These are process paintings with existential weight: the five large paintings and related smaller works shown here are grounded in lifes basics, with modulations in the density and spacing of their stacked arrays of repeated brushstrokes, made with a pulsing motion that is derived from the artists own heartbeat.
Lozanos installation is an intricate entanglement of braided metal vines, clusters of pale yellow woolen pods, and violet resin-clay petals. In the center of this twisting, sinuous network, the petals rest in iridescent blue and white striations.
Drawing from a commons of art history, popular culture, and personal narratives, the artists Molesworth has assembled for Feedback readily form a complex universal chora of band practice and social studies.
Agnes Martin desired that her paintings, when exhibited, should be presented together in a small group for quiet contemplation. Her long-standing gallerist Arne Glimcher made sure, from her emergence as an artist of significance in the 1970s to this current exhibition, that where possible it would be the case.
For whom are the lush roses found in Jorge Galindo and Julian Schnabels recent works at the Vito Schnabel Gallery painted? In this two-person exhibition, their first together, they share this subject and express their mutual love for painting and roses, yet their interpretations are drastically different from one another.
Parallel Phenomena brings together dynamic works by Outsider artist Susan Te Kahurangi King and three insiders whose work has often resisted the artistic mainstream: Carroll Dunham, Gladys Nilsson, and Peter Saul.
Terry Winterss current exhibition at Matthew Marks features paintings that derive their compositions from sources that range from the molecular to the cosmic, from the natural world to propositional math equations and the virtual world generated by computers.
The exhibition centers on motion above all elsestemming from an open-ended question on the apparatus of words, and how communication guides, or perhaps structures, the way human beings exist in the world.
Wynter applies oil pastel in lines that swirl and smear across the paper, so that his compositions are bound by the density of their own centers rather than any external structure or gravity. An entire language of marks seems to unfurl and come back into focus.
The main attraction of Ugo Rondinones current show at Gladstone are the actors: three large-scale, brightly polychromed bronze sculptures. But the stage itself, the environment these figures occupy, provides a great deal of context beyond the enigmatic titles that identify Rondinones actors as nuns and monks.
Katchadourians art arises from an assertive subjectivity and an inquisitiveness, laced with cheerful skepticism, about the multiple and contingent ways the world might be understood. Extensive research, improvisation guided by self-imposed rules, and an abiding sense of humor figure in the mix.
Pieces of a Man, Jammie Holmess latest project with Library Street Collective in Detroit, is a compact and powerful exhibition confronting Black trauma and healing. Consisting of seven large-scale acrylic and oil pastel paintings, all from 2021, it confirms Holmess promise as a compelling and lyrical new voice in contemporary painting.
In Monika Baers second exhibition of new paintings at Greene Naftali, familiar tensions are teased out between her fluency with the norms of academic realism, and an apparently superseding interest in the painting as a handmade object that can be perceived from a multitude of varied perspectives.
In their first solo gallery exhibition in the United States, English artists John Wood and Paul Harrison arrive just in time and too late.
The show includes seven artists and draws a tight focus on a particular line of painting from the ’80s that can be characterized by the artists use of geometric forms to generate or suggest narrative.
In LINCONNUEs exhibition, Emily Ludwig Schaffer and Françoise Grossen demonstrate an understanding of the body and its discontents through space, medium, and surface texture. Their intertwined and intergenerational discourse on women, craft, and the act of creation comes to life through their immaculate use of materials, giving the term body of work an exciting and vital new meaning.
Fault Lines, which brings together 12 works by five artists, is the first exhibition in this country dedicated to the remarkable phenomenon of rigorous abstraction among women artists with roots in South Asia.
Shen creates a cartography of historical knowledge, seemingly mapping out the documents and images utilized to construct historical or scientific narratives. Her research, put on display for the contemporary viewer, highlights the discrepancies of how knowledge has evolved: what once were facts now register as outdated superstitions while other events, previously understudied or not well known, emerge as stranger than fiction.
Whereas Soutines work brings out emotional turmoil, de Kooning treats the ambiguities of perception as an exciting epistemological adventure.
