanist principles inspired her life as well as her art, as demonstrated in the approximately one hundred paintings, drawings, and watercolors that will appear in the Met’s survey.
Images of activists demonstrating against fascism and racism appear alongside paintings of impoverished victims of the Great Depression, as well as portraits of Neel’s neighbors in Spanish Harlem, leaders from a wide range of political organizations, queer artists and performers, and members of New York’s global diaspora. The exhibition also highlights Neel’s erotic watercolors and pastels from the 1930s, her depictions of mothers, and her paintings of nude figures (some of them visibly pregnant), all of whose candor and irreverence are without precedent in the history of Western art.”
Why it’s worth a look: For a long time, art historians weren’t quite sure what to do with Alice Neel. She painted representational pictures of everyday people in an era when abstraction was king and figuration was widely considered finished. She worked in New York, where finding space in an art world dominated by the outsize influence of the Jackson Pollock and Willem de Kooning was difficult. And she was a woman, which made it that much harder to find recognition.
But the past few years have seen a renewed surge of interest in her work. A sterling exhibition at David Zwirner in New York curated by writer Hilton Als in 2017 brought Neel to fresh audiences, and that show’s catalogue extended the exhibition’s reach beyond its closing date. Now, with this full career survey at the Met, she finally finds a permanent place in the Western canon as a forerunner to the representational painters who dominate today’s headlines.
Neel spent many of her years in New York, and as the Met puts it, the city was “her most faithful subject.” She had a deep sense for its characters, their idiosyncrasies and mannerisms, and a reverence for difference, plurality, and individuality. Not unlike contemporary artists like Amy Sherald or Salman Toor, she was able to connect with her sitters’ identities and to draw out their complexities while still maintaining a relatively simple yet vibrant painterly mark.
“For me, people come first,” Neel said in 1950. “I have tried to assert the dignity and eternal importance of the human being.” That’s the best lesson anyone can draw from the show—especially these days, when empathy is at once more necessary and rarer than ever.
What it looks like:
Alice Neel, Mercedes Arroyo (1952). © The Estate of Alice Neel.
Alice Neel, Linda Nochlin and Daisy (1973). © The Estate of Alice Neel.
Alice Neel, James Farmer (1964). © The Estate of Alice Neel.
Alice Neel, Margaret Evans Pregnant (1978). © The Estate of Alice Neel.
Alice Neel, Jackie Curtis and Ritta Redd (1970). © The Estate of Alice Neel.
Alice Neel, Andy Warhol (1970). © The Estate of Alice Neel.
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Last year, a firestorm of controversy ignited when four leading international museums postponed a long-awaited Philip Guston retrospective over concerns that the artist’s paintings of hooded Klansmen needed additional contextualization in light of the heightened racial tensions following the summer’s Black Lives Matter protests.
Now, New York’s Hauser & Wirth gallery, which represents the artist’s estate, has taken it upon itself to spotlight those challenging works in “Philip Guston, 1969–1979,” a show dedicated to the final decade of his career.
“The timing for ‘Philip Guston: 1969–1979’ is urgent because of the art’s relevance to our cultural context today,” Marc Payot, the gallery’s president, told Artnet News in an email.
“The racial reckoning and widespread calls for social justice that have rightly brought so many Americans into the streets over the past couple years—particularly since the murders of George Floyd, Breonna Taylor, and too many others—echo the context in which Guston made these late works.”
The gallery says the show was not organized in response to the controversial postponement.
When it opens in September, the exhibition will focus on the painter’s late-in-life embrace of figuration after he helped pioneer Abstract Expressionism as a first generation painter of the New York School.
Film still of Philip Guston in his Woodstock studio, summer 1971. From footage by Michael Blackwood Productions. ©The Estate of Philip Guston, courtesy the Estate and Hauser & Wirth.
Critics initially lambasted Guston’s change of direction, which involved an unlikely combination of deliberately cartoon-like figures and the dark subject matter of systemic racism. But the works spoke to the insidious yet banal way that evil pervades US society. In these intimate, confessional paintings, both the artist and the viewer become complicit in a long history of racial injustice.
