Regulars of New York Citys contemporary art scene have recently been treated to two doses of Joan Snyders paintings. Joan Snyder: To Become a Painting, currently on view at the Franklin Parrasch Gallery on the Upper East Side, includes seven recent works whose combined energy and elegant, clear installation in the gallerys domestic-scale spaces contribute to the rewards of such a modest presentation.
If you have any interest in poetry, you probably know Pamela SneedBlack, lesbian, radical poet, and one of the infamous Grand Dames of the downtown scene. Her stage presence is formidable and her voice, revolutionary. Her 2020 book Funeral Diva published by City Lights Books looks back on her experiences during the AIDS Crisis while making correlations to COVID-19, and the ongoing layered impacts of racism, homophobia, and political brutality. In ABOUT time at Laurel Gitlen, Sneeds visual practice merges with her poetic one, creating an exhibition that is fiercely outspoken, experimental, and personal.
Matthew Wong: The New World, Paintings From Los Angeles 2016 at Cheim & Read allows the viewer space to tune out from the mythological Wong and instead focus on the material Wong.
Johnson shot three thousand 4 by 6 inch consumer-grade photos in thirty-five months on 137 single-use, point-and-shoot Fujicolor Quicksnap cameras.
Much of the sculpture in this maiden exhibition has a post-Minimalist vibe that feels right at home in the spare elegance of the former showroom space, but even those pieces that skew toward something more figurative benefit from Assemblys spaciousness and natural light. If youre heading upstate this summer, put Assembly 1: Unstored on your itinerary.
In every photo, Shermans sense of light and shadows is breathtaking, her images as beautiful as they are unnerving.
There is something old and familiar, yet out of step in Inga Danyszs new sculptures. Glistening tombs for the future, they hint that something has already passed, but whatever that thing isan object, a personit has yet to come. Or maybe it has come and gone unnoticed, and is now poised to return.
The photographs he made in his last three years, which have the muted color particular to disposable-camera snapshots, convey a kind of restless energy and a bottomless curiosity about framing the world through a camera lens, evenor especiallythrough the small fixed lens on a throwaway plastic camera.
Whistler to Cassatt illustrates the story of the changes in American art that took place after the Civil War. Many artists turned away from the methodology of the Hudson River School, and it became the norm for literally hundreds of them to train in Paris, with its superior art academies and the Louvres masterworks available to study and copy; the entrance to the exhibition includes a wonderfully evocative photo mural of the Eiffel Tower under construction.
This monographic exhibition at the Museo Picasso Málaga is the most extensive retrospective of the artists work to date, and impeccably illuminates the artists limitless imaginative power. Curated by Elena Crippa and organized in collaboration with Tate Britain and the Kunstmuseum Den Haag, it features over eighty works, including collages, pastels, drawings, and etchings.
Reflecting on the complex consequences of indentureship, the show explores how these four artists respond to their shared diasporic heritage.
Marley Freeman is breaking loose from herself. Not to worry; even as she moves forward, she, like Janus, keeps an eye on the past. In this, her second solo show with Karma (her first was in 2020), she is clearly shredding her ties to figuration, but not entirely or absolutely: several of the smaller works here contain human figures and faces reminiscent of her 2020 work.
Bartons drawings are windows into his modest rooms, jail cells, church sanctuaries, and San Franciscos gay clubs. His work chronicles a period when queer men flocked to San Francisco, yet he was not part of the celebrated gay scene around the King Ubu Gallery founded by Jess Collins and Harry Jacobus with Robert Duncan, and he was not known to other San Francisco artists like Wallace Berman and Bruce Conner.
For Mezcal vs. Pulque, Tiravanija collaborated with cooperativa 1050°, a collective of potters from the Mexican states of Oaxaca, Puebla, and Chiapas, and led by Kythzia Barrera. The result was numerous vessels in the exhibition shaped by Margarita Cortés Cruz, Marisela Ortiz Cortés, and Gregoria Cruz Peralta from Río Blanco Tonaltepec, as well as Silvia García Mateos and Leopoldo Barranco in San Bartolo Coyotepec.
Although I have encountered the paintings of James Brooks sporadically in various group exhibitions focused on Abstract Expressionism, it has been relatively rare to encounter his works shown together in a context all their own. As such, the collection of works included in the current exhibition from the 1970s and early eighties suggest a somewhat timely occasion, providing the uncommon opportunity to understand Brooks solely through his own work and ideas.
Mother Cyborg (aka Diana J Nucera) is a queer as fuck, Latina digital justice activist, a 2021 United States Artists Fellow, and a 2022 Knight Arts and Tech fellow based in Detroit. Her ever-expanding practice includes music-making, performance, education, community organizing, gardening, research, writing, and publishing.
In reaction to what she calls our soft-apocalypse, Klea McKenna brings fresh urgency to her techniques of camera-less photography, greatly expanding its range in twenty-two analog prints and twenty NFTs. Her exhibition title, Rainbow Bruise, aptly conveys the photographs sensory fusion of bodily and optical experience, achieved with her process of embossing fabrics and other source materials onto photographic fiber paper.
