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Born in Guanajuato, Mexico, and raised in Chicago, Felipe Baezas practice draws on collage, printmaking, embroidery, and sculpture. Informed by queer and immigrant histories, Baezas largely figurative practice envisions what emancipation and fugitivity might look like for othered bodies. His figures are hybrid, often occupying an unfixed category somewhere between humanoid and plant-like. Situated against densely textured backgrounds, they seem to transcend place or time, breaking free from any domain that we can define or locate.
Tony Cokes consumes media with a singular zeal. The video works which he has become known for incorporate text from a dizzyingly wide range of sourcesspeeches, books, newspapers, archives, Twitter feeds. Unfolding on the screen against bright, changing monochromatic backgrounds, flashes of text are overlaid with songs from an equally impressive range of musical genres and tones, drawn from Cokess wide and deep knowledge of music history.
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.
The line bore its own diacritical mark inside itself as a tendency for waywardness. Line [is] always about to go off like an unheld note, writes Fred Moten in an introduction to Gladmans 2020 book of drawings One Long Black Sentence. And indeed, Gladmans lines are sustained errantry, ambling in all directions and none. Her drawn writings stretch on and on, and her pen sustains uninterrupted contact with the page for what feels like hours, feeding off of its own circuit of energy without pausing for breath.
The question is simply this: Can a negro, whose ancestors were imported into this country, and sold as slaves, become a member of the political community formed and brought into existence by the Constitution of the United States, and as such become entitled to all the rights, and privileges, and immunities, guarantied by that instrument to the citizen? This question lies at the heart of the majority opinion written by the US Chief Justice Taney in the Supreme Courts 1857 ruling on the Dred Scott v. Sandford Case. And on the shores of Governors Island Charles Gaines asks this question again.
Barkley L. Hendrickss paintings shine with a kind of affect that one is inclined to call beautiful. And, indeed, they are. Yet they are loaded with something too tense, too bristling with heat to fit neatly into such a definition: something else is here, too.
David Hammons: Body Prints, 19681979 at The Drawing Center is the first show to focus exclusively on Hammonss body prints.
There is a tacit co-dependency between things in Daniel Lind-Ramoss assemblages. Objects sustain one another in a careful balance, leaning up against each other to form ecosystems of reciprocal uplift.
In a new exhibition at Gordon Robichaux, the textures of sociality that charge Otis Houston Jr.s street performances take up new dwelling in a gallery space.
Youve Come a Long Way, Baby: The Sapphire Show is an intimate gathering among old friends. Old and new works by each of the artists represented in the original exhibition flock together in a gorgeous reunion of living and passed on spirits.
There’s a way things seem to glow in Deana Lawson’s most recent solo exhibition at MoMA PS1. Crystals and gems tucked away in gallery corners glint with a quiet allure. Frames made from mirrors catch the light and refract it into glowing portals, enshrining Lawsons photographs and holding us in rapt attention.
The Studio Museum in Harlems 20192020 Artists in Residence exhibition, This Longing Vessel, was conceived with an uncanny prescience. Decided upon well before the pandemic threw us into a time that has throbbed with longing, the title summons images of empty objects waiting to be filled.
Beauford Delaneys imagination was ablaze with portraits. Often painting his subjects from the shimmering flight of memory, Delaneys approach to portraiture was an exercise in deep connection between his own interiority and that of the people he painted.
Bowling's paintings seem to maintain a sort of liquidness themselves: abstract forms float with weightlessness on the canvases and soft color washes swarm together, mingling in the folds where they overlap and give birth to new tones.
How should we read these fields of red ink? As analysis? As adornment? As utterance? The convergence of all of this in a decisive act of archival intervention?