Meaty and heady, Eddie Martinezs densely packed paintings, rich with associations and imageryall in the form of quotidian objects, sports paraphernalia, kitchen and dining items, art-history fragmentsrefuse to commit to a specific time or style.
Donovans latest show at Pace represents work made before the pandemic, but the six installations largely satisfy the present need for an art that engages bodies, reveals a sense of self and presence (both as viewer and assertive creator), and encourages a return to social engagement.
While the artist is not seeking to recreate the places of worship and power from which she draws her inspiration, she instead distills what is most human and irreconcilable about those spaces: the act of containing multitudes.
Is there such a thing as outsider photography? The term outsider has come to mean either self-taught, outside the art establishment or, in the more extreme version, cut off from many forms of social intercourse by mental illness or incarceration.
In this space just west of Mercer Street, Shanzhai Lyric traces the transitory and ephemeral nature of Canal Street as a site of knockoff production, dislocated trade routes, and gentrificationand the ways in which bootlegging can generate creative disruptions.
Deborah Roberts: Im, now on view at The Contemporary Austin, is the artists first solo museum show in Texas. Im features all new work, including figural collage with hand-painted elements and two firsts for the artist: an interactive installation and a grand-scale mural on the buildings exterior.
Because many of his figures appear in settings with backyard swimming pools or the ocean, a range of blues dominates his works. Frequently, his subjects are more memorable than his technique.
Lindy Lee: Moon in a Dewdrop at the Museum of Contemporary Art (MCA) in Sydney, Australia, is an absorbing, carefully arranged, and highly informative survey charting Lees development from fin-de-siècle postmodernist to an exponent of contemporary trans-culturalism.
Freilicher, a quietly brilliant painter of interiors, is represented here with 15 still lifes that show the full spectrum of her work from the 1950s to the early 2000s. The muted hues of her paintings, combined with a high lyricism for which she was known from the beginning of her career, invests her work with a poetics that can only be admired, on both a thematic and a technical level.
THE END OF FUN! opened at Birminghams Ikon Gallery during the Coronavirus pandemic in September 2020, then the largest exhibition of work by Czech artist Kritof Kintera in the UK. Curated by Melanie Pocock, it engaged with topics of environmental degradation, waste, technology and the natural world, although in a mode of compelling ambiguity rather than strident didacticism.
The scale and imperfect edges of Julia Rooneys paintings at Arts+Leisure are remarkable. Affixed to the window, a handmade, colorfully agitating QR code on a two by two-foot square canvas welcomes the viewer into the gallery. Inside the space, the size of the canvases diminishes, but their impact remains.
Martha Diamond’s exhibition at Magenta Plains presents paintings from the 1980s; on view are large canvases in oil at street level and, downstairs, small painted studies on Masonite.
Vida Americana attempts to reorient art history by exploring how Mexican muralists, through their travels in the United States, influenced artists working in the US.
In The word of Bird is Cured, the artist doesnt just manifest his personal idiosyncrasies, he mimics generative rhythms of his own life.
As Everybody includes works Laguna has made over the past 10 years; her handwritten notes enable the whole exhibition to feel cohesive and particular to its Richmond localesomething I appreciate at a time when seeing art in person is a rarity.
In looking at the canvases of Emily Mason now on view at Miles McEnery we sense not so much a relation to a certain place or thing, but a lifetime of visual experiences put down onto canvas through a keen process of filtering. The result in Masons work is necessarily nonspecific yet points nonetheless toward layers of feeling: light reflected off a rippling canal, a gleaming gold surface, flowers in mid-summer.
Unlike those in which we find the Rückenfigur, that singular figure of the romantic sublime, Goldens vast landscape is not a verdant expanse unperturbed by human hands but something like its opposite: the apparent site of both personal and natural disaster. Yet evacuated of human presence, the narratives suggested here remain open to our imagination.
The three artists in Patchwork are Colombian, Chicano, and Oglala Lakota. This matters because they are being grouped here due to their confrontation of a history of fragmentation from the perspective of colonized people. But more widely, it matters because there is a gaping lack of representation for these perspectives in the art world.
Williamss exhibition, titled Tracing Memory, builds on the tradition of apostate picture-makers with such confidence that the fact that this is also her debut exhibition at a commercial art gallery in New York City comes as a surprise. Many of the works on view lack any support structure at all, preferring instead to migrate across the wall with a breezy randomness that belies their precise deployment of shape, color, and materials.
