From September 7 through October 21, 2023, two full floors of Hauser & Wirths 22nd Street location in New York will celebrate the life and work of prolific American abstractionist Ed Clark (19262019).
To Bend the Ear of the Outer World, an engaging exhibition astutely curated by Gary Garrels, brings together abstract works by forty-one artists in Gagosians two Mayfair galleries.
As opposed to a memory palace, Melike Kara has planted a memory garden on the floor of the gallery at the Kunst Halle Sankt Gallen. The composition of Emines Garden (named after her grandmother) is ambiguous: five large paintings on canvas lie flat, slightly raised from the floor, while laminated directly to that floor is a labyrinth of grainy black-and-white family photographs.
Smaller than Precious Okoyomons 59th Venice Biennale installation at the Arsenale, the presentation in the Eternal City operates like an echo chamber, not only for the ear but also for the eye and the skin. Beautywith its allure and dangerous aloofnessis a core in the artists work in poetry, visual art, and food. Under seedlings of botanical beauty, questions of power grow.
Ay-Ōs Happy Rainbow Hell is the first American museum show for the ninety-two year old, Tokyo-based Fluxus artist who ceased art-making in 2017, though he is a veteran of tributes in his native Japan. Centering around eighty rainbow serigraphs the museum has acquired, this treasure trove creates an ideal port of entry for a presentation by Assistant Curator of Japanese Art, Kit Brooks, to the little-explored, contemporary yet timeless Ay-Ō Flux-story.
If Cecilia Vicuña’s earlier quipus explored the ways that fiber can alter architecture or how this unique form can be adapted to document contemporary life, Sonoran Quipu is investigating something more ineffable: relationship, connection, dependency, resilience.
Since 1994, Edward Steichens landmark exhibition The Family of Man has been on display at Clervaux Castlean outpost of the Centre national de l'audiovisuel (CNA)in northern Luxembourg. Between 2011 and 2013, these works underwent a campaign of conservation treatments that Luxembourger photographer Jeff Weber was invited to document.
Gary Gisslers exhibition there there amounts to a mini retrospective of his meticulously executed paintings and drawings. His work as a psychoanalyst has given him intimate knowledge of the limits of speech as a medium for interpersonal communication. For the last twenty years, he has combined traditional art materials, such as oils, gesso, and ink, with collage elements like linen and mylar to explore the ways language both conveys and conceals meaning.
For Tender Mooring, Anousha Payne’s current solo exhibition at Deli Gallery in New York, eight new works (all 2023) respond to The Gravity of Fur, a fictional story written by Payne. The resulting exhibition follows a transformation of its maker as she grapples with the narratives central relationship.
The retrospective exhibition of Robert Motherwells paintings currently at the Modern Art Museum of Fort Worth is exhilarating. I came away with the sense that he has lived in totality, and that an infinite reservoir of awareness is in service for him at the moment of creation.
If there is a chaos in Barbara Friedmans new paintings, it is just that: a maw of possibility, full of glistening teeth, gums, and tongues, eyes peering out, each one the beginning of a world.
How does one rehabilitate a memory? The eight rooms of Doris Salcedos survey exhibition at Fondation Beyeler each explore a different way in which the artist uses everyday objects and materials to trigger a mnemonic reaction that is reflective, nostalgic and mournful.
At Tiger Strikes Asteroids Bushwick location, Krueger strings a loose narrative of tragedy around the room with their collages and sculptures.
Frances Brady is the moniker of a collaborative project by two queer artists, Brooklyn-based Marta Lee and Chicago-based Anika Steppe, who asynchronously created these works by sending snapshots of their individual lives to each other and appropriating received images. The imagery is mounted on plain white walls in no particular order, and afforded a formal flare of sculptural sensibility by virtue of being transferred onto a physical panel or canvas.
Since its formation in 1963, the New York Studio School of Drawing, Painting and Sculpture has instilled in its pupils the importance of technical painterly prowess. Maureen Dougherty is no exception.
Many Wests is an exhibition focused on what gets left out of stories traditionally told about the American West. Visions of Anglo Americans bravely settling the landscape originate, as we learn from the exhibitions didactic material, with the U.S. governments policy of unhalted territorial expansion beginning at the end of the seventeenth century.
Dineo Seshee Bopapes first solo museum exhibition in New York is carefully attuned to histories of resistance. Embedded in the show is a refusal against categorization and linearity, as well as the question: How do we imaginatively retrieve or invent new methods for prospering?
