Something seems to have changed between Ann Cravens last Karma exhibition in 2018 and Animals Birds Flowers Moons, the current exhibition. Individual works now advance a particularly estranging form of romanticism with even more boldness and adventure than before.
Shaver consciously seeks to remove the notion of traditional gallery etiquette and hierarchy: the artists works are tangled togethertheir placement is about concept, not convenienceand while the works share aesthetic affinities, this is not a group show in the typical sense but more of a collaborative presentation.
Sia’s ontological approach to the glocal (although she never mentions the term in the showmaybe it died out in the early aughts?), spectacle, and landscape at/from/through her home of Hong Kong recalls this same a-historical, locality-driven condition.
For an unusually long time, it felt like Marina Xenofontoss solo show, I DONT SLEEP, I DREAM, was stuck in perpetual postponement. Originally planned to go ahead in March 2020, it was re-scheduled for December 2020 before a second strict lockdown.
Mostly large scale, each of the 23 oils on canvas translates Simãos observations through her São Paulo studios window into liquid landscapes. Beyond what the eye sees, they defy geographies, optics, and harmonies of the material world.
Neither symbolic nor literal, Shores emerald forms seem to hover outside of time and space, occupying an elusive realm where illusionism and geometric abstraction merge in a dynamic but uneasy tension.
This series of more than 300 images, carefully selected from Pattersons archive by curator Gryphon Rue, covers a relatively brief but volatile period between 1985 and 1999, during which Patterson played an important role as documenter of the vibrant culture, crime, and transformation of the Lower East Side.
Historically speaking, some observers would argue that Man Ray and Picabia, the subjects of a joint show currently on view at Vito Schnabel, became important because Dada made them important. But this is not altogether true.
Levitts works sensitively depict objects atop tapestries which are cropped to suggest clothing or the body. A grid overlays the patterned backgrounds of the paintings, resulting in an acrylic texture that mimics a textile weave.
jc lenochan is a teacher and activist in New York, and his commitment to anti-racist education shows in his rhetorical artworks.
Adam Straus is Still Looking for the Promised Land. A romantic at heart, hes as humbled by natures transcendent beauty as he is unnerved by humanitys ugly relationship with it.
Ecologically-minded art like Abes reminds us, in poetic fashion, not only of what we have lost, but what we can keep alive of nature in our imagination.
Kenneth Tam collaborates with groups of men who are willing to investigate, with him, collectively, the liminal space between vulnerability and masculinity, sensuality and sexuality, performance and selfhood, belonging and otherness.
Year Zero offers a compelling argument for dismissing distinctions between physical and digital art as Auriea Harvey's digital and material practice merge in this impressive body of sculptural works.
Whether working with bursts, mists and sprays, glossy finishes, expanses, or intense nodes of pure color, Adam Henry is visually indulgent in the minimal style of an ASMR recording, distilling painting down to the most basic stimuli that evoke a pleasurable response.
Working with archives at the Smithsonian National Museum of American History and the National Museum of Anthropology, Syjuco desecrates colonialist photographs that aim, as Hito Steyerl argues, to [measure] the resolution of the world as a picture. She photographs early 20th-century ethnographic images and reproduces them as photogravures crumpled and mounted on cotton rag, pixelated ink jet Headshots, digital collages, and photo composites.
In the three bodies of work on display, which span the artists more-than-50-year careerKennard portrays humanity as a faceless mass in the thrall of greater impersonal forces: militarism, repressive state apparatuses, unfettered markets, austerity.
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.
Taking advantage of Paula Cooper Gallerys West 26th Street double storefront windows, Robert Grosvenor has placed a floor-bound sculpture in each space.
As this years QUEERPOWER commission, Chitra Ganesh has filled 10 panels of Leslie Lohmans façade with images of queer activism, joy, and meditations on history, possibility, and gentrification.
Kasmins 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.
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.
Ladders appear across spiritual traditions linking the lower and upper, the earthly and material with the everlasting and transcendent.
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 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.
In the second annual Artist/Mother Podcast exhibition, juror and curator Qiana Mestrich takes up the problematic fact that a womans social value is often determined by whether or not she is a mother.
Lost & Found is an invitation to stop, take a breath, and engage with these artworks sans an agenda, perhaps to discover the unexpected.
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.
Hidden in a riot of pattern, color, and spatial uncertainty, David Alekhuogies 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 generations cultural ideas.
The Museum of Modern Art considers Modern from the Start the story of a relationship to its first and only house artist.”
We live, Wise says, in a new edition of W.H. Audens 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.
In their first solo presentation in New York in over 40 years, the Boyle Familys earthprobes are disorienting re-creations of randomly selected areas of the earths surface, made from resin, fiberglass, and found materials, that combine Robert Smithsons earthiest visions with the uncanny eeriness of a Duane Hanson clone.
Each morning for 28 days, performance artist Kyoung eun Kang inhabited the late Elizabeth Murrays 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 Murrays studio seem like a continuation of the physical space of A.I.R.s darkened Gallery II.
Riffing on Valerie Solanass 1967 feminist broadside announcing the society for cutting up men (SCUM), Kurlands project adds a silent B to indicate that, here, it is mens books that are being cut up.
With a cornerstone of the partys 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.
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.
Curator Samantha Friedman has made a sensitive selection of some 80 drawings from MoMAs international pool of artists working between 1948 and 1961.
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 Tomaskos 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.