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Donna Moylan: Take Shelter

For Donna Moylan, the wild is the norm. At Tanja Gunert’s Hudson gallery, Moylan’s paintings point to a surrealist revival in recent art though she claims a long history in this genre. As a young artist living in Rome for 23 years she developed a signature style that incorporated abstract shapes and caricatures inhabiting otherworldly landscapes.

Fritz Vogt Drawings: A Sense of Place

Fritz Vogt, an itinerant renderer who worked in five counties west of Albany, left behind hundreds of drawings in graphite and colored pencil that give a glimpse of a world that no longer exists, when towns were growing and farming was prosperous.

Estefania Velez Rodriguez: Time’s Passage is probably an Illusion

We feel disorientation and ecstasy as we enter Estefania Velez Rodriguez’s large-scale landscapes in Time’s Passage is probably an Illusion. Illuminated by fluorescent oil and spray paint, the pattern-rich paintings strip away the surface of the natural world to reveal the inner life of nature and of the artist.

Jennifer Wen Ma: An Inward Sea

Jennifer Wen Ma’s work consistently engages the imagery of life teetering on the edge of oblivion, and her current installation An Inward Sea at the New Britain Museum of American Art (part of their “New/Now” programming) addresses this through the lens of COVID.

Fotoclubismo: Brazilian Modernist Photography, 1946–1964

Although the people that populate the FCCB’s photographs may at times exist in Romantic solitude, the built environment and mass-produced goods around them proliferate relentlessly—these are unmistakably images of urbanism at mid-century.

Cai Guo-Qiang: Odyssey and Homecoming

One of the most prominent Chinese artists of the past two decades, Cai Guo-Qiang makes work that delves into the folkloric precursors to China’s technocratic state, even as he regularly works with that state on his grandest projects.

The New Woman Behind the Camera

This revolution is the insertion into the archive of a very large group of women photographers, many of whom have been virtually unknown to contemporary viewers.

The Medici: Portraits and Politics, 1512–1570

If you think yourself immune to the seductions of visual propaganda, go check out the current Met exhibition, The Medici: Portraits and Politics, 1512–1570. It will test you.

Huguette Caland: Tête-à-Tête

One of the questions posed by Huguette Caland: Tête-à-Tête (Head to Head) at the Drawing Center is how the artist’s works link embodiment with experience of the built environment—or how they are, as one wall label notes, “at once bodies and maps.” Both of these terrains have been subjected to the kind of seeing, measuring, and regularizing that is the inheritance of colonial modernity, but Caland reorders this logic through soft, sensorily evocative form, winding continuous lines, and layered mark-making that yields densely hatched thickets vibrating with electric poppies.

A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art

The exhibition currently on view at the New Bedford Whaling Museum is a once-in-a-generation opportunity to see a gathering of 25 pictures by Albert Pinkham Ryder and related works by modern and contemporary artists.

Prélude

Prélude, as the name suggests, is one of the inaugural exhibitions of collector Maja Hoffmann’s long-standing project in Arles, LUMA. A secondary meaning of the word, to warm up, is appropriate as the work exhibited finds ways of accessing a growing feeling, that something disastrous is coming, things are heating up and this is just the beginning of our collective discombobulation.

Louise Bourgeois: Freud’s Daughter

Louise Bourgeois, Freud’s Daughter, currently on view at the Jewish Museum, presents a wealth of new material that makes us look at her art from an unexpectedly different angle. This new perspective is made possible by a posthumous discovery of a large cache later known as her “psychoanalytic writings.”

Sean Scully: The Shape of Ideas

Sean Scully’s work has a consistency that gives it a heightened level of energy reflected in both its convincing visual impact and the artist’s diligent production.

Cézanne Drawing

Cézanne brings his radical and extreme engagement with the practice of painting to his work on paper, endowing what is ostensibly conventional subject matter—landscapes, portraits, interiors, and still lifes—with an unpredictable charge.

Eamon DeFabbia-Kane: ABERRATION

ABERRATION is the current solo exhibition of works by Eamon DeFabbia-Kane at the Putty’s Coronation project space, the nomadic gallery’s first exhibition and solo presentation in this particular address.

Ibrahim Ahmed: It Will Always Come Back to You

Fragments constitute Ibrahim Ahmed’s art: pieces of colorful textiles, words from disparate languages, and memories of remote places.

Shahzia Sikander: Extraordinary Realities

There are no simple answers in Sikander’s work. But there is an urgent invitation to walk through the looking glass into a series of different worlds, foreign yet uncannily familiar, where the partitions of other continents reveal the fault lines of our own.

Paula Rego

Paula Rego is one of the finest, most idiosyncratic artists of her generation.

Carrie Moyer & Sheila Pepe: Tabernacles for Trying Times

While Moyer’s solo practice is rooted in meticulous attention to composition, and Pepe’s in history and politics, the 10 works on view made jointly and mostly while on residencies reflect the centering of experimentation and play that can happen when removed from daily responsibility and routine.

Fehras Publishing Practices: Borrowed Faces: Future Recall

Borrowed Faces: Future Recall at The Mosaic Rooms in London is Fehras Publishing Practices’ institutional debut in the United Kingdom.

Dawn Clements: Living Large: A Survey

The immediacy of Dawn Clements’s drawing acts as a seismic register of emotional states transcribing both real and imagined landscapes

Samantha Nye: My Heart’s in a Whirl

Marking a pivotal time in her career, Nye’s first solo exhibition My Heart’s in a Whirl is currently on view at the Museum of Fine Arts in Boston.

Cerith Wyn Evans: Aspen Drift

In this show titled Aspen Drift, there is a surprising absence of blur. Cerith Wyn Evans’s neon sculptures describe form in such exacting terms as to evoke something diagrammatic, like glowing renderings of discrete movements suspended in the air.

Lynn Hershman Leeson: Twisted

Twisted is the 80-year-old artist’s first ever solo museum exhibition in New York City—despite a career marked by invisibility (whether purposeful or socially enforced), Hershman Leeson has only gained visibility with time.

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The Brooklyn Rail

SEPT 2021

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