Graham Nickson's most recent exhibition displays a revelatory new subject matter. Until now, Nickson has been generally associated with two kinds of work. His most expansive paintings like Pelican Bay Bathers (2006) are often on large conjoined panels and comprise figures in carefully calibrated, iconic poses in beachside settings, rendered in intense blasts of clear color.
A vase of orange marigolds adorns a ledge at the entrance of Alex Da Cortes second solo show at Karma. Like the artists work, this little detail cloaks meaning in layers of wit. The marigolds striking golden hue symbolizes both fortune and grief. Known for captivating films and installations that probe popular American culture, Da Corte is acutely sensitive to the myriad signifying effects of both color and cultural imagery and uses them to penetrate our individual experiences and collective associations.
Much of the work of Constantina Zavitsanos maps the bodily encumbrances of personal disability onto an axiological skepticism of contemporary forms of labor. In their work as well as their writing,1 disability and debt are treated as inextricable and interchangeable, and, for the artist, dependencyin the broadest, most abundantly connotative sense of the wordis emphasized as their artistic practices pedagogical and discursive content.
Most of the works in Youth have a reflective quality that transforms visitors into potential avatars of Narcissus.
For Meriem Bennanis first solo exhibition at CLEARING, the Brooklyn-based Moroccan artist has transformed the gallery into something like a spaceship.
Richard Mosse has recently garnered a sort of perverse accolade from a hyper-capitalist art market that values speculative worth over subversive potential. The Kilkenny-born photographer set an auction record earlier this year for the sale of a single print by an artist under the age of 45.
Gray reality with a streak of pink exuberance, themes of protest and popular culture, monochrome photography and full color: Urban Impulses sets up these structural dichotomies and largely manages to reconcile them.
Marcus Jahmals new show of paintings takes you into a world of spiritual healers and reverends who traffic in good luck bags for gamblers.
A fascinating glimpse into the origins of Alexander Calders thinking and evolution, this abbreviated retrospective is a rare opportunity to examine the artists early experimental and tentative production. The show follows Calders singular career, illuminating the artist's later, resolved and fully realized work, deploying some 70 objects from the mid-1920s through the 1950s.
Hearne Pardee maintains a double life: one in the suburbs of Davis, California, where he teaches in the universitys fine arts department and another in New York City, where he keeps a studio on the edge of Harlem and maintains contacts in the citys art world.
Let's get into Joe Zucker's time machine. 100-Foot-Long Piece (1968-1969) is our point of departure, but Zucker brings us up to date with nine acrylic-cotton pieces from 2019. The show is not exactly a retrospective, but enough of one: nine gestural drawings in India ink from 1964 and two vitrines stuffed with miscellanea, including Zucker's high school diploma, a photo of him playing varsity basketball, and a host of gallery announcements and posters capture his chameleon nature.
Nestled in the smaller gallery of Canadas newly inaugurated Tribeca space, Sahar Khourys solo show Afterhours presents sculptures that upon first encounter resemble screens, tapestries, and baskets. Khourys sculptures prioritize distortion over function and take pleasure in moments of material chaos. The layering in of personal mementos makes it so that the work can absorb the histories embedded in the discarded materials and reinvent them with new possibilities.
The Met façade was finished in 1902, but the niches have remained empty ever since, largely unnoticed by museum visitors and passersbyuntil now. Kenyan-American artist Wangechi Mutu fills the spaces with statues of Afro-futuristic women who employ the pedestals as thrones, inaugurating what will be an annual commission for the museum’s façade.
Illustrated with cartoonish hyperbole, Verses from the Apocalypse resembles the out-of-order panels of a dark, smutty comic book: spotlit vignettes of women bondaged by construction materials, restrained by scaffolds, fettered to medieval torture devices, and occasionally nose-deep in books, as if language itself were a form of punishment.
Until this current show at Lisson, French painter Bernard Piffaretti hadnt had a solo exhibition in New York since 2002 (at Cheim and Read). Thats 17 years ago. Far, far too long a time to pass without seeing the work of an artist who is one of the great painters of his generation (born in 1955).
Can a rectangle be sensual? The artist N. Dash sublimates perceptual experience through assemblages of rectilinear panels separated at times by incised lines, string, layers of fabric and even thick segments of high-density foam insulation.
Although were taught its impolite, there is nonetheless something irresistible about eavesdropping, staring, or peering into peoples everyday moments. So we mindlessly invite ourselves into the lives of others, the subjective spectacles and private experiences that are revealed in unrestricted moments.
Entering Alain Kirilis exhibition, Whos Afraid of Verticality, is like joining a gathering of benevolent beings in a space that lifts ones gaze and spirit.
Matt Kleberg: Trespassing is the artists first solo exhibition in New York City in over two years and includes hundreds of new drawings, as well as five new knockout oil-stick paintings on canvas.
A dominant strategy for the three artists pits decorative symmetry against the dynamic patterns of living forms.
Seeing and remembering are at odds. Memoriesif they are to be shared with othersare packaged in a specific way: flat, rectilinear, still. This fact is not contingent on photography; we have a natural tendency to break narratives up into stills.
These 42 mostly black and white works, the original thug life drawings, have a lovable but menacing charma deep wrongness that somehow looks right.