“In his last decade, Guston achieved a visual language to express his lifelong outrage over inhumanity, bigotry, cruelty, and injustice everywhere,” Payot said.
Originally, Guston’s museum retrospective was set to open at the National Gallery of Art in Washington, D.C., on June 7, 2020. The show was pushed back for a year due to the pandemic, before organizers announced that it would open in 2024 to give curators time to reassess the presentation.
Following a widespread backlash and cries of censorship, the exhibition’s four organizing institutions opted for a 2022 opening date.
Philip Guston, Back View II (1978). ©The Estate of Philip Guston, courtesy the Estate and Hauser & Wirth, private collection.
“Yes, these are challenging works with painful imagery that calls to mind deep traumas,” Payot said. “But at the gallery, the paintings will speak for the themselves. Guston’s take on the human condition and his voice for social justice are by now manifest.”
The Hauser & Wirth exhibition is set to include works that have never been exhibited before, with loans from museums and private collections. The show “will be complemented by robust public programs and critical writings that give significant context to the work and bring the artist’s ideas and images into the center of contemporary discourse,” Payot added.
The gallery has represented the Guston estate since 2015, and has presented a series of shows covering different periods in the artist’s career, including his late abstract work and satirical Richard Nixon drawings.
“We devoted one exhibition called ‘Resilience’ to a single year in Guston’s career—1971—when he moved to Europe in the wake of critical excoriation of his new figurative paintings at the now infamous Marlborough Gallery exhibition in New York in 1970,” Payot said. “We’ve always planned to organize a show focused on the paintings that made his Marlborough exhibition such a scandal, yet propelled Guston toward the most powerful decade of his career.”
“Philip Guston, 1969–1979” will be on view at Hauser & Wirth, 542 West 22nd Street, New York, September 9–October 30, 2021.
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In what may be the tiniest museum show ever, England’s Pallant Gallery will showcase work this summer by more than 30 of Britain’s most famous artists—and it will all be no bigger than the length of a No. 2 pencil.
The show, titled “Masterpieces in Miniature,” features an architectural model gallery lined with original tiny works by artists including Rachel Whiteread, Maggi Hambling, Grayson Perry, John Akomfrah, Tacita Dean, and Lubaina Himid.
The works span all media, from Damien Hirst’s half-inch spin painting to Edmund de Waal’s tiny ceramic sculpture atop a petite pedestal. Even Akomfrah’s stirring film installations have been compressed into a photographic triptych that fits inside one lilliputian gallery. Another prize is the inclusion of a miniature print from the late photographer Khadija Saye’s series “Crown,” the only work not destroyed in the Grenfell Tower fire that also claimed the artist’s life.
1934 Model Art Gallery. Photo: Barney Hindle © Pallant House Gallery.
The dollhouse-sized space will be the third model gallery in the Pallant’s collection, following in the footsteps of the “Thirty Four Gallery” and “The Model Art Gallery 2000.” The first, created in 1934 at the request of art dealer Syndey Burney to raise money for charity, featured works by Vanessa Bell, Ivon Hitchens, and Henry Moore. To mark the new millennium, Pallant House Gallery commissioned “The Model Art Gallery 2000,” itself a replica of the gallery’s white cube extension, and showcasing artists from the collection of Colin St. John Wilson, including Frank Auerbach, Peter Blake, Antony Gormley, Anthony Caro, and Howard Hodgkin.
Model Art Gallery 2020. Photo: Barney Hindle © Pallant House Gallery.
The trio of model galleries comprise a micro time capsule of more than 80 years of British art, encompassing artists from the Bloomsbury Group, the Pop art era, and the Young British Artists of the 1990s.
The collaborative project is “filled with optimism and hope for the future: about creating something positive out of all of this disruption and uncertainty,” said Pallant House Gallery director Simon Martin in a statement. “All the usual complex considerations about curation and display have come into play, about different media and forms of art including painting, drawing, sculpture, site-specific installation, and photography.”
