Gego installing Reticulárea 1981, 1980, permanent collection display, Sala Gego (Gego Room), Galería de Arte Nacional, Caracas (photo by Christian Belpaire, courtesy Archivo Fundación Gego)
Who: Mónica Amor, Vered Engelhard, Geaninne Gutiérrez-Guimarães, Pablo León de la Barra, Sean Nesselrode Moncada, Luis Pérez-Oramas, Mari Carmen Ramírez, Álvaro Sotillo What: Symposium on “Gego: Measuring Infinity” Where:Solomon R. Guggenheim Museum, 1071 Fifth Ave. at Eighty-Ninth St. When: Friday, May 12, $15-$25, noon – 5:00 Why: German-Venezuelan artist Gertrud Goldschmidt, better known as Gego, is the subject of the outstanding new Guggenheim exhibition “Gego: Measuring Infinity,” consisting of nearly two hundred drawings, etchings, watercolors, letters, and, primarily, mesmerizing, fragile, architectural sculptures that Gego called drawings without paper. On May 12, the Guggenheim is hosting the five-hour seminar “Gego: Weaving Lines of Thought,” examining the life and career of Gego, who was born in Hamburg in 1912 and died in Caracas in 1994. Organized by exhibition cocurators Pablo León de la Barra and Geaninne Gutiérrez-Guimarães, the symposium, part of the Guggenheim’s Latin American Circle Presents series, will feature presentations by León de la Barra, Gutiérrez-Guimarães, Mónica Amor, Vered Engelhard, Sean Nesselrode Moncada, Luis Pérez-Oramas, and Mari Carmen Ramírez in addition to longtime Gego collaborator Álvaro Sotillo. The exhibition continues through September 10; make sure to save time for the remarkable “Sarah Sze: Timelapse” as well.
David Hammons works on a piece for Documenta IX (photo by Hessischer Rundfunk)
THE MELT GOES ON FOREVER: THE ART AND TIMES OF DAVID HAMMONS (Judd Tully & Harold Crooks, 2022)
Film Forum
209 West Houston St.
Opens Friday, May 5
212-727-8110 filmforum.org themeltfilm.com
“David believes that the less said about him, the better off he is,” the late poet and Gathering of the Tribes founder Steve Cannon says about his friend, artist David Hammons, in The Melt Goes on Forever: The Art and Times of David Hammons, opening May 5 at Film Forum.
In 2020, Hammons, who was born in Springfield, Illinois, in 1943 and has been based in New York City for nearly fifty years, installed Day’s End, an homage to Gordon Matta-Clark’s 1975 similarly named intervention in an abandoned industrial building on Pier 52, outside where the Whitney is today. The 325-foot-long brushed-steel outline of the warehouse has no interior, a ghostly memorial to those lost in the AIDS crisis.
With The Melt, directors Judd Tully and Harold Crooks have constructed a stirring documentary that is missing one key figure: Hammons, who doesn’t do interviews or talk about his personal life, preferring to have his work stand on its own. There’s a reason why the subtitle is “the Art and Times,” not the more common phrase “the Life and Times.”
More than two dozen art historians (Kellie Jones, Bridget R. Cooks, Richard Powell, Gylbert Coker, Robert Farris Thompson), dealers and gallerists (Jeanne Greenberg Rohatyn, Dominique Lévy, Jack Tilton, Adam Sheffer, Robert Mnuchin), artists (Suzanne Jackson, Fred Wilson, Tschabalala Self, Betye Saar, Joe Lewis, Lorna Simpson), collectors (Dimitris Daskalopoulos), and curators (Robert Storr, Ilene Susan Fort, Mary Jane Jacob) share stories about Hammons, forming a picture of a fabulously talented eclectic iconoclast who does what he wants, when he wants, the way he wants.
Among his revolutionary works discussed in the film are Bliz-aard Ball Sale, in which he sold snowballs, arranged in rows of descending size, on the streets of New York; African American Flag, a reimagining of the US flag but in the Pan-African colors of red, black, and green; How You Like Me Now?, a billboard of Jesse Jackson as a blond-haired, blue-eyed white man; Flight Fantasy, painted on the wall of Cannon’s apartment; Untitled (Night Train), two circular rows of clear and green bottles of Night Train and Thunderbird planted in a pile of coal; and Blues for Smoke, a blue model train rolling across tracks that wind around grand pianos on their side, inspired by John Coltrane’s song “Blue Train.”
