For Donna Moylan, the wild is the norm. At Tanja Gunerts Hudson gallery, Moylans 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, 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.
We feel disorientation and ecstasy as we enter Estefania Velez Rodriguezs large-scale landscapes in Times 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 Mas 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.
Although the people that populate the FCCBs photographs may at times exist in Romantic solitude, the built environment and mass-produced goods around them proliferate relentlesslythese are unmistakably images of urbanism at mid-century.
One of the most prominent Chinese artists of the past two decades, Cai Guo-Qiang makes work that delves into the folkloric precursors to Chinas technocratic state, even as he regularly works with that state on his grandest projects.
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.
If you think yourself immune to the seductions of visual propaganda, go check out the current Met exhibition, The Medici: Portraits and Politics, 15121570. It will test you.
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 environmentor 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.
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, as the name suggests, is one of the inaugural exhibitions of collector Maja Hoffmanns 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, Freuds 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 Scullys work has a consistency that gives it a heightened level of energy reflected in both its convincing visual impact and the artists diligent production.
Cézanne brings his radical and extreme engagement with the practice of painting to his work on paper, endowing what is ostensibly conventional subject matterlandscapes, portraits, interiors, and still lifeswith an unpredictable charge.
ABERRATION is the current solo exhibition of works by Eamon DeFabbia-Kane at the Puttys Coronation project space, the nomadic gallerys first exhibition and solo presentation in this particular address.
Fragments constitute Ibrahim Ahmeds art: pieces of colorful textiles, words from disparate languages, and memories of remote places.
There are no simple answers in Sikanders 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 is one of the finest, most idiosyncratic artists of her generation.
While Moyers solo practice is rooted in meticulous attention to composition, and Pepes 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.
Borrowed Faces: Future Recall at The Mosaic Rooms in London is Fehras Publishing Practices institutional debut in the United Kingdom.
The immediacy of Dawn Clementss drawing acts as a seismic register of emotional states transcribing both real and imagined landscapes
Marking a pivotal time in her career, Nyes first solo exhibition My Hearts in a Whirl is currently on view at the Museum of Fine Arts in Boston.
In this show titled Aspen Drift, there is a surprising absence of blur. Cerith Wyn Evanss neon sculptures describe form in such exacting terms as to evoke something diagrammatic, like glowing renderings of discrete movements suspended in the air.
Twisted is the 80-year-old artists first ever solo museum exhibition in New York Citydespite a career marked by invisibility (whether purposeful or socially enforced), Hershman Leeson has only gained visibility with time.