Todd Bienvenu: JOMO (Joy of Missing Out)By Madeleine Seidel
In his new show, Todd Bienvenu takes FOMO and turns it into JOMO: the joy of missing out.
Flying Woman: The Paintings of Katherine BradfordBy KK Kozik
Full circle is the phrase that comes to mind apropos Katherine Bradfords exhibition Flying Women at the Portland Museum of Art.
Tiona Nekkia McClodden: The Trace of An Implied PresenceBy Anna Cahn
Tiona Nekkia McCloddens The Trace of An Implied Presence features an ambitious multimedia installation that follows the living history of contemporary Black dance in America.
Sean Scully: A Wound in a Dance with LoveBy Raphy Sarkissian
A leading champion of contemporary artmaking, Sean Scully has come to project his image of an artist as a formalist conundrum, as intimated by the above metaphor that exudes a sense of pathos.
Reframed: The Woman in the WindowBy Amanda Gluibizzi
Throughout the Dulwich Picture Gallerys wide-ranging Reframed: The Woman in the Window, thoughtfully curated by Jennifer Sliwka, we are reminded of that binarywho has agency and who may not?and the roles that we then assume as viewers of the women represented.
Threading the NeedleBy Joyce Beckenstein
At first glance, this expansive exhibition of fiber and textile-related works heartens the viewer as gently and naturally as a loose button welcomes needle and thread.
Hilma’s GhostBy Adriana Furlong
Hilmas Ghost posits alternative creative and spiritual practices as tools for individual and collective transformation by celebrating the esoteric and the unquantifiable.
Monica Sjöö: The time is NOW and it is overdue!By Brittany Rosemary Jones
When Monica Sjöös canvas God Giving Birth (1968) was installed at St. Ives Town Hall in 1970 it was met with immediate controversy. The challenge to Christian conceptions of God posed by its depiction of a woman of color delivering a child outraged the town mayor, who demanded its removal on grounds of blasphemy.
Barbara Stauffacher Solomon: Exits ExistBy Barbarita Polster
In fusing architecture and typography through her signature supergraphics, Solomon incises the elegant 1902 Prairie-style mansion housing the Graham Foundation galleries with the sharp precision of Modernist graphic design and the stinging irreverence of a carefully crafted and dexterous wit.
Philip Guston NowBy Lyle Rexer
Given the preamble to this delayed exhibition, it is best just to start at the very center, with a single work, and make our way out by stages to the issues swirling around specific images that, when they were originally shown, prompted a different kind of controversy and a different kind of canceling.
Warren Neidich: The Brain Without Organs: An Aporia of CareBy Anuradha Vikram
At the Museum of Neon Art, The Brain Without Organs: An Aporia of Care, takes a radically deconstructive approach to the brain as a material organ and as an emblem of human intellect, the source of our unique evolutionary advantage.
Rachel Lee Hovnanian: Angels ListeningBy Raphy Sarkissian
In Hovnanians exhibition the definitions of medium and message, artist and spectator, addresser and addressee, sacred and secular, along with the aesthetic and the real, have been rendered interdependent.
Arlene Shechet: Couple ofBy Hearne Pardee
Arlene Shechet expands and deepens both her embodied, intuitive making of objects and her masterful organization of installations in architect Steven Holls T Space.
pear ware: I love you, I thinkBy Everett Narciso
When a three-person collaborative becomes a two-person team, the connections that bonded the whole need to be reevaluated. Through I love you, I think , Mika Agari and Carol Hu begin the process of discovering what it means to continue a collaboration in the face of notable absence.
Takashi Murakami: Stepping on the Tail of a RainbowBy Terry R. Myers
Murakami has never relented from giving his work what it needs to stay, and stay for a long time.
Rodin in the United States: Confronting the ModernBy Brandt Junceau
Confronting the Modern begs a question the exhibition does not mean to ask: just what is Rodins modernity? Which comes down to who was Auguste Rodin, really?
Katy Crowe: A Wrinkle in the MaculaBy Mary Jones
Katy Crowes work has long been regarded with tremendous esteem among artists who appreciate her improvisational, richly layered abstractions, complex color sense, and impressive mastery of materials.
Marta Pérez García: Restos-TracesBy S. David
In Restos-Traces, the Puerto Rican Washington, DC-based artist Marta Pérez García raises specters, figuratively and formally constellating creative cycles under thematic auspices of personal and political endurance, and disrupting the definition of remains or ruins (restos).