“I just thought he was nuts,” artist Paul H-O says about watching Hammons go through garbage to find potential materials.
“It’s not the art object itself,” Hammons explains in a 1991 NPR radio interview. “It’s the daring of the act.”
Archival footage of Hammons includes a visit by filmmaker Michael Auder to a Rome studio in 1989 where Hammons pontificates on what success means to him while constructing an untitled sculpture using real Black hair; Hammons adding cotton to wooden sticks in his Harlem studio in Michael Blackwood’s 1992 After Modernism: The Dilemma of Influence; Hammons introducing students to his outdoor sculpture Rock Fan, consisting of electric fans on a large rock on the campus of Williams College in 1993; and clips by Alex Harsley of Hammons making “Basketball Drawings” by bouncing a basketball against paper on a wall and Hammons kicking a can in his 2004 Phat Free performance.
Delving into a 1990 group show at Museum Overholland, curator Jan Christiaan Braun notes, “‘Black USA’ was more than David Hammons. It was an effort to find a podium for Black American artists. He was one of them. The meaning of ‘Black USA’ was bigger than David Hammons, and he himself thought so too. He was very, very much supporting the idea of bringing out Black art. That’s why he immediately said to me, ‘I’m your man.’”
Extensive attention is given to the 2016 career retrospective “Five Decades” at Mnuchin Gallery, which lends insight to Hammons’s wide oeuvre and process when it comes to hanging his work. “Two weeks prior to the opening, David expressed an interest in coming in to see the show,” dealer Sukanya Rajarantnam recalls, not so fondly. “Um, his reaction was not exactly exuberant. He didn’t like what we’d done and, in fact, hated it. So he decided to change things. . . . The show itself became an installation and an artwork by David.” I remember being blown away by the final exhibition, which featured many of the pieces mentioned in the documentary.
David Hammons unveils Rock Fan to students at Williams College (photo courtesy Williams College Museum of Art)
Throughout the film, arts journalist Tully and documentarian Crooks (The Price We Pay,Surviving Progress) regularly cut to Umar bin Hassan of the Last Poets performing Cannon’s catalog essay-poem “Rousing the Rubble,” recorded during Covid and originally written for Hammons’s 1990 PS1 museum show of the same name, accompanied by a barrage of grainy videos of New York City in the twentieth century and animation by Tynesha Foreman that brings some of his works to life against a pulsating Afro-jazz score:
“On the Streets of Manhattan, East Side West Side All Around the Town the Sidewalks of New York — after the bars and the clubs empty out the sordid the homeless! The misbegotten under the cover of darkness Blue Moon No moon, under the cover of darkness in the wee small hours up in Harlem — Midtown — on the Lower Eastside — Performing Artist — this is when you see the empty bottles and empty people makin’ their rounds, into makin’ their own sounds — into smiles into frowns! Digging in garbage in search of more empties — bottles and cans! Those who do be hungry doing something about their condition — with David on the scene in those lonely wee small hours after hours state of New York! Raw Energy! Making his rounds, dreams turned into nightmares heavy into art — that New York art scene outdoor art — dreams turned into realities — all night diners — back in his studio on 125th Street — making art out of that which he has heard and seen on the scene out of funk! Out of central Illinois — out of Los Angeles out of his world travels! Creating a space for the spirits! That flash of the spirit!”
The spectacular original music features composer Ramachandra Borcar on percussion, piano, found objects, and other instruments; saxophonists Idris Ackamoor, Marshall Allen, Shabaka Hutchings, and Frank Lozani; Tommy Babin and Dave Watts on bass; Aaron Doyle on trumpet and flugelhorn; Jeff Johnston on piano; and Kullak Viger Rojas on surdo. It pays tribute to the jazz influences Hammons has cited over the years, such legends as Charles Mingus, Miles Davis, Thelonius Monk, Charlie Parker, Ornette Coleman, and Coltrane. Foreman’s animation unfolds to those same vibrant rhythms, echoed in the artworks. (Hammons’s art influences range from his mentor, Charles White, to Marcel Duchamp.)
