The explosion of angst begins here with a Dear Reena letter to the gallery: Merlin Carpenter states, first, that he will not be attending the opening, however strange a social situation it might provoke. Of course, since Reena Spaulings is a collective enterprise, the position Carpenter takes is broadly directed; he is critiquing an abstraction.
9th St. Club, an exhibition with some of the greatest female cohort of the Abstract Expressionist movement, lends itself to not only varying techniques and experimentation but to a much smaller and subtle approach to the movement.
Imagine the Rothko Chapel, but filled with a series of close-up photographs of blue-green waters with reflected shades of red, circulating the surrounding walls in a flowy composition. Melissa McGills RED REGATTA: riflessi, currently on view in TOTAHs Lower East Side gallery, builds a meditative space where the audience is so close to the sculptural details of the waves and the tangible texture of the reds that one feels almost bathing in them.
Origins and foreseen endings bookend each moment of Me, Myself and , Lucas Samarass latest exhibition of digitally produced photos and photomontages. My mother brought her dress from Paris, begins a line of text that introduces the exhibition.
Each of Sally J. Hans 18 paintings, ranging from 8 x 8 to 20 x 24, are executed in an illustrative style. Their naturalism, conveyed as though from the instantaneously rendered stillness of a snapshot, is at odds with the patient and calculated application of paint and ink, and the feeling of eeriness eking from their atmosphere.
There are risks with every surgery. For the most part, these remain hypothetical scenarios only realized as part of a phantasmagoric paranoia: a clumsy incision, the quivering hand of your surgeon, an unforeseen lump. Anticipating this obsessive worrying, hospitals aim to reassure us through a compensatory iconography of total sterility.
Flowing through three contiguous galleries along the right-hand mezzanine of the Musée dOrsay is the stream of consciousness of the novelist and art critic Joris-Karl Huysmans, in the form of the exhibition and installation Joris-Karl Huysmans Art Critic. Acting as a valve on this torrent of images and ideas is another enigmatic aesthetic impresario, the artist Francesco Vezzoli.
A square printout taped to the table that displays the exhibition literature reads, "BUT Would information obtained by psychic means be accurate enough to suit the Intel community's needs? Would the Intel community accept information which had been obtained through psychic means?" A black and white illustration of a stoplight accompanies these questions, as if meant to signal a moment of pause.
A hasty visitor to Sikkema Jenkins might easily overlook Josephine Halvorsons 11 gouaches, tucked away in the back gallery. That sin of omission would be unforgivable and a source of eternal regret, because these outstanding paintings take landscape painting as a genre in a new direction, focusing on the insignificant rather than the infinite.
If we regard the works individually, we are struck by the piece-by-piece autonomy of the art. Each of the works, which all receive the name Not Yet Titled, has its own reason for being, while their large scale invests them with an aura of self-reflexive importance.
Originally from Culiacán in Sinaloa, Mexico, Margolles developed an intimate relationship with death while working as a mortician in Mexico City. There, in the early 1990s, she began making work that centered upon the human cost of drug-trafficking violence in Mexico. Her performances and installations employed post-mortem material such as blood and surgical threads to make tangible this shocking and generally unseen human loss.
When artist Noah Davis succumbed to cancer in 2015 at the age of 32 he left behind an ambitious body of work. A studio of paintings revealed a flourishing artist already making preternaturally mature work, while a self-conceived exhibition space in Los Angeles, the Underground Museum, attested to the spirit of a social maverick. Rather than being overtly political, Daviss politics were instead baked into a nuanced and sophisticated body of work.
In her most recent solo show at Casey Kaplan, the 28-year-old sculptor Hannah Levy also turns to the chandelier to address corresponding sociopolitical themes: notably, what structures seem to be versus what they are.
Robert Grosvenors latest exhibition at KARMAhis third with the gallerycontinues the artists career-long exploration of materiality, visual perception, and minimalist aesthetics. Influenced early in his career by the works of Lucio Fontana and Piero Manzoni, Grosvenor creates sculptures that similarly challenge the boundaries between everyday objects and artistic materials.
Nightclub incubator is the mood of Tiffany Jaeyeon Shins residency at Recess, corroborated by its magenta light and pulsing, electronic soundtrack tuned to a specific frequency to stimulate bacterial growth. It is not a bad summary of her aims either: to create a collective space for speculating on the possibilities for transcendence, sociality, and care that the microbial might give to us today.
When CONDO first appeared in London in 2016, the idea behind the collaborative show envisioned by gallerist Vanessa Carlos was to provide galleries losing out to an increasingly return-on-investment-driven art market with a platform that would foster creative collaboration and experimental daring.
In the back room of JTT, held by subtle spotlights, there is a gathering of flesh: it is arranged package-like so that each side folds over to almost meet in the center, revealing a tender interior. This is Doreen Garners meditation on Black gender, a theorization that moves us toward multiple valences of enfleshment.
Viewers familiar with Walshs work will no doubt recognize the strategy of built images, each part, part of a generative process extending across a paintings surface or, a sculptures three dimensionsnevertheless, the deadpan permutations are not strictly programmatic, and invite the viewer to participate in an intellectual and retinal exploration of how exactly these images come to be.
Acquired on eBay consists of dense hangings of drawings, paintings, sculpture, and also some books, mostly small, by relatively marginal recent artists. On the second floor of a building on the Lower East Side, the Algus Gallery is about as far from gentrification as you can get in the Manhattan art world.
Through exquisite turns moving between archival source materials from the life of the artist Robert Blanchon, and still and moving images documenting the spawning of horseshoe crabs, this presentation of her work subtly and carefully compels us to feel a sense of intimate and geologic temporality simultaneously, setting into relief the necessary work of collective grief.
