EXHIBITIONS ON VIEW

September 10—November 7, 2021

Joel Meyerowitz: AFTERMATH

IMAGES FROM 9/11

Depicting the tireless efforts of first responders from around the country while serving as an elegy to the thousands who lost their lives on 9/11, the exhibition shares images by Joel Meyerowitz, the sole photographer given unimpeded access to Ground Zero.
Darlene Charneco, SymbioSchoolhouse, 2021. Photo: Courtesy of the artist.

Roadshow 2021 | Off-site exhibition

Darlene Charneco: Symbiosome Schoolhouse

August 28–October 24, 2021

Examining human settlements, forms of interaction, and evolution at the Old Point Schoolhouse and its grounds, the exhibition brings together her signature wall relief Touchmaps, works on paper, a machinima video loop of experimental projects in virtual worlds, and an outdoor sculpture.
Roy Lichtenstein, Bugs Bunny, c.1958. Brush and india ink on paper, 20 1/8 x 26 1/8 inches (50.9 x 66.3 cm). Private collection. Courtesy of Estate of Roy Lichtenstein.

Roy Lichtenstein: History in the Making, 1948–1960

August 1–October 24, 2021

Providing an illuminating prologue to the artist’s well-known comics-inspired imagery, the exhibition tells the largely overlooked story of his early career, when formal experimentation and a keen eye for irony irrevocably defined his art.
Tomashi Jackson: The Land Claim. Parrish Art Museum, Water Mill, NY. Among Heirs (Niamuck and Azurest), 2021 (large detail). Acrylic and Shinnecock wampum dust on canvas, cotton textiles, and paper bags with archival prints on PVC marine vinyl mounted on a handcrafted walnut awning structure with brass hooks and grommets. 75 x 77 ¾ x 9 ¼. Photo: Jenny Gorman

Tomashi Jackson: The Land Claim

July 11—November 7, 2021

Centered on the historic and contemporary lived experiences of Indigenous, Black, and Latinx families on the East End of Long Island, the exhibition speaks to how issues of housing, transportation, livelihood, migration, and agriculture link these communities.
Martin Creed, Work No. 2210 EVERYTHING IS GOING TO BE ALRIGHT (2015). Multicoloured neon. 61 x 2127.5 cm / 24 x 837 5/8 inches. Installation view, Parrish Art Museum, Water Mill, NY. Courtesy of the artist and Hauser & Wirth. Photo: Thomas Barratt. © Martin Creed. All Rights Reserved, © 2021 Artists Rights Society (ARS), New York / DACS, London

Martin Creed: Work No. 2210: EVERYTHING IS GOING TO BE ALRIGHT

May 28—November 30, 2021

An expression of Creed’s desire to communicate, connect, and provoke, the brightly lit sculpture is visually spectacular in its neon audacity, yet it also encourages a more contemplative response. While the phrase is at first familiar and reassuring, it gently suggests that everything might not be alright, pointing to the heightened anxieties and inequities of this moment.
Everything That Wasn’t White: Lonnie Holley at the Elaine de Kooning House, Installation View. Photo: Jenny Gorman

Everything That Wasn’t White: Lonnie Holley at the Elaine de Kooning House

April 24—November 7, 2021

Everything That Wasn’t White: Lonnie Holley at the Elaine de Kooning House presents 35 new paintings, works on paper, and sculpture created by artist and musician Lonnie Holley during his 2020 artist-in-residency at the Elaine de Kooning House in East Hampton.
Jaume Plensa (Spanish, born 1955), Carlota (oak), Julia (oak), Laura Asia (oak),and Wilsis (oak), 2019. Bronze, dimensions variable. Courtesy of Gray, Chicago/New York and Galerie Lelong & Co., New York. Photo: Tria Giovan

FIELD OF DREAMS

August 20, 2020—October 2021

An inaugural sculpture exhibition created to extend the galleries outdoors and activate the Museum’s meadows with work that engages and responds to the Parrish’s architecture and landscape.
Simone Leigh (American, born 1968) Sentinel , 2019. Bronze and raffia. 95 ½ x 80 x 50 inches. Collection of Glenn and Amanda Fuhrman Courtesy of the FLAG Art Foundation, N.Y. Installation view: Material Witness, Parrish Art Museum, Water Mill, NY. Photo: Gary Mamay

Material Witness

2021

Material Witness presents four large-scale sculptures and paintings in which the materials used by the artist are inextricably connected to the meaning of the work itself. The exhibition features Simone Leigh’s Sentinel, 2019, on long-term loan from the FLAG Art Foundation, N.Y., plus works from the Museum’s collection by Ross Bleckner, Louise Nevelson, and Donald Sultan.