A signal feat of Abstraction in the Black Diaspora and other similar efforts that draw attention to formally adjacent but culturally distinct iterations of artistic practice is that they dislodge entrenched hermeneutic methods that are part and parcel of the dominant narratives themselves.
In the book Thinking: The Ruin (2010) the contemporary Lebanese writer Jalal Toufic offers a paradoxical definition of ruins as places haunted by the living who inhabit them. It is through this notion of ruins that he approaches his own city, Beirut, and the trauma of civil war.
What a brilliant cacophony of abstract gesture, I think to myself while taking in Ballin the Jack, Louise Fishmans first solo exhibition at Karma Gallery in the East Village. The oil paintings on view in the main gallery revel in their messiness: thick strokes of paint crash into each other, clashing colors fighting for dominance, while the white gesso underneath reveals itself as a seductive promise of transcendence.
From a distance of decades, its easier to see Judds veiled polemic for what it was: opinion masquerading as analysis and intuition supported primarily by his own practice. At the same distance, through two major exhibitions, its possible to see and feel intensely what Judd accomplished.
Aguiñiga is a staunch advocate for the power of interdisciplinary artmaking to facilitate the exchange of ideas about the borderlands and challenge zeitgeist narratives.
By obscuring, reframing, and multiplying representations of her body, the artist disrupts our gazes and deductions. According to Osterloh, her experiences as a mixed-race Filipino American have shaped her photographic explorations around observers perception of different identities
This museum-scale exhibition is bookended by a pair of gargantuan videos, Reckoning (2020) and Parallax (2013); throughout the static works in the show there is the impression of a constant flux of movement that makes animation seem a natural trajectory.
Lewiss most recent body of work, Triumphant Alliance of the Ubiquitous Blossoms of Incarnate Souls (T.A.U.B.I.S) demonstrates a new chapter in the development of a still-young artist. Emotionally intelligent and technically sophisticated, this body of work represents a period of intense production for Lewis.
Shari Mendelsons hauntingly beautiful sculpturessome part human, part animal, part divinetransport the viewer down the timeline into other worlds and dimensions. Their fragility and translucent luster are reminiscent of glass from antiquity and make us forget their humble origins.
The COVID epidemic has made us acutely aware of interior spaces and their metamorphosis from living space into working and recreational spaces. But this fascinating show also reminds us that these multi-use spaces are saturated with sin.
Entering Leilah Babiryes show at Gordon Robichaux feels like walking into a solemn space loaded with gravitasa regal court of yesteryear or, at least as I imagine it, Brancusis studio. This is another way of saying that the 39 wooden and ceramic works and the handful of monotype prints on view here command an extremely powerful sense of presence.
As a mother, Sari Carel spends long hours in playgrounds. The Shape of Play (2020), her recent public art installation situated at Waterfront Park in Bostons North End, was inspired by moments of observing children play and listening to the sounds produced in various playgrounds.
Susan Bee is creating new mythologies to help grapple with a collapsing universe. In Anywhere Out of the World she embraces archetypes and iconic images to reinterpret societal and personal struggles.
It is a good moment for Cecily Brown. The Blenheim show is a critical smashthough tantalizingly inaccessible as Britain locks down again. The Brooklyn Museum just acquired via gift Triumph of the Vanities II (2018), one of two grand canvases that recently hung at the Metropolitan Opera. Her impact on younger artists is more and more evident on gallery walls. This exhibit shows her impressive restlessness, resolve, and energetic mind in equal measure.
In comparison to Kaphars earlier work, these enigmatic new paintings are asked to bear a heavier burden of direct narrative, and the lack of an obvious relation between the absences and presences that Kaphar highlights here leaves us with a new and unfamiliar kind of disorientation.
The latest iteration of MoMAs New Photography exhibition cycle comprises works from eight artists and takes place entirely online. Companion Pieces asks the viewer to look beyond initial reactions and delve deeper into our reading of images.
Joness paintings are painstaking explorations of the disjunction between the world as it comes to us through our sensesthe information we consume during our waking hoursand the world of our interioritymemories, imaginings, and reflections.