A 2019 Whitney Biennial participant and professional choreographer, Madeline Hollander uses her impressive conceptual dance practice to analyze the ways in which humans interact within the mechanical trappings of modern society and urban landscapes.
Luis Camnitzers work has always confounded me with the way it speaks so critically while assimilating seamlessly into architectural space, including the quasi-sacred but increasingly consumer-friendly temple of the museum and the white cube gallery.
Layers of texture and materialspaint, oil pastel, and micasupported by pattern upon pattern in shaky thin lines set the foundation for Jackie Saccocios forceful, physically and emotionally self-reflective paintings.
The visitor enters the gallery and is immediately confronted not by Rakowitzs recreations of Nimruds sculptures but with the backs of their supports. Each of the five panels is displayed in a surround made of wooden two-by-fours, the material recalling nothing so much as shipping or storage crates, the temporary housing of artifacts unearthed (or stolen) from their archaeological environments to be removed to new homes for study or display.
Although the exhibition at Ricco/Maresca contains mostly smaller works on paperdrawings and gouachesit may be the most revealing presentation about the motives of this prolific artist. It is illuminating as well, not only about Grimes but also about the strategies of a range of artists on the visionary spectrum, from Alfred Jensen and his obsession with Mexican pyramids to Johannes Itten, who founded the Bauhaus design program, to Emery Blagdon, the outsider who created a barn full of healing machines.
Starting out as a graffiti artist in Paris and its banlieuesthe suburbs that house so many low-income immigrantsJR quickly realized that his real calling was documenting, through photography, the lives of those who inhabit the citys grittier neighborhoods. Portrait of a Generation was the public project that launched his reputation.
McCartys latest project comprises large-scale drawings and an interior and off-site ecological project, bridging her decades-long interdisciplinary art practice to her activist work during the AIDS crisis in the 80s.
Well, the most wonderful things about this most wonderful exhibitionand goodness knows, we have all seen many exhibitions of this Dada/Surrealist/genius guyare the Lettrines".
The Ishtar Gate was created in the service of the gods for the divine protection of the city, manifested divine powers on earth as the entry point of the gods into the city, and formed Babylons political and religious center. It represented the culmination of centuries of religious thought, technological advances, and artistic achievement.
It is a masterpiece by an artist who has spent her career mining archives and probing their authority.
It is a cathedral to art, and Reed has produced altars to the art and history of painting. Only that makes them sound serious and stern, possibly boring, and these are not that. Most notably, there is humor throughout.
It may be that history, as Winston Churchill said, is written by the victors, but a deep satisfaction can be had for those who redraft it. Cree artist Kent Monkman does just that for the Metropolitan Museum of Arts inaugural Great Hall Commission. Monkman reverses the European gaze, presenting Indigenous people as heroes who welcome and rescue invading newcomers.
So many delights here, so many forms that I cant help comparing with other displays of form, even within one single author like Lydia Davis as she works out the ways (thats the word she uses) of treating a topic.
How do we study abstraction across different contexts, and what modes of analysis do we use?
In her evocation of female mythological figures, Sánchez imbues her work with historical significance, connecting a modernist visual vocabulary with classical subject matter.
Facilitated by non-profit organization NEON and curated by art historian David Anfam, the show unites 36 of the artists singular creations, beguiling and bewitching with their evocation of fluid transformation. Carefully chosen, the works celebrate the sensual materiality characteristic of Bengliss oeuvre, while also highlighting the influence of both modern and ancient Greece on her artistic practice.
Graham Lambkin is a New York-based multi-disciplinary artist whose practice is comprised of mixed-media works and musical compositions. He rose to prominence in the early 90s through the formation of The Shadow Ring, his amateur music group which combined a DIY post-punk aesthetic, electronic noise, and surrealist wordplay.
As in all her works, the key element is creative destruction, the hands that destroy are also the hands that make. This may bring us closer to Rothenbergs artistic essence: no creation takes place without destruction. Wherever we look in Sperone Westwaters gallery, we find disjecta membra, the fragments of an aesthetic cataclysm.
Spanning nearly 400 linear feet, this body of work took ten months to realize and represents Steirs largest painting installation to date.
He presents an experience that, in the language of the time, would have been called deviant as something that simply exists in the world on its own terms, and demands that the viewer actively reckon with their response to it.
His artworks create opportunities for contemplation, reassessment and, hopefully, healing for Native and non-Native people alike.
If naming an object kills it, looking directly at a bewitching scene, even in memory, kills it.
As Sillman explained in Artforum, much of what interested her didnt seem to rate in art history, to fit the correct teleology. Art historian friends who saw my list were like, Who are all these people? I was like, Are you kidding?
Considering that as President, Bush orchestrated the circumstances for these paintings, I wanted to know whether and how he accounts for the politics of his aesthetics. As a civilian, I was literally a piece of his constitutive power as Head of State; and the prescribed outlet for my rage at his misrepresentations and their consequences was essentially voting. Now, to our mutual surprise, we share a vocation, which means that I can evaluate him as a peer.
One may feel like an intruder walking into Jesse Chun and Tiffany Jaeyeon Shins stain begins to absorb the material spilled on at DOOSAN Gallery. Perhaps this is caused by encountering Tiffany Jaeyeon Shins Onggi (as if from a firm esophageal column) (2019) at the entrance, a gathering of Korean glass onggi vases on a bed of soil that have an authoritative aura in their multitude and containment. There is a sense of walking into the midst of a process that does not readily reveal itself.
Its my first time at the Laurie Beechman Theatre, a cozy basement cabaret space thats been around since 1983 and has retained much of its original charm. A dazzling woman wearing a shiny grey two-piece is scat singing to jazz music, performing the most creative cover of What Are You Doing the Rest of Your Life? that I have ever heard.