Pierre Huyghe in ‘Your Patience is Appreciated’ at Marian Goodman Gallery

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There’s less than a week left to see Marian Goodman Gallery’s huge group exhibition in its new Tribeca location, a beautifully renovated 35,000 square foot industrial building from 1875.  Just inside the first room, an iteration of Pierre Huyghe’s ongoing ‘Timekeeper Drill Core’ series involved removing a circular portion of the gallery wall from the old 57th Street location and sanding down a circle at center to reveal the many times the space had been painted in its over forty years uptown.  Smartly installed, the show encourages conversations among circular forms in its initial room – Gabriel Orozco’s bike-wheel sculpture and Nairy Baghramian’s cylindrical abstraction are placed near Huyghe’s piece – suggesting that the gallery’s current manifestation is the beginning of a new cycle.  (On view through Dec 14th).

Pierre Huyghe, Timekeeper Drill Core (MGG 57th St), paint, plasterboard, 2 ½ x 23 3/8 inches, 2024.
Pierre Huyghe, Timekeeper Drill Core (MGG 57th St), paint, plasterboard, 2 ½ x 23 3/8 inches, 2024.

Jessie Henson at Broadway Gallery

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Jessie Henson’s sewn works at Tribeca’s Broadway Gallery resemble elements of the natural world – water, wind smoke, arial overviews of landscape, or segments of the atmosphere – yet remain fully and enticingly abstract. The suggestion of movement created by curving masses of stitches is made complicated by rips in the paper support, torn in the process of repeated handling on Henson’s industrial sewing machine.  Further evidence of the process of making appears in holes pierced by a needle but not filled with thread, a device which adds shadow and patterning.  Contingent yet complex, Henson’s compositions arrest the eye with their dynamism.  (On view through Dec 14th).

Jessie Henson, Where are you now?, polyester and rayon thread on paper, 82 x 54 x 2.75 inches, 2024.
Jessie Henson, Where are you now? (detail), polyester and rayon thread on paper, 82 x 54 x 2.75 inches, 2024.

Francis Alys at David Zwirner Gallery

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Driven by the poetic idea of bridging the 7,7 nautical mile wide Straight of Gibraltar, Francis Alys’ solo show at David Zwirner Gallery pictures fanciful connections between Moroccan and Spanish territory in the form of installation, video, painting and more.  One painting anthropomorphizes sea cliffs into human forms, while elsewhere a giant child stands in the Straight with two people-packed boats under her arms.  In the back gallery, beyond a lightbox displaying news articles about migration across the Mediterranean, a video features a row of kids from Morrocco and a similar line of Spanish youth at the beach, heading into the water carrying toy boats made from shoes (seen here in sculptural form elsewhere in the show).  Resembling both personal items lost in migration and suggesting resourceful toymaking, the boats are somber and lighthearted at the same time, expressing continued hope despite harsh realities.  (On view through Dec 18th).

Francis Alys, installation view of ‘Francis Alys: The Gibraltar Projects,’ Nov 2024.

Annie Leibovitz at Hauser and Wirth

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A photograph of the top hat and gloves that Abraham Lincoln wore when he was assassinated and a shot of Elvis Presley’s TV pierced by a bullet hole are two images with intriguing backstories in iconic photographer Annie Leibovitz’s mini-survey at Hauser and Wirth Gallery in Chelsea.  Less dramatic but more insightful are the many portraits of artists that include Simone Leigh’s hands shaping a piece of clay near a landscape that inspired Georgia O’Keefe, or an Icelandic glacier that vaguely resembles a neighboring shot of Cindy Sherman’s head.  Here, Leibovitz’s image of David Hockney, from a period in which he’d returned to the north of England, allows us an enjoyably intimate view of the artist at work. (On view through Jan 11th).

Annie Leibovitz, David Hockney, Bridlington, East Yorkshire, England, archival pigment print, 2024.

Richard Serra at David Zwirner Gallery

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Installed at a diagonal in David Zwirner Gallery’s huge ground floor 20th Street space, late artist Richard Serra’s 2015 sculpture ‘Every Which Way’ forces a decision from entering visitors who must opt to turn right, left or wind their way between the 16 steel panels.  Regardless of how it is approached, the piece invites interaction and a physical comparison between a visitor’s body and the giant, weighty slabs of metal seven, nine or eleven feet tall that Serra likened to architecture.  Unlike Serra’s rolled steel sculptures with their curving walls and warm, brown patina, this piece’s abrupt flatness and grey steel surfaces convey austerity.  Their arrangement in shorter segments, however, gives visitors agency to explore this minimal but engaging arrangement of form.  (On view through Dec 14th).

Richard Serra, Every Which Way, steel, 2015.