Throughout Wardrobe Test, we encounter women trying things on: costumes, other voices, new or different personae. And yet despite, or even through, this garb, we also witness glimpses of what we have to assume or hope to believe is the person within, the compassionate collaborator and mourner, the artist as empath, the woman of faith above all else.
Since art is neither the solution to a problem nor the execution of a plan, all attempts to approach it that way create obstacles. Preconception cancels out thinking and substitutes a possible false sense of knowing, for truer seeing.
Blending with its surroundings, the engaging art spills outside, runs through the streets, and bleeds into uncharted, overlooked interiors, bringing fresh breath to sites frequently occupied yet rarely used outside of their original intents.
The show at PPOW consists of 22 paintings and two wall-bound sculptures (all 2019). Five large paintings depict reposing, peachy-porcelain nudes arranged on shallow, tree-framed outcroppings, surrounded by the detritus of extravagant feasts: dishes loaded with fruit, meticulously-crafted cakes, chalices alight with flames, even an oyster shell full of pearls. This bounty, however, is haunting.
Michael Eade is an American artist showing at Echo Hes Fou Gallery, located in Bedford Stuyvesant, Brooklyn. The artists shown at Hes gallery are mostly from Mainland China, reflecting her background, but the gallerist also shows non-Chinese artists, and Eade is one of them.
In his engulfing, otherworldly video installation at Tate Britain, O Magic Power of Bleakness, Mark Leckey has transformed a cavernous gallery into a freeway underpassspecifically his childhood hangout under the M53 Motorway, which runs through his deindustrialized hometown on the Wirral Peninsula across the River Mersey from Liverpool.
Here I am, standing on Fifth Avenue just across from Apples recently reopened Batcave of a store and chasing a liquid, care-free form as it flies in and out of the midtown skyscrapers surrounding us. While the shimmering ghost takes on various colors and shapes, sometimes even forming words, a high-pitched voice, reminiscent, perhaps, of Bjork, sings along with it.
I am fertile ground is a piece imbued with the themes of Antonis workthe body as an artistic tool, both for making and meaning-making, which corresponds to the art objects that will inevitably outlast it. Her work as a product hinges upon her physical form in the time she makes it, a period sometimes as specific and short as the instant of a photograph.
Any initial humor found in the absurdity of these two hyper-sexualized scenes, perhaps especially for straight male audiences, quickly gives way to uneasiness and introspection, resulting in a sudden and powerful realization that the only way systematic change can begin is from within the viewer.
Eight of Ron Gorchovs classic paintings on shields, executed in the late 1970s and early 1980s, are currently on view in the new uptown gallery of Cheim & Read. Two of them arch out vertically, while the others are horizontally oriented. None, needless to say, are either rectangular or flat.
I detect a strong Marxism underlying the work, moving from the struggle of black and white to a resolved dialectic in red. Their work completed, the performers lounge on the sculpture, rather than dragging and assembling it. Such subtle resistance matches again with Noguchi, who, curator Dakin Hart reminds visitors, was a social activist most of [whose] efforts to shape society were indirect and abstract.
In Blind Rat (2019), one of 15 large photographs featured in Hadi Fallahpishehs exhibition at Tramps, a rat wears tiny, 90s Matrix-style glasses and spreads its legs suggestively, its crotch replaced by a mouse hole
Vija Celmins began her career with the ambitious goal of wishing to remove gesture, composition, and the artists personality from the work of art.
The future looks good in Bojana Ginns Phygital Muse. Nature and technology co-exist throughout Ginns interdisciplinary exhibition. She explores transhumanism, a school of thought dedicated to the notion that technology will radically enhance human life.
Marco Maggi has brought about the improbable union of Plato and Stéphane Mallarmé. Specifically, the marriage of Plato's allegory of the cave in the Republic and Mallarmé's Un coup des dés jamais n'abolira le hasard, his polyphonic text, meant to be read simultaneously at several levels in order to be understood.
About midway through the National Gallerys exhibition Andrea del Verrocchio: Sculptor and Painter of Renaissance Florence, you find yourself standing in front of a beautiful young woman carved from marble that has mellowed to a honey-brown hue.
In 1902 Theodor Herzl, the founder of political Zionism, wrote an iconic novel titled Altneuland, also known as The Old New Land and Tel Aviv. This futuristic utopian story is about a young Viennese-Jewish intellectual who travels to Jaffa to find a land that has drastically transformed over the years: it is peaceful and well industrialized.
The repetition of Sandra Brewsters Blur portraits in the Art Gallery of Ontarios Canadian wing has a potency that exceeds the modest room they are displayed in. Installed with precision, there is a rhythmic nature to this single series of works that is both meditative and pointed.
Antony Gormley at Londons Royal Academy is a confounding bundle of contradictions. With this solo showthe artists most significant in the UK for over a decadecurators Martin Caiger-Smith and Sarah Lea have united iconic older works with newly commissioned pieces, arriving at a blend of the imposing, the minimalist, and the aesthetically austere.
Albert Oehlen comes out of what might now be considered a tradition of anti-tradition in post war German painting. It was established by Sigmar Polke, one of Oehlens mentors at the Hochschule für bildende Künste Hamburg, as a bricolage of pop iconography and pattern combined with bravura impasto and dissolute washes.
The Serpentine exhibition is extraordinary. This show highlights Oehlens ongoing engagement with both the Rothko Chapel in Houston, Texas and the Kiev-born American artist John D. Graham s painting Tramonto Spaventoso (Terrifying Sunset) from 194049. In the high-vaulted central gallery space of the Serpentine Galleryaround which smaller adjoining spaces provide views out onto the parkare a group of canvases scaled to match Rothkos horizontal paintings in the Houston chapel.
A new solo show of work by the New-York-based artist Torkwase Dyson grapples with the historically hostile relationship between the Black body and what is known in contemporary architectural theory as the built environment.
Francesca DiMattios monstrous 9-foot tall She-Wolf (2018), with a bulbous black head stretching out from grafted human and animal forms, including a porcelain human front leg and a life-sized hunting dog standing in for a rear leg, restores the wildness of this maternal wolf once immortalized in the famous Etruscan bronze (500 BCE) that the sculpture references.
McCullerss work evokes a sense of alienationboth from society and, crucially, from oneself. However, to many she also represents an enthusiastic, if not necessarily fully consummated, embrace of her own desires.
Resonance as it is known to the public although affectionately the series has been termed The Terry Fox Extravaganza by its co-curators Dena Beard, director of The Lab art space in the Mission neighborhood of San Francisco, and Constance Lewallen of the Berkeley Art Museum and Pacific Film Archive (BAMPFA)is a multi-venue celebration of the late, Seattle-born, Europhilic Fox's work and contributions to the Bay Area as a member of the first generation of conceptual artists in the late 1960s and 1970s.
Off to the side of a video in David Hartts site-specific The Histories (Le Mancenillier) for Frank Lloyd Wrights Beth Sholom Synagogue outside of Philadelphia, papaya leaves nod in the breeze and burn white with sunlight, catching the curving shadows of nearby foliage.
Sleek, yet ornate; futuristic, yet traditional; feminine, yet androgynous. Mixed media portraits of powerful figures line the walls of Traveller, a solo exhibition by multidisciplinary artist Rajni Perera.
Tbilisi, Georgias capital where nearly half of its population resides, now has an international art fair and a steady flow of unfettered capital funneling into large development projects of former Soviet factories as well as the accompanying problems of gentrification and worsening economic inequality.