Star Trek and opera are among the many sources that have informed Gladys Nilssons hilariously irreverent paintings and collages since her time as a Hairy Who? (19661969) member. Erotic and grotesque characters engaged in humorous plots and subplots populate her densely packed, carnivalesque scenes in acrylic or watercolor.
Like a retablo in electric hues, a wall of 17 abstract paintings (1966-1977) by Leonard Contino arranged in three tiers, towers over the viewer and echoes in the reflection of the polished floor of the Dorsky Museum.
Throughout the exhibition the restorative and sexual relationships evoked in these works reveal a fragile yet perseverant Eros. Straubs artwork reconceives sexuality as an intimate mode of living that is receptive and responsive, tender and creative, and as vulnerable as it is giving.
Silke Otto-Knapps exhibition ecstatically blurs your inward perception of movement with your real locomotion through the gallery as your eyes and body move with the paintings.
The exhibition title, a term used by Heidegger, made its way to Alejandro Rodríguez via the writings of Derrida, whose famed attention to the play of binary oppositions plays a role in the artwork: here, we find such an oscillation between absence and presence. Above all, Alejandro Rodríguezs project is invested in the imagination of ruin, exploring how images of destruction are constructed.
Messenger does not in and of itself repair the environment, but as it poses the future as an unanswered questionleft blank in Boorujys voids and given one possible vision in Bloises landscapesit offers a space for rethinking and re-feeling our ethical relationship to our shared Earth.
Cameron Martin is known for his black-and-white landscape paintings informed by semiotics, but for the last three years the artist has been working on a new body of nonrepresentational paintings and drawings.
Although not the central theme in the exhibition, the complexity of motherhood, often eclipsed in the history of art by idealized images of maternity, is one of Bennetts most important contributions in Nuclear Family, as she illustrates the changing roles mothers play within the nuclear family since the term entered popular parlance in the last century.
Harold Mendezs The years now memorializes centuries compressed into the singular space of the present.
Karen Kilimniks self-titled exhibition assembles nearly 80 works (2001present) of painting, video, photography, collage, and readymade, borrowing imagery from pastoral landscapes, Tsarist Russia, classical and romantic ballet, pop culture, and Hollywood movies.
The question one asks while experiencing Diana Copperwhites new paintings is: When are they happening? As the exhibition title, The Clock Struck Between Time suggests, the artwork places us in an ambiguous temporal space, drifting from the present moment into a memory still struggling to take form.
Francesca DiMattios monstrous 9-foot tall She-Wolf (2018), with a bulbous black head stretching out from grafted human and animal forms, including a porcelain human front leg and a life-sized hunting dog standing in for a rear leg, restores the wildness of this maternal wolf once immortalized in the famous Etruscan bronze (500 BCE) that the sculpture references.
In many of van Woerts works over the last decade or so, the artist has investigated the relation between our bodies and the waste we produce in our industrial, hyper-consumptive society.
Traditional history painting’s stories demonstrated the best in human endeavorsaccording to the bias of their Eurocentric patriarchal culture.
An art historians memoir looks at the role of academic and artistic mentors through the lens of Duchamps readymade, exploring the ways in which we chose to adopt the characteristics and ideas of our influencers.