Much of Lydia Ourahmane’s work has been an exploration of the multiple connotations of barzakh, the barrier or threshold that separates two things that must be kept distinct. In Islamic philosophy, this is the liminal place which the soul inhabits after death, while awaiting the Day of Judgment. For the multi-disciplinary artist based between Algiers and Barcelona, this space of limbo between life and death has generative potential.
This commemorative exhibition comprises three different groups of work and four additional individual pieces. The first group presented is Commandment XVI (1991). The eleven individual pieces are made of forged iron and stand between nineteen and twenty-nine inches, relatively low in height from the floor, placed in a close configuration and viewed primarily from above.
This exhibition brings together over a hundred oils, drawing, watercolors, and sketchbooks in seven galleries that illuminate the artists complex perspectives on technology, empire, war, and the vagaries of the human condition. Turner did not shirk big themes, from either the past or the presenthe was as at home with Hannibal as he was with Napoleonalthough his deepest sympathies were reserved for the working class.
Last month, Eisenman opened Untitled (Show) featuring a total of twelve paintings and seven sculptures spread across two floors. The expansive room on the fifth floor presents a series of ten (mostly) large canvases depicting a range of subject matter.
The sculptures, installations, films, and videos in Cuentos de cuentas/Accounts of Accounting, Zaccagninis first solo show in the US, contain similar anecdotes that are at once purposely naïve and endearing.
The depth of this exhibition allows for the rare opportunity to view multiples of similar images or genres in series and view the artist modifying his touch.
The world of Ellie Gas Quarries is almost entirely after the fact, in a time when current events have hardened into history or dissolved into personal memory.
Milton Avery is an artist who, considering his long career, cant be pinned to any one salient American style; yet it can be said that he midwifed many.
Thompson (193766) had a knack for keeping us on the edge of our seats. Throughout the exhibition Bob Thompson: This House Is Mine it becomes clear that he moved fast, that in the moment, most could not keep up. After leaving Louisville University in 1958, he was relentless, finishing over 1,000 paintings before passing on at the age of 28.
Turatos art is difficult to classify. In advertisements the words often supplement an image. You see a glamorous model and learn who designed their clothes. Or you view a car and read the manufacturers name. But what is Turato advertising?
The forerunner of several of the greatest dissident movements of the twentieth centuryfrom Dada to punk to feminist performanceFreytag-Loringhoven pushed modernism forward while challenging its tenets.
In Citizen of the Universe, the artists first public solo exhibition in Europe, Modern Art Oxford (MAO) presents Asawas work, all of her workart, family, and communityin tandem, akin to her lived life.
Douglass 2011 ≠ 1848argues for the difference in scale between these historical moments: while the former primarily shook France, the latter signifies global revolutionary potential today.
The new group show, Lingua Franca, opened June 18th, and runs to July 29th. Daniel Kapp, who curated the show, finds a common language between nine very different artists.
Paul Pagk, a British-American-French artist based in New York, demonstrates his mastery of color and painting. His first solo exhibition with the gallery in Lower Manhattan was on view until July 9, 2022, at Hionas Gallery.
Existential sculpture as practiced by Alberto Giacometti, his via confrontational and often desperate portrait objects that stare back unblinking, or howl open-mouthedhas been little exercised since. It sleeps like a buried high-voltage line, as perilous as a third rail. No artist who isnt perfectly serious, and tinged with gallows humor, should touch it either.
Ecologies of Care, Ani Lius current exhibition at Cuchifritos Gallery and Project Space, uses the language of technology and material culture to confront the all-encompassing, messy, pressured experience that is contemporary motherhood and thrust it front and center.
Women at War is an exhibition, a history lesson, and an effort to preserve Ukrainian nationalism and culture. Hosted by Fridman Gallery and presented with Voloshyn Gallery, the group show features leading Ukrainian women artists who tell complex stories of war and life in Ukraine. Curated by Monika Fabijanska, Women at War addresses over a century of conflict, touching on the impact of both World Wars, the eight years of fighting that followed the annexation of Crimea in 2014, and the present-day war.
Now an octogenarian, Japanese-born sculptor and multimedia artist Kazuko Miyamoto lives downtown, in the East Village. Originally from Tokyo, the artist came to New York City in 1964, studying at the Art Students League from 1964 to 1968. Lacking money, Miyamoto took on restaurant jobs and manual labor to pay for her education and living expenses.
On view at the ICA LA, an intergenerational group show of contemporary artists takes on the broad topic of identity politics as a lived experience, or, as the exhibition is titled, The Condition of Being Addressable.
Spanning five decades of creative output, Lynda Bengliss solo show at Locks Gallery in Philadelphia is an inebriatingand joyousencounter with the artists uncompromising creative practice.
Capitalist realism and the many ills it diagnoses are explored in Klammern aus denen Blätter Spriessen (Brackets from which Leaves Sprout), a group show at Hunter Shaw Fine Art in Los Angeles featuring work by Colleen Hargaden, Filip Kostic, Yein Lee, Andrew Rutherdale, Jonas Schoenberg, and a text by Steph Holl-Trieu.
Here, each artist explores tactile experiences through bodily memory, engaging in a decidedly introspective practice.