Martin adds that he plans for the exhibition to travel to other venues in the future.
During the past year of lockdown, numerous other artists have turned to the small stage as well, including curator Filippo Lorenzin and artist Marianna Benetti, who created a miniature art gallery for their urbane pet gerbils, and a Brooklyn-based artist who launched a contest for creatives to share their dream homes rendered in miniature clay dioramas.
See more images from the show below.
Edmund de Waal, and show and end (2020). Pallant House Gallery, Chichester. (Donated by the Artist, 2020) © Edmund de Waal.
Gary Hume, Archipelago (2020). Pallant House Gallery, Chichester. (Donated by the Artist, 2020) © Gary Hume.
Bob and Roberta Smith, Look (2020). Pallant House Gallery, Chichester. (Donated by the Artist, 2020) © Bob and Roberta Smith.
Maggi Hambling, Naked Night (2020). Pallant House Gallery, Chichester. (Donated by the Artist, 2020) ©Maggi Hambling.

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In these turbulent times, creativity and empathy are more necessary than ever to bridge divides and find solutions. Artnet News’s Art and Empathy Project is an ongoing investigation into how the art world can help enhance emotional intelligence, drawing insights and inspiration from creatives, thought leaders, and great works of art.

“Amy Sherald: The Great American Fact”at Hauser & Wirth, Los Angelesthrough June 6

What the gallery says: “Amy Sherald is acclaimed for paintings of Black Americans at leisure that achieve the authority of landmarks in the grand tradition of social portraiture—a tradition that for too long excluded the Black men, women, and families whose lives have been inextricable from the narrative of the American experience.
Subverting the genre of portraiture and challenging accepted notions of American identity, Sherald attempts to restore a broader, fuller picture of humanity. She positions her subjects as ‘symbolic tools that shift perceptions of who we are as Americans, while transforming the walls of museum galleries and the canon of art history—American art history, to be more specific.’”
Why it’s worth a look: Sherald, who spent the past year making the five pictures in this show, is famously a slow-moving, intensely focused artist. Her reduced production allows her to carefully articulate the sorts of details that characterize her precise paintings: the soft smear of pink on the dog’s nose in A Midsummer Afternoon Dream (2020), the broken fencing along the dunes in An Ocean Away (2020). Her careful painterly fluency encourages appropriately patient, measured looking that is rare in the 21st century.
How it can be used as an empathy workout: The show draws its title from educator Anna Julia Cooper’s 1892 book The Great American Fact, in which she argues that Black Americans are “the one objective reality on which scholars sharpened their wits, and at which orators and statesmen fired their eloquence.” In Sherald’s works, the objective reality of “public Blackness,” as the show’s press release puts it, comes through in portraits of everyday people, living quiet yet proud lives. Perhaps more than anything, these figures invite an empathetic viewer, someone willing to approach the painting with kindness and humility.
“Her paintings,” as the gallery says, “celebrate the Black body at leisure, thereby revealing her subjects’ whole humanity. Sherald’s work thus foregrounds the idea that Black life and identity are not solely tethered to grappling publicly with social issues, and that resistance lies equally in a full interior life and an expansive vision of selfhood in the world.”
What it looks like:
Amy Sherald, A Midsummer Afternoon Dream (detail, 2020). © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde.
Amy Sherald, A Midsummer Afternoon Dream (detail, 2020). © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde.
Amy Sherald, A bucket full of treasures (Papa gave me sunshine to put in my pockets…) (2020). © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde.
Amy Sherald, An Ocean Away (2020). © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde.
Amy Sherald, Hope is the thing with feathers (The little bird) (detail, 2020). © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde.
Amy Sherald, As American as Apple Pie (2020). © Amy Sherald. Courtesy the artist and Hauser & Wirth. Photo: Joseph Hyde.