Even without their subject’s participation, Tully and Crooks are able to fill in much of the mystery surrounding Hammons, with the help of members of the arts community who adore him and his work, like partially furnishing the emptiness inherent in Day’s End. (Hammons did sit down for an interview with Whitney director Adam D. Weinberg to celebrate the opening of the Pier 52 project in June 2021, which you can watch here.)
The Melt Goes on Forever reveals Hammons to be a true nonconformist, a genius who doesn’t need to be center stage, letting his art do the talking for him.
Tully and Crooks will be at Film Forum for Q&As on May 5 at 7:15 presented by A Gathering of the Tribes, on May 6 at 7:15 with Suzanne Jackson, and on May 7 at 4:40.
Karen Finley performs latest show at the Laurie Beechman Theatre (photo by Max Ruby)
COVID VORTEX ANXIETY OPERA KITTY KALEIDOSCOPE DISCO
The Laurie Beechman Theatre
West Bank Cafe, 407 West Forty-Second St. between Ninth & Tenth Aves.
Select Saturdays through June 24, $27 general admission, $39 reserved VIP seating (plus $25 food and drink minimum), 7:00 www.westbankcafe.com spincyclenyc.com
In such works as Shut Up and Love Me,Deathcakes and Autism,Written in Sand,Make Love,Unicorn Gratitude Mystery, and Sext Me If You Can, Chicago-born, New York–based performance artist, musician, poet, author, and activist Karen Finley has explored such topics as AIDS, rape culture, suicide, rampant consumerism, politics, censorship, 9/11, sexual and societal taboos, and the power of art in deeply personal ways that have included chocolate, honey, yams, and nudity. In her latest show, Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco, continuing on Saturday nights through May 6 at the Laurie Beechman Theatre, Finley turns her attention to the coronavirus pandemic, focusing on trauma, loss, loneliness, Zoom, masks, and human connection.
Finley takes the stage to rapturous applause, wearing a hazmat suit and dancing to the 1976 disco hit “Don’t Leave Me This Way,” with Thelma Houston singing, “I can’t survive / I can’t stay alive, / without your love, oh baby.” She proceeds to deliver thirteen poem-monologues from behind a microphone and music stand. To her right is a rack of sequined costumes, where she changes between each number, putting on different masks, shawls, boas, and dresses. To her left is a screen divider with mask-scarves draped over it; sparkling glitter and sequins are everywhere. At the back of the stage is a screen on which are projected news reports, advertisements, video of New Yorkers cheering and banging pots and pans for health-care workers, and, primarily, still photos of pages from old books (encyclopedias, science texts, religious doctrine), music scores, calendars, and magazines she has written over in black marker, including such phrases as “It will get worse before it gets worse,” “It’s called war porn,” and “There is no happy ending.”
For sixty-five minutes, Finley rails against racial injustice, Zoom gatherings, the Catholic church, school shootings, anti-abortion laws, the fatigue and exhaustion the lockdown brought, and the closing of St. Vincent’s. She finds much-needed respite in baking and watching videos of interspecies love and friendship (complete with sing-along).
“Can I just pretend this isn’t happening?” she asks. “Oh grief / Here we go again / Oh loss / I am your constant companion,” she says. Addressing the goddess Venus, she demands, “Provide and support our empowerment / to transform this hate with all our creative imaginative strength / and change this oppressive senseless system forever.” When she opines, “I will try my best today / even in the smallest ways,” it is tentative as she battles despair and sorrow. A segment showing gay men dancing in a club asks us to look at how we viewed AIDS and how we view the coronavirus in what she calls her “Zoom Disco.”
Karen Finley prepares to bake while TV experts discuss hand washing (photo by Max Ruby)
But Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco is often as funny as its title. “I do not want to have a Zoom family reunion,” she proclaims. Asking a stranger on an elevator to put on a mask, Finley says, “The mask is your friend / Really, it is a very friendly mask. Trust me.” Making a cake, she declares, “Give me amaranth flour liberty or give me breath!” Watching a pair of experts discuss hand washing, she acknowledges, “Turns out none of us really knew how to wash our hands / We were doing it all wrong.” Referencing how we dressed during the lockdown, she states, “You do not know where you are / What day it is / What day you are on / What planet you are on / When you changed your clothes / Before or after Tiger King? / How long you have been wearing . . . anything . . . or nothing!”