Soutine de Kooning: Conversations in Paint is comprised of approximately 50 energetic and ravishing paintings, each of them a special treat to encounter, all the more so at this time in which visits to museums have been radically curtailed.
Willem de Kooning’s practice never stood in place for long, a sustained creative restlessness that is plain to see in a pair of exhibitions currently on view, one at Craig F. Starr and the other at Matthew Marks.
Huma Bhabha: Facing Giantsis a tour de force of new sculptures and painted and drawn collaged works on paper that expands upon and distills Bhabhas 30-year passage in transforming common and discarded materials into powerfully expressive testaments of the human condition.
Talavera, reveals a somewhat different direction for Varejão, who made her name by referencing the look of azulejo tiles.
Mayers exhibition is contemplative and compact, a deep dive into a body of work not seen since it was first exhibited in the late 1970s and early 1980s.
Hammonss Days End, which was officially opened last month, resembles a three-dimensional architectural diagram, the scaffolding for a construction site, or the internal bracing of an unfinished building.
Philosophers Clambake brings together 14 paintings by Katherine Bradford, all made over the past 12 years.
The David Smith show on view at Hauser & Wirths uptown outpost is both lively and unusual.
From life, Bey renders character. There are nearly 80 photographs in his traveling retrospective, An American Project, the artists first in 25 years, organized by the San Francisco Museum of Modern Art and the Whitney, originating at SFMOMA.
The seven artists included in this exhibition offer variations on the idea of digital sculpture, and through that format press against the fraught discourse of the un/real within digital art.
Pure magic is what I thought when I first encountered Joe Houstons paintings. This was in 2018, at P·P·O·Ws Armory Show booth. He exhibited VIEW (2018), a three-foot square, stark, Caspar David Friedrich-like depiction of a binocular coin-operated tower viewer standing like a Rückenfigur in front of a low stone wall and against a light green background, and HOLD (2017), an outstretched arm and hand gripping a chirping songbird against a blue sky.
In taking bits from across time and genre and processing them through his own synesthetic technique, Banisadr ultimately shucks convention, rendering paintings that are entirely new. It is a deeply intuitive process.
Don Voisine's show at McKenzie Fine Art proves that the precise navigation of an abstract fold has the potential to unfurl multitudes.
The feeling of having a word on the tip of your tonguea state between knowing and not-knowing, remembering and forgettingtakes visual form in the paintings that make up Kate McQuillens exhibition Wave Amnesia.
Bowling's paintings seem to maintain a sort of liquidness themselves: abstract forms float with weightlessness on the canvases and soft color washes swarm together, mingling in the folds where they overlap and give birth to new tones.
Chervin rejects the notion of jumping from one idea to another. Instead, she takes her time to map out the direction she wants her work to go.
Over the years Sands has produced an exhaustive amount of paintings, videos, performances, and texts, at once completely and unabashedly about him and at the same time about much more than himselfhis loved ones, his fellow artists, the artworld, the role of artists, and patriarchal society at large.
11 small paintingsHill calls them spellsline the walls of the gallery. For each, the artist soaks paper in Crisco oil infused with tobacco, allowing it to dry before sewing on small trinkets and mementos found on walks through her neighborhood in Vancouver. The spells are colored with washes of oil paint, and further embellished with magazine cutouts, cigarettes, beer-can tabs, and tobacco buds.
This exhibition of paintings and works on paper underscores what a unique, highly accomplished, and still evolving body of work Guy Goodwin has achieved over the past several decades.
Rather than Ab Exdémodé by the mid-1960sRemington flirts with hard-edge and Pop without submitting to either.
Shervone Neckless BEACON (202021), standing resolutely in the garden of the Lewis Latimer House Museum in Flushing, Queens, is a monument to the individual: Lewis H. Latimer (18481928) and his lifelong quest, the promotion of that mystical power electricity.
Jacob El Hananis Recent Works on Canvas, through a combination of large scale and virtually microscopic images, leaves us transfixed.