Bring Your Own Body. . . (BYOB) attempts, very literally, to situate the transgender body in the America that exists between archive and aesthetics.
In 1968, in coordination with the United States, the British government began to forcibly expel nearly 2,000 inhabitants of Diego Garcia, the largest of the Chagos Islands chain in the Indian Ocean.
Printmaking has a long and important history in modern Native American art. The printing press was a place to express ones culture and heritage while dispelling the notion that Native art was anything but modern.
Throughout her career, the Norwegian-born painter Hanneline Røgeberg has been moving from naturalistic depictions of bodies engaged in various sensuous activities (licking, hugging, and squeezing one another) to hazy portraits of faceless figures seen in mirror reflections to works based on images of animal hides, which were flayed out across diffuse, abstracted landscapes.
Five stories with SWOON was a presentation of a multi-platform project by Caledonia Curry (the artist and activist also known as Swoon) at the Institute of Contemporary Art at the University of Pennsylvania.
Both parts of this exhibition of fifteen small paintings by Eilshemius and twenty-two by Thompson are very interesting. And both challenge our received ideas of modernism. But whats puzzling is the conjunction of these two figures.
On the first cool day of autumn, Sarah Sze walked me through her exhibit at Tanya Bonakdar Gallery in Chelsea. In the moments before she appeared, Id been looking at the new work, feeling a bit like Alice in a topsy-turvy place, bursting with questions.
It wasnt a wave of nostalgia that came over me entering Kavi Guptas gallery for Jessica Stockholders first solo exhibition in Chicago, probably because I had just had one upon encountering the first part of Stockholders A Log or a Freezer (2015).
Despite being all about the grid, David Weinstein and Ruth Kahn’s curation of Checkered History is decidedly of the tree network variety.
Eighteen artists, chosen by curators Tun Myaing and Marshall Jones, tell their stories of origin, answering three questions displayed in tandem with their work: Why did you create this work of art? Why did you choose this profession? And, if you could own any work of art, what would it be?
he twenty-two paintings in this ten-year survey of Amer Kobaslija’s work at the George Adams Gallery varied widely in size. The two largest were well over six feet across, while the smallest measured three-and-a-half inches to a side.
Now on view at the Queens Museum is a long-overdue retrospective of the New York-based artist Zhang Hongtu. Curated by Luchia Meihua Lee, the show contains nearly 100 works, alongside archival and source material, highlighting works from every major period in the artist’s career from the late 1950s to the present.
Artists, someone once astutely noted, are the great observers of society; their job, above all else, is to notice the world the rest of us inhabit but largely fail to perceive. By this criterion, Marco Maggi is the consummate artist, having made a career out of attending to the small and insignificant, the overlooked and ignored, the humble details of the phenomenal world that hover beneath the radar of ordinary perception.
Fussthe spiritual symbolist among the non-conventional photographersreturns to New York with λόγος, an exhibition of new works exploring old thoughts. He continues to mine the space between the rational and the spiritual through the most unlikely medium: excluded, modern, mechanical, cynical, nihilist, self-negating photography.
Leo Rabkin’s many-faceted pieces don’t reveal themselves all at once. Picture Rabkin enacting Marina Abramović’s performance piece The Artist is Present, only you are sitting across from Rabkin in an intimate room as he invites you to hold and discover his box constructions one by one.
Transmissions: Art in Eastern Europe and Latin America 1960-1980, curated by Stuart Comer, Roxana Marcoci, and Christian Rattemeyer, with Martha Joseph and Giampaolo Bianconi, is an immersion into the peripheries of decentralized art practices that deeply questionedin a time of political upheaval and dictatorial regimeswhat artistic content and production was, and how it could situate itself in relation to its own structural, political, and cultural necessities.
This pairing of drawings by Roland Flexner with bronze vessels from the Edo period is both beautiful and thought provokingso much pleasure and intellectual acuity, combined in an exhibition of real depth.