Finley herself gained notoriety for occasionally wearing nothing onstage; we attended the show with two longtime fans, one of whom had poured honey over Finley’s naked body during one interactive performance. But this time around, the edible items remained on the table, as there is a $25 food and drink minimum in addition to the ticket price.
The production has a DIY feel to it; when Finley is done with an item of clothing, she just tosses it to the floor, the projections are not exactly HD, and a large prop at center stage blocks the bottom of the screen so all the words are not always legible, depending on where you’re sitting. (The technical director is JP Perraux, with sound by Jasmine Wyman; Becky Hubbert is the costume and prop consultant, and the production design is by Violet Overn, Finley’s daughter.)
Don’t expect a polished sheen, but that is a significant part of the show’s charm. Finley plays off the audience, which is in her corner every step of the way. The night I went, she was upset that she forgot a veil for her penultimate piece, “Eulogy,” and asked the crowd to give her a moment to prepare herself psychologically; she was warmed by shouts of encouragement and proceeded with a replacement for the veil as she related, “So many have left us — / the loss and the sorrow of never having a place to mourn. / Here is our eulogy for the lost and left. . . . Let us heal / Let us restore / Let us love / Let us forgive.”
With Covid Vortex Anxiety Opera Kitty Kaleidoscope Disco, Finley once again explores difficult, controversial topics while helping us all heal, restore, love, and forgive.
Jacolby Satterwhite’s An Eclectic Dance to the Music of Time is on view at Lincoln Center (photo by Nicholas Knight)
Who:Jacolby Satterwhite What:Public Art Fund Talk Where:The Cooper Union’s Frederick P. Rose Auditorium, 41 Cooper Sq., Third Ave. at Seventh St. When: Wednesday, April 26, free with advance RSVP for in-person or livestream, 6:30 Why: In a 2021 “Meet the Artist” interview with the Haus der Kunst museum in Munich, multimedia artist Jacolby Satterwhite explains, “The influences I draw on are from pop culture, politics, my family, my personal histories, queer theory, art history, postructuralism and design, gaming. It’s sort of like, you know, the simulacra of the universe.” Born in 1986 in Columbia, South Carolina, the New York–based Satterwhite’s latest installation is An Eclectic Dance to the Music of Time, on view on the fifty-foot-long Hauser Digital Wall in the Karen and Richard LeFrak Lobby in David Geffen Hall, home of the New York Philharmonic.
Commissioned by Lincoln Center for the Performing Arts in collaboration with the Studio Museum in Harlem and Public Art Fund, the nearly half-hour work explores the past, present, and future of Lincoln Center, featuring more than seventy-five dancers and more than fifty musicians from local performing art schools amid HD color video and 3D animation incorporating real-life figures, archival footage, trees, buildings, text, paintings, and photographs. On April 26 at 6:30, Satterwhite will be at the Cooper Union’s Frederick P. Rose Auditorium to discuss An Eclectic Dance to the Music of Time and place it within the context of his career as well as the arts community it celebrates. “I wanted to describe time and history through a vehicle of abstraction, using color, shape, landscape, horizontality, and movement as a way to kind of reorient the history in a way that it hasn’t been normally told,” he says in the above Lincoln Center video. You can hear more on April 26 either at the Cooper Union or via livestream, both free with advance RSVP.
All dancer and choreographer Douglas Dunn needed to do was give Mimi Gross the title of his new production and the painter, set and costume designer, installation artist, and teacher was off to the races.
Born in California in 1942, Dunn has been collaborating with Gross, a native New Yorker born in 1940, since Dunn presented Foot Rules in 1979; they’ve worked together some two dozen times since, including on 1980’s Echo, 1981’s Skid, 1988’s Matches, 1995’s Caracole, 2007’s Zorn’s Lemma, and 2017’s Antipodes. They met quite serendipitously.
“I’d been working with Charles Atlas on film, video, and costumes for several years. Being then in a moment unavailable, he suggested Mimi,” Dunn explained via email. “She made wonderful apparel for an hour-long duet for Deborah Riley and me called Foot Rules. What I noticed right away was her love of color.”
