At Large  January 11, 2024  The Editors

Last Chance to See These Shows Before They Close

© 2023 EDWARD RUSCHA. PHOTO EVIE MARIE BISHOP, COURTESY OF THE MODERN ART MUSEUM OF FORT WORTH

Ed Ruscha. Standard Station, Ten-Cent Western Being Torn in Half. 1964. Oil on canvas, 65 × 121 1/2” (165.1 × 308.6 cm). Private Collection. 

This fall in New York was a momentous one for artists and art viewers. Ed Ruscha’s first major monograph exhibition at the Museum of Modern Art opened featuring many of his seminal works and including his installation Chocolate Room (yes, a room lined in panels of chocolate), which debuted in Venice, Italy in 1970. Tracey Emin’s solo exhibition of bold and stunning new paintings opened at White Cube, on the heels of the gallery’s inauguration in its New York space. And Henry Taylor’s sprawling exhibition opened at the Whitney Museum of American Art featuring his narrative portraits of friends, family, and his Los Angeles community. These shows are about to close, but you have a last chance to see them. Read more about them below.

ED RUSCHA / NOW THEN

Museum of Modern Art through January 13 (Members last look January 14-15)

Los Angeles as an allegory for the disconnect between reality and illusion has long been the subject for Ed Ruscha, whose 60-year career is now the focus of an impressive retrospective at the Museum of Modern Art (MoMA), co-organized by the Los Angeles County Museum of Art. “Now Then” represents Ruscha’s first monograph at MoMA. While one wonders why it took them so long, the delay offers the advantage of seeing Ruscha’s work from start to finish. (Read Art & Object's review).

Courtesy of the artist and White Cube

Tracey Emin, Yes I miss You, 2023. Acrylic on canvas. 205.5 x 279.5 cm | 80 7/8 x 110 1/16 in.

Tracey Emin | Lovers Grave

White Cube through January 13

For the inaugural solo exhibition at White Cube's New York space, Tracey Emin looked to images of archaelogical burial sites where excavated human remains showed people holding each other in a seeming embrace. This exploration and quest for everlasting love has to some extent always been present in Emin's work beginning with her earliest seminal works such as Everyone I Have Ever Slept With (or "the tent") in which she embroidered a tent with the names of everyone she had ever slept in a bed with from 1963 to 1995. The current show has a visceral dynamism that doesn't fail to startle and embrace the viewer with its vigorous gestures, blood red canvases, and rapturous scenes of lovemaking as you walk through the space contemplating love and loss.

 

© HENRY TAYLOR. COURTESY THE ARTIST AND HAUSER & WIRTH. PHOTOGRAPH BY SERGE HASENBÖHLER

Henry Taylor, the dress, ain't me, 2011. Acrylic on canvas, 84 1/4 × 72 in. (214 × 182.9 cm). Private collection; courtesy Irena Hochman Fine Art Ltd. 

Henry Taylor: B Side

Whitney Museum of American Art through January 28

Henry Taylor: B Side at the Wnitney Museum of American Art is the contemporary artist's first large-scale survey in New York. With over 130 works, this show puts Taylor's portraits front and center. This expanded exhibition, which was first organized by the Museum of Contemporary Art in Los Angeles, features dozens of canvases made from 1991 to 2022, alongside installations, sculptures, and a special wall drawing made by Taylor in the days leading up to the fall opening. The show is up through January 28, and it’s one that you don’t want to miss. (Read Art & Object's review)

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