Perhaps more than any sculptor of his generation Serra has stared base materiality in the face, thereby forcing it to conditionally reveal its stock-still visage back. Its a game of truth or dare that, in Serras case, he usually concedes with a poetic deference towards an unblinking counterpart: the secret to Serras work is not his intent to overcome gravitys mortal indifference to the sculptors will, but to frankly acknowledge it.
Both shows largely eschew the raw and overbearing aggression that Serra is best known for. Instead, they are finely judged installations that manipulate the relationship between a sculptural object, a display space, and a mobile viewer with great sophistication. The overall effect is thoughtful and, at times, even seductive.
What we do see throughout Room for Living, however, are numerous forms of indebtednessto the canon and, importantly, to Satterwhites mother. Elements of Patricia suffuse the exhibit. The LED texts that surround several sculptures are made from her words and handwriting, the drawings of bathtub, penises on wheels, and shoes are taken from her notebooks.
Computer graphics is a young and new way of aesthetic communication; it integrates human thinking, mechanical handling, logic, new possibilities of drawing, and incorruptible precision of drawinga new DUKTUS! So wrote Manfred Mohr in 1971 celebrating this duktus, the Latin term for handwriting, also used in German to acknowledge the individual peculiarities of a medium or someones style.
The work brings into focus another aspect of the Concrete aesthetic: art as game with fixed rules within a fixed space, but a game in which the viewer participates. From a biographical perspective this work also constitutes an irony: with the triumph of the Cuban Revolution in 1959, Soldevillas work was deemed counterrevolutionary and she was obliged to discontinue her artistic practice and work in a factory making wooden toys for children.
Paintings, prints, fabrics, ceramics, furniture, jade carvings, and lacquerware bear elements of Buddhism, Taoism, and folklore. These objects show the fluidity of spiritual and religious beliefs in China, including the fusion of Taoism and Buddhism.
Body is vessel in the nine new paintings by Loie Hollowell that make up Plumb Line, the artists debut show with Pace. With a strong, centrally-placed vertical line as her organizing principle, Hollowell delivers human forms distilled into a succinct vocabulary of curved shapes: bisected disks, almonds, and ovals, plus stacked rows of half-circles crowned by a glowing orb.
Wang Yan Cheng offers a large show of paintings at Acquavella Galleries, where his Abstract Expressionist canvases appear very much like a slightly foreign version of an idiom originated and championed in New York.
In many of van Woerts works over the last decade or so, the artist has investigated the relation between our bodies and the waste we produce in our industrial, hyper-consumptive society.
Much has been written about how Elliss paintings attest to the pain and sexualization of African American women, but hidden within and below this interpretive paradigm is a messier, more inconvenient model of identity that doesnt fold as quickly into an established institutional narrative.
The drawing is the latest of the works on view at Hauser & Wirth, and was made shortly before Hesses premature death from cancer at age 34. Spanning two floors of the gallery, the exhibition proceeds in reverse-chronological order so that the viewer finds herself ambling backwards in time to more tentative beginnings.
That the elements of Elaine Cameron-Weirs works are at once ruggedly utilitarian and impossibly arcane is one of her brilliant conceits.
Saga begins with a monumental centerpiece that incorporates the threads of illness and healing that are in conversation throughout the show. Disease Thrower #5 (2019) is a grand sculpture resembling a shrine that functions as both a therapeutic instrument and as a spiritual altar. Featuring a star-patterned woven structure made from a Mexican medicinal plant and a handmade gong, it is part of a larger series of the artists healing machines that include handmade and found objects.
Wyatt Kahns wall-based works evade some old categories and challenge a few new ones.
All beasts and birds, as well as creeping things, were devils in disguise. So whispers the narrating voiceover in Bambitchells experimental film installation Bugs and Beasts Before the Law. Developed with support from the Henry Art Gallery and showing for the first time at Mercer Union in Toronto, Bugs and Beasts reflects Bambitchells (the shared moniker of multimedia artists Sharlene Bamboat and Alexis Kyle Mitchell) interest in juridical histories.
Sarah Sze beguiles us with two new spectacularly wrought installations teeming with meticulously arranged objects, contraptions, photographs, plants, projectors that beam moving images, sound, and much more, all disposed in and around her signature scaffolding, itself a tour de force of improvisation and precarity.
While strolling through the various works of Sue Yon Hwangs relatively modest exhibition, I was taken by an awkward mystery in the installation, an intersection between science and art that was somewhat difficult to place in time and space.
Leaching the prismatic splendour from his landscapes, Doug Fogelsons latest additions to his Chemical Alterations series combine the photographic with the painterly, the representational with the abstract.
In the early 1980s, postcolonial theorist Homi Bhabha coined the term fixity to describe the motifs and symbols visual discourse has used to craft harmful stereotypes and establish the difference of minoritized communities. Usually involving references to supposed violence or sexual deviance by highlighting the physical body and its flesh, this covert language of images perpetuates prejudice against the Other. It is this visual lexicon that the Oakland-based artist Xandra Ibarra explores, parodies, and reclaims in her exhibition Forever Sidepiece, showing at Queenss Knockdown Center through October 27.