The exhibitions We Do Not Dream Alone, the inaugural Asia Society Triennial, and Dreaming Together at the New-York Historical Society bring together works by over 40 artists selected from the collections of both institutions in a thoughtful and very welcome showcasing of the work of Asian and Asian-diasporic artists still underrepresented in mainstream Euro-American contexts. At this moment, when the movement of people and even artworks is difficult, the mere existence of this two-museum show is a major accomplishment.
Presented in nine galleries on the second floor of the new wing of the Kunstmuseum Basel, this large display encompasses 120 works, including paintings and works on paper by Rembrandt. It is a visually effective presentation of Hollands 17th-century colonialist cultural encounters. The Orient in this exhibition encompasses the territories on the Dutch trade routes, the Mediterranean sites controlled by the Ottoman Empire, as well as Persia, India, and the Far East.
Is Aleksandar Duravcevic overwhelming us with the repetitive thud of the mass-produced or presenting a careworn meditation on the handmade? This is the central question that emerges from the 50 graphite drawings on velvety black paper that make up the project Empire.
Artists, lovers, life-partners, art-world rivals, benefactors, and luminaries, Emily Mason (19322019) and Wolf Kahn (19272020) were all of these thingsand more. Miles McEnery Gallery has devoted each of its two spaces to the first posthumous solo gallery exhibitions for the couple, who died within months of each other after more than sixty years of marriage.
Baezas figurative practice is rooted in the poetics of viewing another body: the depth of layered materials abstracts the image of the body, rendering it partially visible and partially cloaked, and giving visual form to the concept of the fugitive body.
Hiwa K's debut solo exhibition in Asia and the Middle East, Do you remember what you are burning? at the Jameel Arts Center, features works produced in the last 10 years that overflow into the Centers outdoor Sculpture Park,
The Studio Museum in Harlems 20192020 Artists in Residence exhibition, This Longing Vessel, was conceived with an uncanny prescience. Decided upon well before the pandemic threw us into a time that has throbbed with longing, the title summons images of empty objects waiting to be filled.
Nara Roesler Gallery inaugurates the opening of its new Chelsea space with the first installment of an ambitious program: to present a full panorama of Brazilian art. Cross-cuts is curated by the Venezuelan poet and art critic Luis Pérez-Oramas, and delivers the work of nine revelatory artists, seven of whom are currently practicing.
Elizabeth Schwaiger sets in motion a cacophony of styles, ideas, colors, and movements in this dense show spread out over two floors.
Toors paintings transition easily from pleasure to violence. Although their narratives are decidedly figurative, it is difficult to fully grasp them. Instead, Toor depicts transitory moments that are rife with potentials at every glance.
Miers retreat to the consolations of scrolling, a kind of peripateticism or journeying, led him to devise an exhibition dedicated to the gest, that is, a tale of adventure or a knightly exploitfrom the Anglo-French geste, which means, among other things, romance.
At the heart of Packers first institutional show outside the US is the desire to make visible the invisible and do justice to stories like Sandra Blands, creating space in which to mourn Black deaths.
In both the drawings and the paintings, that process of becoming through painting, using temporality as structurenot descriptive imagesevinces Tworkovs remarkable achievement and his path toward Nirvana.
In a world in which Blackness continues to be fetishized and objectified even when it is celebratedYiadom-Boakyes oil paintings carve out a space where Black personhood, unconstrained by the nightmare fantasies of others, is finally afforded the luxury to be, to breathe.
Steinbachs objects, in their adjacencies and juxtapositions, behave like linguistic signs. Their meanings are both inherent and contingent, organized along the structural grammar of figure and ground constituted by his shelf supports. Presented in succession, each item yields new axes for comparison.
What curator Omari Douglin has sniffed out among 11 emerging artists is a yen for the social exchange of the street. Douglin has created a tableaualbeit one in muted toneswith essential elements of the New York agora: fashion, violence, and play.
Such a feather-thin line between fear and delight, that which sucks the soul and that which saves it, is patently New York, and by the transitive property I have realized, patently Martha Diamond.
The group of paintings that comprise Helmut Federles fifth solo exhibition at Peter Blum Gallery originate in a work made in New York City in 1979 after moving from Basel, Switzerland. He would stay in New York City, with some interruptions for four years.
Justin Matherly has positioned two monumental busts of the divine physician Asklepios on either side of the gallery entrance: Eat yourself fitter (2020) and Eat yourself fitter (2019). Six cast modified gypsum statues of Telesphoros, the dwarf-like nocturnal companion of Asklepios, may be found in the corners of each room: T1-T6 (2020).