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Never-before-seen photographs by Ray Johnson—the famously unfamous artist known for Neo-Dada collages, prankster performances, and inventive mail artworks—made in the final years before his death will go on view in New York next summer.
The show, which is tentatively scheduled for June 2022 at the Morgan Library and Museum (it was already delayed once by the pandemic), is organized Joel Smith, the head of the museum’s photography department.
By the early 1990s, Johnson had stopped exhibiting his work in galleries, all but abandoning the New York art scene for Long Island. Those closest to him, including his longtime dealer, Frances Beatty, wondered if he had stopped making art altogether. 
Months after his death by suicide in January 1995, Beatty rummaged through his house and archive, finding something unexpected: piles of shoeboxes packed with photographic prints and negatives, all made from disposable cameras.
Courtesy of the Morgan Library & Museum © The Ray Johnson Estate, New York.
“When I first discovered them, I thought they were just photographs Ray took,” Beatty tells Artnet News. “I didn’t really process them as being significant, and I didn’t process them as being works of art. Then, later on—many years later—I opened up one of these envelopes and thought, ‘Holy moly! This is an entire project.’”
Unsure of what to do, Beatty called Smith, who recognized their potential, for advice.
“The intelligence and manic quality never really let up,” Smith says of Johnson’s last years. “You can see that he was still really operating at the same level as he always was. It was just in this very attenuated medium.”
Johnson hadn’t quit art after all; he just found a new form—and, in a sense, a new audience.
Ray Johnson, Untitled (headshot and Terry Kistler silhouette with payphone) (1992). Courtesy of the Morgan Library & Museum © The Ray Johnson Estate, New York.
“Making the photographs is his way of showing his work,” Smith adds. “The camera becomes his audience.”
The artist made at least 3,000 original photographs in total, most quasi-conceptual in that classic Johnson way. There are numerous duplicates too: Johnson apparently took advantage of his local photo shop’s buy-one-get-one-free policy for seniors.
In all, the artist spent the last three years of his life driving around the North Shore of Long Island with cheap cameras and hand-made props that he would stage in various locations for shots. 
Courtesy of the Morgan Library & Museum © The Ray Johnson Estate, New York.
Many verge on self-portraits, such as one picturing a cardboard cut-out silhouette of Johnson’s head, set against a piece of beached sea wood. Others are more abstract, such as a layered assemblage of found photos wedged into the rectangular casing of a payphone. He called the props “movie stars.”
The show’s title, “Please Send to Real Life,” is a reference to a note the artist wrote on one of his last prints. The request was literal: he was asking a friend to mail the shots to the bygone Real Life magazine.
But for an artist who saw puns everywhere—including in his own work—double meanings were surely present.  
Next month, David Zwirner will open a separate career-spanning show in New York positioning Johnson as a seminal queer artist, while an exhaustive survey of his work, with special attention paid to his many collaborations, will open at the Art Institute of Chicago in November.
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What does painting and sculpture look like in a digitally-defined world? That’s the big question looming behind a new show at Berlin’s König Galerie, which brings together 50 young artists who recalibrate “traditional” artistic forms to today’s technomediated attention economy, where personalities are brands and “likes” are the yardstick of success.
The 70 artworks included in the show, titled “THE ARTIST IS ONLINE,” look less like the stuff of the Met and Louvre than the makeup of an Instagram feed or camera roll.
And what about art that exists in a world that is digital? To address that question, the gallery is hosting a second, complementary exhibition in Decentraland, a virtual world on the blockchain, where computer-savvy users can explore—via avatar—a ones and zeros version of König. There, more than 30 digital works can be purchased as NFTs. The “land” on which the gallery sits in the blockchain platform was loaned by a collector named Shahin Tabassi.
Chloe Wise, Rachel, Floridian boy-scout, after bibimbap (2020). Courtesy of KÖNIG GALERIE.
The show is not only König’s first foray into the world of NFTs but, according to Anika Meier, the German curator who co-organized the effort with gallerist Johann König, the first example of any gallery setting up shop on the popular blockchain platform.
