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Chloe Wise: Thank You For The Nice Fire

Since her breakout moment in 2014 when she was catapulted into an arena where art meets fashion meets popular culture, Chloe Wise has become an art fair darling and has demonstrated herself as a witty observer of, and participant in, her millennial generation and culture.

Robert Grosvenor and David Novros

Taking advantage of Paula Cooper Gallery’s West 26th Street double storefront windows, Robert Grosvenor has placed a floor-bound sculpture in each space.

Chitra Ganesh: A City Will Share Her Secrets If You Know How to Ask

As this year’s QUEERPOWER commission, Chitra Ganesh has filled 10 panels of Leslie Lohman’s façade with images of queer activism, joy, and meditations on history, possibility, and gentrification.

Lee Krasner: Collage Paintings 1938–1981

Kasmin’s current exhibition is presented in collaboration with the Pollock-Krasner Foundation and contains several masterpieces from the very debut of her collage paintings at the Stable Gallery in 1955.

Otis Houston Jr.

In a new exhibition at Gordon Robichaux, the textures of sociality that charge Otis Houston Jr.’s street performances take up new dwelling in a gallery space.

William Corwin: Green Ladder

Ladders appear across spiritual traditions linking the lower and upper, the earthly and material with the everlasting and transcendent.

Tad Beck: Eyes Of

One approaches the montages squinting, blinking, and straining to piece together their arrangements. No matter how hard the viewer attempts to “get it,” the works’ resolution remains just out of reach.

Cordy Ryman: Constellations

Cordy Ryman has long made a practice of installing works to suit the context of a specific gallery space, and his current exhibition at Freight + Volume is no different.

You Are Not Wonderful Just Because You Are a Mother

In the second annual Artist/Mother Podcast exhibition, juror and curator Qiana Mestrich takes up the problematic fact that a woman’s social value is often determined by whether or not she is a mother.

Lost & Found

Lost & Found is an invitation to stop, take a breath, and engage with these artworks sans an agenda, perhaps to discover the unexpected.

Bat-Ami Rivlin: No Can Do

Rivlin abandons the impulse to make unlikely or surprising combinations of things convey a message, or play a role, if even a small one. The sculptures rather act out on their own, bringing attention to a permanent wound they share, not broken, repurposed, or fixed, but indefinitely repairable.

David Alekhuogie: Naïveté

Hidden in a riot of pattern, color, and spatial uncertainty, David Alekhuogie’s inaugural exhibition at Yancey Richardson is a biting treatise on the prescribed views of African art in the Western mind and the power of photography to influence an entire generation’s cultural ideas.

Alexander Calder: Modern from the Start

The Museum of Modern Art considers Modern from the Start the story of a relationship to its first and only “house artist.”

Chloe Wise: Thank You For The Nice Fire

We live, Wise says, in a new edition of W.H. Auden’s “ The Age of Anxiety” (1947), where the intimate relationships we crave may be dangerous traps, where what we eat to stay alive may poison us.

Boyle Family: Nothing is more radical than the facts

In their first solo presentation in New York in over 40 years, the Boyle Family’s “earthprobes” are disorienting re-creations of randomly selected areas of the earth’s surface, made from resin, fiberglass, and found materials, that combine Robert Smithson’s earthiest visions with the uncanny eeriness of a Duane Hanson clone.

Kyoung eun Kang: TRACES: 28 Days in Elizabeth Murray's Studio

Each morning for 28 days, performance artist Kyoung eun Kang inhabited the late Elizabeth Murray’s upstate New York studio. These sessions, recorded with a stationary camera, have been edited into a two-hour single-channel wall-sized video projection that makes Murray’s studio seem like a continuation of the physical space of A.I.R.’s darkened Gallery II.

Justine Kurland: SCUMB Manifesto

Riffing on Valerie Solanas’s 1967 feminist broadside announcing “the society for cutting up men” (SCUM), Kurland’s project adds a silent B to indicate that, here, it is men’s books that are being cut up.

Karon Davis: No Good Deed Goes Unpunished

With a cornerstone of the party’s politics on full display, Davis brings our focus to the grassroots community organizing Seale and the Black Panthers were known for. Half a century later, lies perpetuated by the US government still surround the activist organization whose free breakfast programs fed school children in dozens of cities across America. In her newest work, Davis sets the record straight.

Giuseppe Penone: Leaves of Grass

Sculptures, installations, assemblages, photographs, and other works executed by Giuseppe Penone and his Arte Povera colleagues often look off-kilter and slightly madcap. Think DIY. Or picture these Italian artists, active since the late 1960s and early ’70s, stranded on a deserted island and joyously making art from found materials.

Degree Zero: Drawing at Mid Century

Curator Samantha Friedman has made a sensitive selection of some 80 drawings from MoMA’s international pool of artists working between 1948 and 1961.

Olafur Eliasson: Your Ocular Relief

Olafur Eliasson’s show at Tanya Bonakdar Gallery represents a focusing of energy and a break from the pressure of producing vast displays, offering “ocular relief,” a kind of COVID-deflecting eye candy for our society under pressure.

Liliane Tomasko: We Sleep Where We Fall

Liliane Tomasko’s new paintings, all made in 2019 and 2020, are about liminal states. In the gallery announcement she says: “maybe during those hours spent in this almost unconscious state, something is illuminated that cannot be seen in the brightness of the day.” Her art aims to recover and represent these experiences.


The Brooklyn Rail

APRIL 2021

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