The show’s title comes from Sinclair Lewiss 1935 novel It Cant Happen Here, in which a populist fascist becomes Americas president. But the tone is entirely Sue Coes own. Throughout the show, she presents industrial pollution, racist politicians, sexist violence, and the slaughter of animals for food.
10 artists present the theme Make Our Differences Our Strengths using 14 billboards, with six more locations to go up on December 28. Seeing the exhibition requires a long afternoon of driving on suburban roads, with the aid of GPS.
This exhibition, which includes nearly 90 works, is an ambitious revisionist exercise. Known by the infelicitous nickname Luca fa presto, Giordano did paint quickly, creating more than 5,000 frescoes and paintings. To be so productive he had, as you might expect, an army of assistants.
Akeem Smiths No Gyal Can Test is an exploration of the visual, sonic, and material culture emanating from dancehall, wherein the now globally exported form is understood from its social and political specificity and not simply for its unforgettable style.
We are looking at his great paintings of 2019, with their garlands and drums and death heads, like a festival and yet with a menace lurking beneath.
Parenthood is essentially a temporary arrangement, but one that can provide an abundance of joy even in the most ordinary moments. Billie Zangewa refines this muddle of emotion in eight fabric collages that make up her current exhibition.
Having spent time with the newer works currently on display at Sperone Westwater, I suspect that they might be his most searching philosophical inquiries. That they were undertaken at moments of career retrospection, recovery from illness, and the care of and mourning for a partner make the underlying melancholy that I somehow always feel when reading Wittgenstein that much more palpable.
Like noticing nice light or composition on a walk through your neighborhood, the initial impression of Anna Horvaths sculpture is at once serendipitous and matter-of-fact.
What future epoch do our own dreams precipitate? Goffman points to the importance of our collective fantasies, which are not only escapist pastimes, but dreams that race ahead of us, bearing on realitys course.
In an age that sees allegations of forced sterilizations of immigrant women at a Georgia detention center, and a de facto medical experimentation being visited upon essential workers who are forced to work in this pandemic without adequate safety gear, McMillian offers us a devastating message and reminder.
Public Secret, the current solo exhibition of works by Baris Gokturk at Helena Anrather, presents a series of canvases displaying fragmented fiery landscapes, layered and scratched like an old street bulletin board or a peeled subway poster interrupted by the array of images underlying it.
Visitors seeking comfort in paintings of desserts will find old favorites like Pies, Pies, Pies (1961), but the larger body of Thiebauds works challenges us with levels of visual invention and expressive depth that link the visionary potential of comics to his disciplined investigation of the image and its material field.
For this MoMA exhibition, Gulliver and curator Sophie Cavoulacos bring Ginza to Manhattan, translating this vibrant installation to the museum space with intoxicating and transformative effect.
Jointly organized by SFAI and the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA), the exhibition constitutes an Arcades Projectthat is, if Walter Benjamin had a septum piercing, and wandered the streets of San Francisco instead.
As it is, Sillman is a gamechanger. Her paintings and drawings reframe long-held notions regarding the look and emotional character of abstraction, a style that enjoyed its golden age in America a half century ago during the 1960s.
For the last four decades, Tishan Hsu has worked across sculpture, video, painting, and photography to consider the question: How do we embody technology?
She said, the center cannot hold, Marianne Shaneen narrates over meditative drone footage of Lebanon, Kansas projected on a split-screen. This phrase in the opening sequence of Peggy Ahweshs 2019 video installation Kansas Atlas (2019) is an apt description for the practice of the vanguard experimental film and video artist.
Full of wonders sacred and profane, the British Museums sweeping survey Tantra: Enlightenment to Revolution aims to reveal the history and tenets of a mysterious, transgressive spiritual tradition that has been intertwined with Hinduism and Buddhism for nearly a millennium and a half.
The French artist Antoine Catala has made breath and language the tether points of alphabet, his latest show, on view now at 47 Canal. alphabet (2020) consists of 26 sculptural renderings (all made in 2020) of each letter in the Roman alphabet according to the internet font Noto Sans. Constructed from coarse black polyester of the sort used for inflatable camping pillows, the letters are attached, respectively, to 26 lung-like apparatuses, which ventilate according to a server running a program Catala wrote.