Lou Reed: Caught Between the Twisted StarsBy Marcus Civin
In the library galleries, you can listen to intimate and rare recordings such as a staticky tape of Reed singing lovingly to his early mentor Andy Warhol about art as business. Walking through, you start to think Reed always managed to look sculpted, ironic, and cool. Portraits of Reed are satisfyingly iconic, each one like raw material for a Warhol silkscreen.
New York: 1962–1964By Suzaan Boettger
A historical exhibition aims to show us past life, but sometimes the retrospective becomes reflective, a two-way mirror seeing through to the present. So it is with New York 19621964 at The Jewish Museum, certainly at the moment our fair citys most enveloping visual and aural museum experience.
Our Selves: Photographs by Women Artists from Helen KornblumBy Ann C. Collins
Use of the photo image in reworking narratives lies at the heart of Our Selves, an exhibition at the Museum of Modern Art of ninety photographs made by women artists.
Dr. Charles SmithBy Andrew Paul Woolbright
Theres an enchantment one feels with Dr. Charles Smiths work. Whether it is the sheer expanse of his world building or the peculiar levity he has developed as an aesthetic, it can prove challenging to interpret his practice beyond the initial impact of its immersive charm.
New York: 1962–1964By Alfred Mac Adam
1962–1964 manages to encapsulate the artistic explosion taking place in New York in the early sixties in art, in dance, and in poetry.
New York 1962–1964By Mary Ann Caws
EXHIBITING THE CITY reads one heading, and indeed this extraordinary exhibition includes, at its beginning, a few works from key exhibitions in New York in 1962 and 1963, feeling remarkably full.
Zeshan Ahmed and Yasi Alipour: to bleach, to foldBy Amanda Millet-Sorsa
Transmitter gallery in Bushwick, Brooklyn has put together an exhibition of works by artists Yasi Alipour and Zeshan Ahmed curated by Martha Fleming-Ives and Kate Greenberg. Both artists works consist of photographic images created without using a camera: Alipour favors cyanotype and inkjet prints while Ahmed uses RBG pigmented C-prints on transparency sheets. Alipour folds paper as one might origami, carving out straight horizontal, vertical, and diagonal lines that unfold geometric forms. Ahmed, on the other hand, erases printed sheets of pigment with bleach, blocking shapes using masking tape. Both artists challenge the flatness of photography and drawing, whether were engaging with Alipours reliefs of undulating paper or Ahmeds transparent sheets, hung off the wall in layered curtains that allow light to shine through.
Pat Steir: Paintings, Part IIBy David Rhodes
After arriving at the gallery, located on the Via Francesco Crispi, a short walk downhill from Berninis Palazzo Barberini, I needed a few seconds for my eyes to adjust after the August sunlight outside. Then, the full subtlety and clear radiance of these cool, austere paintings had full effect. This second iteration of a two-part summer exhibition by Pat Steir comprised eight paintingssix predominantly red, yellow, and blue on black and two white on black.
Eva Hesse: Expanded ExpansionBy Cynthia Payne
Would she have used less ephemeral materials if she had known that she was going to die at thirty-four? The current exhibit of Eva Hesses Expanded Expansion at the Guggenheim begs that question.
Jeannette Ehlers: Archives in the Tongue: A Litany of FreedomsBy Alice Godwin
Ehlerss exhibition gives voice to those who historically lacked such a stake and whose stories continue to be little heard in Denmark. But Ehlers does not exert influence on the stories they tell.
Quentin Curry: A Brand New DayBy Jason Rosenfeld
Fanciful and chromatic things are afoot in AB NYs converted mechanics garage tucked behind the pristine boutiques and galleries of summery East Hampton. There are eight acrylic paintings, two small reliefs, and five free-standing sculptures representing the past two years of Sagaponack-based artist Quentin Currys production. The show forms a panoply of sun-washed surfside elements ranging from the artists trademark surfers to flitting birds and shimmering sunbursts, interspersed with vaguely visage-like abstractions that look like riffs on Carvel cakes.