“Charlie Atlas was presenting live performances which he made up and directed. That is how I first met Charlie, and then I met Douglas,” Gross added. “They had been making dances and videos together. When Douglas asked Charlie if he could make some costumes for a new dance he was choreographing with Deborah Riley, Charlie was super busy — he was working with Merce Cunningham full-time — and recommended me to do it. I had made many costumes for movies with cardboard and hot glue . . . nothing to be washed! Or worn many times! Quite a challenge. Of course, I said sure. And then through the decades on and off we have shared many projects, sets and costumes, sometimes sets, sometimes costumes, sometimes both — very open, warm, clear mutual caring to work within our shared possibilities, never knowing how it will come out.”
Douglas Dunn emerges from his pulpit in Mimi Gross’s fantastical Garden Party installation (photo by twi-ny/mdr)
Dunn and Gross are currently at work on their latest project, Garden Party, which runs April 24-30 at Douglas Dunn + Dancers’ SoHo loft studio. Last week I attended a rehearsal of the sixty-minute piece, which features Dunn, Grazia Della-Terza, Alexandra Berger, Janet Charleston, Vanessa Knouse, Emily Pope, Paul Singh, Jin Ju Song-Begin, Timothy Ward, and Christopher Williams moving through the spectacular space created by Gross, consisting of lushly painted trompe l’oeil walls and ceiling and a long horizontal mirror, covered with pink, yellow, and green flowers, plants and trees, clouds, raindrops, and more. While the plants at the right are fake — Dunn told me at the rehearsal that he had “planted” some of them himself — the greenery at the left is real, repurposing the plants that were already in the studio.
There’s also a colorful pulpit where Dunn spends much of the show; he had specifically requested it, asking for it to be based on the design at Grace Church on Broadway. The dancers glide across the floor like blossoming flowers, in solos, pas de deux, and trios, celebrating birth, life, and growth; however, the soundtrack of pop and classical songs (Robert de Visée, John Lennon & Yoko Ono, Bach, Mark Knopfler & Emmylou Harris, more), birdsong, and poetry (by John Keats, Anne Waldman, Molière, Rainer Maria Rilke, John Milton, Stephanie Jacco, and others, read by Dunn, Waldman, Jacco, and Della-Terza) touch on loss and loneliness. A few of the dancers occasionally sit on an inviting white park bench, and Dunn clutches a plush bird named April.
“Mimi always helps me see color; I always see line first,” Dunn explained. “We got along just fine and knew right away how much to interact and how much to let the other alone. She often saw historical references in the dancing and she’d take off from there. We’re both dead serious but also insistent on having a good warm time relating when preparing for a new dance show. The feel of this evening was clear to me the day the title hit me (about three years ago, the pandemic postponing the project). The lavish beauty of Mimi’s set completely fulfills my initial intuition . . . as if she’d read my dancing mind.”
Douglas Dunn’s Garden Party runs April 24-30 in SoHo loft studio (photo by Jacob Burckhardt, 2023)
“The new dance had been talked about a long while ago,” Gross noted. “All of 2021-22, I made many landscape drawings, and then, when the pandemic seemed to subside, I painted these flowers last summer and called them ‘Feel Good Flowers.’ When Douglas asked me if I would make a garden and sets about ‘Early Spring,’ he said, ‘Fill up the studio.’ That was just what I was doing anyway. I asked him if I could paint it with this stylization, and that I didn’t know exactly how I would do it. He was fine with that. I made a big drawing of a bird and discussed the texture and color with Sue Julien, who fabricated it. Both Sue and David Quinn made an amazing contribution fabricating the costumes from my drawings. Douglas wanted each dancer to be different, with different leg lengths. That is all he had said. I pored over my Ballet Russe books, and Charles James and I made drawings. The only common link is the fluorescent yellow in each costume.”
The collaboration extends to Lauren Parrish, who designed the lighting and projections, and sound designer Jacob Burckhardt. The show will be preceded by live music from guitarist and composer Tosh Sheridan, who has released such albums as Tosh,Tosh Sheridan Trio, and solo/duo.
“All of these plain facts are fine and good and relate our collaborating history, but it is the depth of poetic reality where we really collaborate,” Gross concluded, “by dance and by making an atmosphere for the dance.”
And what an atmosphere Dunn and Gross have created for Garden Party.
