Osman Can Yerebakan
OSMAN CAN YEREBAKAN is a New York-based art writer and curator. His writing has appeared in The New York Times: T Magazine, Village Voice, Brooklyn Rail, BOMB Magazine, GARAGE (Vice), Galerie Magazine, CULTURED, ArtSlant, ArtAsiaPacific, Hyperallergic, Art New England, Art Observed, and Filthy Dreams.
FEB 2018 | ArtSeen
Spearheading Richard Hawkins’s fifth exhibition at Greene Naftali is a painting titled, And then come the dawn (2017), which took Hawkins over a decade to complete. In an email conversation, the L.A.-based artist expressed his restored interest in this painting after a decade with the current socio-political climate. Hawkins re-imagined the story of a worn-out, gay, white liberal at a hotel room in Thailand where the protagonist “takes his indulgence a step too irrevocably far.
APR 2018 | ArtSeen
Times are queer in Carrie Moyer’s twin exhibitions at DC Moore and Mary Boone Galleries, where the New York-based painter introduces exceptional, unabashedly jubilant new paintings of acrylic and glitter on canvas.
MAY 2018 | ArtSeen
‘Delicious’ rarely defines a work of art. Out of the five senses, tasting is a relatively new tool for experiencing art; an inclusive spectacle employed by contemporary artists for social engagement.
JUNE 2017 | ArtSeen
Only a few months following the revoked prohibition of citizens of citizens from seven predominantly Muslim countries to enter the United States, and amidst gradually worsening political relationships with the Middle East, the Institute of Arab and Islamic Art opened its doors at a ground floor space in SoHo, in close vicinity to peer institutions such as Swiss Institute and Goethe-Institut’s Ludlow 38.
OCT 2017 | ArtSeen
Fatherhood, compared to motherhood, remains less-charted terrain. Family Portrait, Aneta Bartos’s first exhibition with Postmasters Gallery, delves into the artist’s relationship with her father, a former bodybuilder living in central Poland, with photographs full of vigor and vulnerability.
DEC 17-JAN 18 | ArtSeen
Minouk Lim’s first solo exhibition in New York introduces the South Korean artist’s equally haunting and inquisitive practice with three bodies of work intertwined into a eulogy on loss and the consequential search for the missing.
MAR 2018 | ArtSeen
Dedicated to Barkley Hendricks’s lesser known works on paper, Them Changes starts with an X-ray image of a person’s derriere superimposed over a graphite drawing of an anonymous buttocks, the X-ray overshadowing the liveliness of human flesh.
APR 2018 | ArtSeen
The artist’s meditation on his bygone mother’s legacy infuses benevolence and longing into a universe poised between a sassy ’90s house music video and a purgatory scene à la Bosch’s The Garden of Earthly Delights.
FEB 2017 | ArtSeen
Kader Attia’s recurring themes, such as repair, trauma, and loss, occupy Lehmann Maupin’s Lower East Side location in his ambitious exhibition Reason’s Oxymorons.
SEPT 2017 | ArtSeen
In one of Alvin Baltrop’s photographs at Galerie Buchholz, the late queer icon and activist, Marsha P. Johnson joyfully smiles at the camera. Her face is nested in voluptuously flowing hair as she leans toward Baltrop’s lens. None of the seventy-two photographs on display are dated with precision.
NOV 2017 | ArtSeen
The paintings on view in Israeli artist Tsibi Geva’s first solo exhibition at Albertz Benda embody the tumultuousness of his homeland. They evoke displacement, belonging, and demise through narratives that range from intimate to commonplace.
DEC 16-JAN 17 | ArtSeen
Arguably, Alex Da Corte has been one of the most prolific artists of his generation in the last two or so years. Between Die Hexe, his magnificent early 2015 occupation of the Upper East Side townhouse housing the blue-chip gallery Luxembourg & Dayan and his current return to New York with a solo exhibition at Maccarone this month, Da Corte has been productive.