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For Frank Bowlings inaugural exhibition with the gallery, paintings from a six-decade career that saw Bowling work between London and New York are presented at both the London and New York locations simultaneously. Works on view span over 50 years of the artists career, from 1967 to the present day.
Curators Ekaterina Lazareva, Ekaterina Savchenko, and Iaroslav Volovod put out an open call to artists living and working in Russia to engage in abstract reasoning and consider the speculative in any way one could conceive of it.
Smith knew sculpture for what it was: an object in its own right, and, traditionally, a memorial to those who preceded those currently living, now gone. At the same time, his abstraction moved his art into a field of pure form, tending at times to reference nothing but itself.
Cristina BanBans Del Llanto is the perfect answer to the tedious, inevitable question, And what have you been doing during the pandemic? Shes been mighty busy, so much so that shes filled two venues, 1969 Gallery in Tribeca and albertz benda in Chelsea, with her efforts: over 30 works in oil, acrylic, pastel, and charcoal.
Trans-confetti, trans-dazzlement, end of day./ Hes amazed by constellations of dots as conduits./ Bilateral symmetry, troweling, spraying, framing/ As a total necessity.
Standing on the sidewalk, peering into this Chinatown storefront around the corner from the Lams apartment, the exhibition invites the viewer to imagine that other families much like this one exist in similar apartments all around, if one could only see through the walls.
In golden and grandiose paintings like cosmological topographies, Eamon Ore-Girón uses a geometric and mathematical language to reconsider the value and meaning of ancient aesthetic systems. Building upon medieval, colonial, and ancient Andean influences, Ore-Giróns work allows multiple truths to exist in harmony and perhaps suggest new ways of thinking about how the past persists in the present.
For Of Beauty and Consolation, Ricowho is currently based in Guadalajaraexplores mortality and meaning in the modern era through large sculptural pieces that incorporate scientific motifs and found objects such as neon lights, antlers, and horseshoes.
At the age of 99, master calligrapher and sumi-e artist Koho Yamamoto is having her first museum show at the Noguchi Museum. Curated by Dakin Hart, 10 paintings are exhibited in an intimate gallery and reflect a humble selection from her life-long practice.
Comprising domestic-scale, oil-on-board paintings and pencil drawings, this tight, brief overview acts as an appetizer before her first posthumous survey scheduled to take place at Kelvingrove Art Gallery and Museum
Typically, all of Lerners paintings are mapped out on paper first, beginning with pencil drawing and then gouache color; these works on paper are rough approximations of the paintings that followthey are never in any case studies to replicate in the traditional sense, though they are necessary for the anticipation of the custom-made wooden panel supports.
The kaolin painted over the surfaces of Jungermans assemblages also adds a layer of metaphysical meaning: it unites, perhaps uncomfortably, the complicated narratives of Surinamese Maroon culture and the Dutch De Stijl.
Daiga Grantinas engagement with sculpture is opulently panoramic and exacting. Her purview handles material acutely and intuitively, accreting relational assemblages or singularly charged compositionsin each case they are profoundly about their material.
Influenced by Warhol, Rauschenberg, the graphic art of Pop as Edward Ruscha construed it, and the shock and schlock of advertising slogans and other signage, Giorno mixed media to promulgate feelings, beliefs, and social justice.
Whether real or acrylic, blood is Nitschs preferred way to express the sublime, which the artist construes very much in Edmund Burkes sense, as a spectacle that astonishes us, freezes us mentally and physically, and infuses in us a touch of horror.
The current exhibition at SITUATIONS, an untitled two-person painting show, pulls at the threads of both genre painting and abstract coloration with works by J Stoner Blackwell and Masamitsu Shigeta, respectively.
Its not always a bad thing if you cant see the forest for the trees.
The National 2021 is the latest in a biannual series of survey exhibitions initiated in 2017 showcasing new Australian art in major venues across Sydney. This year, The National is staged at the Museum of Contemporary Art, Australia, the Art Gallery of New South Wales, and Carriageworks, Sydney, with a separate curatorial team at each location.
The exhibition Hypnose (Hypnosis), curated by Pascal Rousseau for the Musée darts in Nantes, is a chronicle both compelling and comical. Although submerged in a stream of spiritual consciousness tied to artistic principles of universal connection, the exhibition also flirts with certain kitsch clichés, most notably the iconic hypnotic-disc that by spiraling supposedly sucks suggestible cerveaux down a somnambulist whirlpool.
Curators Randall Griffey and Kelly Baum gather more than 100 of the artists paintings, watercolors and drawings in Alice Neel: People Come First, a retrospective of the 60 years Neel spent transposing New York and its citizens into work that bears witness to the struggles of everyday life in the city as much as it dignifies the individual.