Jayson Musson: His History of ArtBy Laurel V. McLaughlin
In the second video of three in Jayson Musson: His History of Art at The Fabric Workshop and Museum (FWM), a russet-colored-corduroy-suited, yellow turtle-necked, and well-meaning but supercilious art collector Jay, aka Jayson Musson, gently explains to his roommate, a pot-smoking hare, Ollie: Art history isnt that complicated. Whatever man fucks it kills and whatever it kills it fucks.
Bernd and Hilla BecherBy James Welling
In mid-July, a beautiful, monographic exhibition of the photographs of Bernd and Hilla Becher opened at the Metropolitan Museum of Art. The show is accompanied by an impeccable publication, printed by Trifolio srl with essays by Jeff L. Rosenheim (the curator of the exhibition), Virginia Heckert, Gabriele Conrath-Scholl, and Lucy Sante. The catalogue concludes with an illuminating conversation between Rosenheim and the artist Max Becher about his parents life and work.
Penny Goring: Penny WorldBy Maximiliane Leuschner
Penny World at the Institute of Contemporary Arts in London spans three galleries over two floors, sharing glimpses of the thirty-year-long career of Penny Goring, an artist and poet who has long worked on the fringes of the London art world, from her early days at Kingston School of Art in the early nineties until today.
Jean Conner: CollageBy Maymanah Farhat
To say that Jean Conners first museum exhibition is long overdue is an understatement. Belonging to a generation of Bay Area artists that solidified the idea of artist as alchemist, she has been active since the late 1950s, shortly after moving to San Francisco from the Midwest with her husband, conceptual artist Bruce Conner.
Sayre Gomez: Renaissance CollectionBy Jake Romm
Los Angeles based painter Sayre Gomezs exhibition of new work, Renaissance Collection, currently on view at the Fondazione Sandretto Re Rebaudengo in Turin, Italy consists of five paintings focused on the eponymous collection of apartment buildings by developer Geoff Palmer. Palmer is notorious for being both a sleazy and rapacious figure in the LA real estate scene, and also, something of an idiot, having once claimed that The Italians actually settled LA before the Spanish and Chinese.
Lou Reed: Caught Between the Twisted StarsBy Charles Duncan
Reeds music of the sixties and seventies transported listeners to the back rooms and allies of a grittier Downtown, his poetic vision amplified by a sonic repertoire as diverse and penetrating as his powers of lyrical observation. In the decades that followed, his achievements remained rich and complex, and assessing his legacyhis lived reality intertwined with a literary and musical imagination messaged through an iconic public personademands multiple routes of exploration.
Assembly 1: UnstoredBy Faye Fleming
One of Sodis central ideas is to take out of storage artworks that have been languishing in crates unseen, raising the ghost of the old if a tree falls in a forest question of observation and perception: if an artwork lies unseen in a crate, is it still art? It is clear that this is underpinned by a deeply held belief in arts power to quietly inspire hearts and minds, so long as it can be made visible enough to do so.
Teresa Kutala Firmino: The Owners of the Earth (Vissaquelo)By Zoë Hopkins
While Firminos previous work has been more concerned with social historyengaging the ongoing effort of redressing the violence of colonial epistemologiesthe paintings on view at CIRCA Gallery are honed to the more intimate scale of kinship.
Mirror Image: A Transformation of Chinese IdentityBy Barbara A. MacAdam
The seven artists in this exhibitionall born in mainland China between 1979 and 1987are represented by nineteen works that range from video to performance to installations, digital art, painting, and more. Each tells a different story with wit, curiosity, techno savvy, painterly skill, and/or sociability.
Lee Lozano: All VerbsBy Jake Romm
What does it mean to show Lee Lozanos work in a commercial gallery? And not just any commercial gallery, but Hauser & Wirth, one of the biggest and most profitable? Its not a question actively posed by All Verbs, but after leaving the building its this problem, more than anything else, that remained on my mind.
Sam Gilliam: Full CircleBy Maddie Klett
The late abstractionist Sam Gilliams obsession with painting is well documented in the artists 2019 interview with Tom McGlynn in the pages of the Brooklyn Rail. Gillaim spoke about how he was both influenced by, and positioned himself in relation to, his contemporary Color Field painters Thomas Downing and Kenneth Noland. He also cites the draping studies by Albrecht Dürer and the improvisational jazz compositions of John Coltrane and Miles Davis as formative to his art making. In the 1960s he recalls beginning to stain canvases and applying acrylic paints before crumpling them upwetand re-stretching.