Julie DeVries is showing seven oil landscapes and about as many studies in her first New York show, currently on view at Hunter Dunbar. Working both from memory and photographs, her paintings depict lyrical scenes suffused with brilliant color and radiant light.
The courtyard of Chinatown gallery Lyles & King is a brick-and-concrete panopticon of apartment windows looming five stories high. AC units pump stifling exhaust into the air, combatting a July in which global heat records were set. But the machines buzzing is broken by a babble of cool water, which streams from a spout-like branch in the face of an anthropomorphic tree. It is the centerpiece of Kathy Ruttenbergs fountain installation, which turns this glorified air shaft into a paradise garden.
In Flags of Our Mothers, Raven Halfmoon honors her Caddo heritage and ancestors while pushing back against Indigenous silencing. With monumental hand-built stoneware sculptures filling the galleries of The Aldrich Contemporary Art Museum, she claims space for Indigenous peoples, herself included. The sheer size and weight of the figural sculptures command attention. As she works, Halfmoon considers the lived experiences of her ancestorstheir traditions and the impact of colonizationand seeks to empower her community and uplift their stories. At the same time, she reflects more broadly on the rich heritage of Indigenous peoples, as well as their own tragedies as colonizers forced them off their land. The evidence of her emotions is preserved in the glaze, divots, indentations, and figures that adorn the surfaces of her work.
Musical Thinking doesnt simply beat the drum of aesthetics as politics, but provides a context in which to remember that politics are aesthetic and, as will shortly be evident with another election cycle, provide many a song and dance. Graysons curatorial sensibility tunes difficult content into a poignant show representing the diversity of this nation that some of its representatives insist on denying.
James Brooks was, above all, a man of his timesthat is, his various times. The exhibition at the Parrish makes evident what many knew Brooks to be: a very fine painter, attentive to his position in contemporary art history, to his influences and peers, to his surrounding landscapes, to society, and to history.
Tints extraordinary visual tenacity questions the regions of competence that others may take for granted. Indeed, she is the kind of master who knows and depends on her prerogatives. In her case, exaggerations are for the most part unnecessary
In the tradition of such artists as On Kawara, Stanley Brouwn, James Lee Byars, and Ray Johnson, whose work extensively consisted of ephemerapostcards, hand-drawn maps, notes, and collagesthe conceptualist Joseph Grigely presents images and texts as artifice, evidence, and commentary.
Into the Brightness: Artists from Creativity Explored, Creative Growth and NIAD brings together these studios for the first time in a celebration of the Katzs vision. The exhibition marks an important milestone in the way that the relationship between disability and creativity is presented to a wide public.
These works pictorial strategies, and others from the 1970s on, though their initial effects are still op, align them with many of the now marginalized practices of post-50s hardedge and geometric abstract art. With this insight, I realized Rileys practice extends beyond her association with Op art and that her work can be contextualized within the broader aesthetic discourses of early and late modernism.
Curated by Hiromi Kinoshita and Gabrielle Niu, Oneness: Nature & Connectivity in Chinese Art features the work of four contemporary Chinese artists installed in conjunction with a selection of historical treasures from the museums collection.
This is the first presentation in over fifty years dedicated to Rileys works on paper, and it includes over seventy-five works from the artists own collection.
A 1963 photograph shows David Smith on a snow-covered stone bench at his property in Bolton Landing, New York. Alone, his back to the camera, he contemplates the distant Adirondacks and a sweeping field populated with dozens of his metal sculptures.
What should I be afraid of? asks Ceija Stojka. Auschwitz is my overcoat, Bergen-Belsen my dress, and Ravensbrück my undershirt. Stojka, a survivor of the Porajmos, the Romani Holocaust, is remembered in a beautifully haunting exhibition at the Austrian Cultural Forum New York. This collection of artworks, videos, books, and ephemera underscores Stojkas profound message against hate and intolerance of all kinds while urging us to never forget her and the millions of Jews, Sinti-Roma peoples, and Slavs and their struggles.
Brooklyn-based artist Cyle Warner never met his great grandfather, who started moving their family from Trinidad to Brooklyn in 1962. Warner, whos just finished studying photography at SVA, interweaves that medium with textiles in his debut exhibition Weh Dem? De Sparrow Catcher? at Welancora Gallery in Bed-Stuy.