Known for his massive paintings of people around the world living at the edge of contemporary society, the neo-realist painter Liu Xiaodong was commissioned by the Dallas Contemporary to create a series of paintings on the US-Mexico border.
Primeval and metamorphic, this language is a departure for Warren, and represents a new way of engaging with the body. Where her former sculptures were concerned with the grotesque, and touch was an incessant reminder of the distorting gaze transforming every bulbous outcropping into breast or phallus, these forms are more intimate.
Curators Rodrigo Moura, Susanna V. Temkin, and Elia Alba have composed a wild mélange of Latinx art, one that connects the viewer directly to the complexities of Latinx heritage in the context of the United States.
In the historic landmark townhouse housing Tilton Gallery on New York Citys Upper East Side, Kennedy Yanko presents her latest exhibition and first solo show with the gallery, Postcapitalist Desire.
A palpable feeling of suspense suffuses the space of Kate Milletts Terminal Piece (1972). 46 wooden chairs are installed in two long rows behind a parallel series of vertical wooden bars that span the length of the gallery. The lighting is dramatic, with seven light bulbs suspended from the ceiling illuminating the space within the cage-like structure, while the territory of the viewer remains dimmed.
Matthew Schraders solo presentation at White Columns explores the complex symbolism of an iconic piece of American flora. Symmetrical pairs of curved leaves give ailanthus altissima an instantly recognizable silhouette, but Schraders work also speaks to the ways that this plant is actually a thriving immigrant entangled in the matrix of race and power that structures this country.
The title of Monique Moutons current show at Bridget Donahue, Inner Chapters, evokes something of a trance: the state that a novel creates when the plot accelerates but the end is not yet in sight, when the gamble of picking up the book has paid off.
Wilhelm Sasnals paintings are sometimes described as photorealistic, but thats not strictly the case. As his film Paintings and Bikes (2019) makes clear, the images in paintings occupy their own spaces and are preoccupied with their own concerns, not ours.
The night, the past recalls the past (Edit 12) (2019), is a video by South Korean artist Kim Juwon (b. 1981) about the artists personal life from the years 2007 to 2019.
The first impression made by Nour Mobaraks solo debut in New York is celestial: several roughly spherical objects are scattered throughout Miguel Abreus Orchard Street gallery, like an eccentric solar system in miniature.
Tariku Shiferaws Its a love thang, its a joy thang embodies Black joybut not in the sense that people might think. In his latest exhibition, the artist pays homage to quotidian pleasures: those often referenced in the jazz era, a time when the greats sang about their daily lives.
David Rows third exhibition at Locks Gallery is a testament to the evasive, liminal, and arbitrary elements of vision on which the artist focuses our gaze. Shifting from canvas to wood panels, Row has continued his use of irregular-shaped substrates, deeper color combinations and contrasts, and layered geometries, interstices, corners, and two- and three-dimensional space.
The surfaces of Pessolis paintings teem with a diversity of mark making, which is part of what gives them their sketchbook quality. He uses pencils and stencils, oil sticks and spray paint, pastels and oil paint; all of them come together in an elegant play of texture which is especially charged when the viewer moves around the wooden panels and the gallery light rakes across the matte and reflective zones.
This exhibition, although a midcareer retrospectiveMehretu is far from done yetgathers an impressive corpus of works. It arrived at the Whitney Museum of American Art in New York after iterations at the Los Angeles County Museum of Art and Atlantas High Museum of Art. The Walker Art Center in Minneapolis will be the final venue this coming fall.
Moving between the works on display at 56 Henry, one might be tempted to construct some kind of narrative that unites the paintings. Messer, however, favors an engaged act of decoding that emphasizes time spent with each individual work. Multiple visits provoke new and evocative experiences, and further probing is richly rewarded as images and themes manifest themselves only after sustained scrutiny.
The objects Salane has amassed function quietly and intently towards the preservation of an ideal. I leave the show cognizant of their quiet solitude, a negative space formed by the absence of both worker and body. Each object is a mere starting point for a thick web of information and history that includes fingerprints and leaning elbows, boredom and the buzz of commerce.
As expressions of mortal transience, commodity culture, or composition, still lifes make us pause. Across photography, video, mixed reality, and a variety of digital arts, the 15 artists in Still/Live at the Katonah Museum of Art find new methods for modernizing the genre. Curator Emily Handlin brings together a selection of works that exhibit an interest in the history of still life in order to expand its range of meanings and expression for our own time.