World premiere of 4K restoration of Jean-Luc Godard’s Alphaville kicks off “Rialto at 25” at MoMA (photo courtesy the Kobal Collection)
RIALTO AT 25
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
April 19 – May 22, $8-$12
212-708-9400 www.moma.org www.rialtopictures.com
In 1997, Bruce Goldstein started Rialto Pictures, joined the following year by Adrienne Halpern. For more than a quarter-century, Rialto has been dedicated to reissuing and restoring classic foreign and independent films, both famous and forgotten, often debuting them at Film Forum, where Goldstein has long served as master programmer. MoMA pays tribute to copresidents Goldstein and Halpern with “Rialto at 25,” a five-week series consisting of thirty-one films released by the beloved distribution company, beginning with Henri-Georges Clouzot’s 1947 murder mystery, Quai Des Orfèvres, and the world premiere of a brand-new 4K restoration of Jean-Luc Godard’s 1965 futuristic thriller, Alphaville.
Organized by MoMA Film curator Dave Kehr, the festival also includes Jean-Pierre Melville’s Army of Shadows, Francis Ford Coppola’s The Conversation, John Carpenter’s Escape from New York, Robert Hamer’s Kind Hearts and Coronets, Marcel Carné’s Le Jour Se Lève, Akira Kurosawa’s Ran, Carol Reed’s The Third Man, Joe Dante’s The Howling, and Alberto Cavalcanti’s Went the Day Well?
“I began Rialto Pictures out of sheer frustration. Many classic movies, particularly European films, had no distribution in the United States, with prints either impossible to get or unavailable to repertory cinemas,” Goldstein said in a statement. “And, just as bad, a lot of important classics — like Renoir’s Grand Illusion and Godard’s Breathless — were seen for decades only in miserable 16mm copies, with bad image and sound. By getting the rights to movies like these myself, I could make brand new 35mm prints and show them — not just in New York — but in movie theaters across the country.”
Rialto has amassed a profoundly remarkable collection that is well represented in the MoMA series; among the other highlights and surprises are Federico Fellini’s Nights of Cabiria (with a seven-minute restored scene), Jules Dassin’s Rififi, Orson Welles’s The Trial, Joseph Losey’s Mr. Klein, John Boulting’s Brighton Rock, and Luis Buñuel’s The Discreet Charm of the Bourgeoisie and That Obscure Object of Desire. In addition, MoMA has created a special forty-five-minute compilation of Rialto trailers.
On April 29, Goldstein will present the illustrated talk “The Art of Subtitles”; several screenings will feature introductions or discussions; and originally commissioned Rialto posters will be on view. Goldstein will introduce Jacques Deray’s La Piscine on April 26 and Dino Risi’s Una Vita Difficile on May 14, translator and subtitler Michael F. Moore will introduce Francesco Rosi’s Christ Stopped at Eboli on April 22, Whit Stillman and actors Dylan Hundley and Carolyn Farina will participate in a discussion following a screening of Metropolitan on April 27, actor Madjid Niroumand will talk about Amir Naderi’s Davandeh with Goldstein after a screening on April 28, and Julien Duvivier’s Panique will be introduced on April 26 by Pierre Simon, the son of Georges Simenon, on whose novel the film is based. You might as well just move in to MoMA from April 19 to May 22, but keep looking over your shoulder.
Hilma af Klint: Tree of Knowledge is one of two books about the Swedish abstractionist launching at New Museum on April 20 (courtesy David Zwirner)
Who: Massimiliano Gioni, Julia Voss, Tracey Bashkoff What: Book launches and panel discussion Where:New Museum Theater, 235 Bowery at Prince St. When: Thursday, April 20, $10, 6:30 Why: From October 2018 to April 2019, the Guggenheim hosted the smash exhibition “Hilma af Klint: Paintings for the Future,” the first major US solo show dedicated to the Stockholm-born abstract artist. That was followed by Halina Dyrschka’s documentary Beyond the Visible, which delved further into af Klint’s life and career. On April 20, the New Museum is hosting “Two New Texts on Hilma af Klint,” serving as a book launch for Hilma af Klint: Tree of Knowledge (David Zwirner, 2023, $55), featuring contributions from Julia Voss, Susan Aberth, Suzan Frecon, Max Rosenberg, Helen Molesworth, Joy Harjo, and William Glassley, and Voss’s Hilma af Klint: A Biography (University of Chicago, 2022, $35). New Museum artistic director Massimiliano Gioni will be joined by Voss and Guggenheim curator Tracey Bashkoff celebrating both books and the art of af Klint (1862–1944), who is finally having her long-deserved moment.