“For us it’s important to show that digital art is a thing that has the same qualities of painting and sculpture,” Meier told Artnet News, referring to considerations like light and color and composition. 
Ry David Bradley, Company Clouds (2021). Courtesy of König Galerie.
Among those featured on the gallery’s real-life walls are artists Rachel de Joode, Sarah Slappey, and Chloe Wise. Several others, such as Ry David Bradley and Thomas Webb, have worked in NFTs before, and are contributing to both iterations of the show.
“We’re working with people who have been doing this for [years],” Meier said. For example, for the artist duo Banz and Bowinkel, who are included in both versions of the new show, “it’s like it’s raining in the desert. Everyone is suddenly interested in what they are doing, but right now the focus is a bit off because people are concerned about prices,” she said. “We hope we can shift the focus a bit.”
A view inside König Galerie’s Decentraland show.
“THE ARTIST IS ONLINE” is on view at König Galerie now through April 18, 2021.
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Anne Barz, the head registrar at the Museum Barberini in Potsdam, spent much of the past few weeks on FaceTime as 26 conservators from all over the world watched her team install an exhibition of more than 100 artworks, including many by Rembrandt.
Due to the pandemic, each conservator—from institutions including the Mauritshuis in The Hague, the Rijksmuseum in Amsterdam, Kunstmuseum Basel, and the Albertina Museum in Vienna, as well as several US institutions—sat at a desk in a home office or elsewhere and remotely oversaw the installation of the work they were responsible for.
In pre-pandemic times, they would almost certainly have been in attendance. And hanging this show was even harder than deinstalling the 40 Monet loans the Potsdam museum had to ship out last summer, Barz says, which was also done with conservators calling in.
But this is the new normal.
Museum Barberini. Photo: David von Becker
The occasion was the exhibition “Rembrandt’s Orient,” which examines the Dutch artist’s Eurocentric fascination with the far East (to where Rembrandt never traveled).
And notably, it is the first exhibition that the Museum Barberini has had to install almost exclusively with virtual couriers.
“The partner at the other end knows the painting so well that they can recognize the cracks through our call,” Barz tells Artnet News. “Sometimes, we need instructions, but mostly it is just a trust issue,” she says.
Rembrandt Harmensz van Rijn Daniel and Cyrus before the Idol Bel, (1633). © The J. Paul Getty Museum, Los Angeles.
Before the pandemic, fragile or expensive works were almost always chaperoned by a personal courier who would oversee it from the moment it left its home museum or storage facility, until it was installed somewhere else in the world. The courier would watch it on the airport tarmac, see it get loaded onto a truck, take it through customs, and drive it to a museum—all without ever taking their eyes off the piece.
Because loans do not come with safety deposits or rental fees, making it paramount that a lender has a borrowing institution’s full confidence that it will be taken care of properly, whatever the cost.
“It is an extremely expensive process,” Barz says.
Loaning a work from the US generally means business class plane tickets, hotel fees, and per diems. “We are speaking about €20,000 in costs for that person’s travel,” Barz says. If every courier for the Monet exhibition had travelled from the US to Berlin, the whole process could have cost as much as €800,000.
But the pandemic has accelerated changes in the field, as companies like Articheck in the UK seek to make pathways.
The company’s art logistics app, Articheck, provides a virtual courier system in which all transit information, quality checks, and communications between parties are centralized in one place.
“The concept was born from the transit disruptions during the pandemic, but I soon understood there would be long-lasting effects on the art world due to the economic fallout, an increased need for clear remote communication, and the requirement to embrace digital technologies,” CEO Annika Erikson tells Artnet News.
To track a work as it travels one way by air, the technology costs around £500—more than a 90 percent savings when compared to traditional couriers.
Articheck’s Virtual Courier. Courtesy Articheck.
Another program, ParceLive, gives real-time information about the status of a work through light sensors monitoring when a crate has been closed, open, or even tilted. Drop sensors track the movements of the package around the clock, and also check for temperature conditions.
Paul Smith of the London-based art logistics company Martin Speed tells Artnet News that services like these work very well, and that clients are willing to accept them as a viable alternative.
“Once you can show that something like this works, it eases the burden,” Smith says. “It adds an extra layer of care that maybe would not have been there with a physical courier.”
And while neither Barz nor Smith think personal couriers will disappear, additional tools can help sustain trust and transparency in the museum shipping business.
“Change is always a little scary,” Smith says. “But Covid-19 has moved the agenda along.”
“Rembrandt’s Orient” is on view at the Museum Barberini in Potsdam, Germany, until June 27.
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There are no museum objects on view at a major museum exhibition in Nairobi, only empty display cases.
This poignant absence that pervades “Invisible Inventories,” which opens at the Nairobi National Museum on March 18, is the product of a years-long research project by the National Museums of Kenya alongside two German institutions, the Welkulturen Museum in Frankfurt and the Rautenstrauch-Joest-Museum in Cologne. Together, they are tackling how to make Kenya’s art and objects—which are currently largely found peppered across Western cultural institutions, either on display or stowed away—present in the African country.
Restitution is one eventual avenue to reclamation. But first, says artist Sam Hopkins, one of the initiators of the project and a member of the Shift collective, it is essential to count the losses.
His group and the Nairobi-based collective The Nest have each created artistic interpretations of the absent works based on information in large database built out by scholars who are hoping to better understand just how much is missing from the East African nation. The numbers are staggering: between just 30 institutions in Europe and the US, there are 32,000 Kenyan objects.
A view of “Invisible Inventories” (2018). Photo: Shift Collective
Another aspect of the project is understanding what the losses mean to Kenyans, and how the objects were used at the time they were taken. To continue this work, the National Museums of Kenya will takeover managing and updating the database once the show’s international tour finishes.
“So many of the museums that have these objects don’t feel guilt or shame,” says Nairobi anthropologist Jane Pauline, who works with the Nest collective and the National Museums of Kenya lab as a research assistant in an interview on the database’s website. “It actually hurts me to think about it. I hope we are just opening it up for more people to learn and get involved.”
The Frankfurt-based scholar Leonie Neumann from the Welkulturen Museum, where the exhibition will travel in October after a stint at the Rautenstrauch-Joest-Museum in Cologne, told Artnet News that provenance research can be patchy, and that the database is essential to changing that.
“We need to open our archives and talk about these objects,” she says.
The Frankfurt institution has 520 objects from Kenya, 23 of which were acquired before Kenyan independence in the 1970s. This is a relatively small number compared to the hoards at the British Museum, for example, but Neumann said the goal is to establish a model for knowledge creation that can be replicated.
Preparatory photo montage from the project Simba Mbili: Potential Histories of the Man-Eaters of Tsavo. Credit: Sam Hopkins & Marian Nur Goni.
Importantly, in some cases, lost objects are an issue of very recent history.
“I remember as a child in Kenya seeing the lorries of Vigangos being taken away,” Hopkins says, who is British-Nairobi, referring to funerary objects made of carved wood that became hugely popular collectibles in the late 1970s and early 1990s.
Another issue has to do with how Western knowledge and opinions of these objects has been developed.
“A lot of the research was written as though Black people would never look at it, or dare to have opinions about it,” Njoki Ngumi, a member of the Next collective, said in a recently published interview. “We’ve had to sift through a lot of idly racist opinions and thoughts, then have to reflect on them in order to find even shreds of information about our ancestors and their contemporaries.”
Hopkins adds that in this light, exhibitions can only do so much. The next steps are “diplomatic gestures by the state.” While there is a growing awareness in recent years of the number of items taken from Africa and into European and US institutions, “there are fewer platforms for these discussions in the Global South… We want to look from Nairobi outwards.”
Negotiating “more equitable relationships with cultural institutions, especially in the Global North,” is critical and far from done, Ngumi says. “We are continuing the work that our forebears began regarding decolonizing, and also taking back for ourselves what we can.”
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