Take Me (I’m Yours) presents the work of over forty artists, all of whom challenge the time-honored relationship of distance and deference established between art-object and viewer.
Sounds of life fade away as you, along with four museumgoers and one museum guard, pass through three successive off-white chambers separating the Guggenheim’s rotunda from Doug Wheeler’s PSAD Synthetic Desert in the topmost tower gallery.
Capitalist realism and the many ills it diagnoses are explored in Klammern aus denen Blätter Spriessen (Brackets from which Leaves Sprout), a group show at Hunter Shaw Fine Art in Los Angeles featuring work by Colleen Hargaden, Filip Kostic, Yein Lee, Andrew Rutherdale, Jonas Schoenberg, and a text by Steph Holl-Trieu.
Descending the stairs and dirty brown hallway to the two-room Upper East Side basement dwelling that is Meredith Rosen Gallery engenders an air of willing abjection before even entering Anna Uddenbergs solo exhibition, Continental Breakfast, that features three pseudo-functional contraptions in a white-walled, blue-carpeted, drop ceiling-adorned space with florescent lights that feels like the prelude to a high-class murder.
For Gary Simmons, who observed the vast disconnect between the political nature of hip hop and the contemporary, predominantly abstract, art of the 1980s, the union of these two modalities engendered an artistic language that could speak simultaneously to multiple publics. Neither didactic nor illustrative, but rather legible and generative, Simmonss work prompts viewers through subtly affective clues to examine their relationship to those symbols from popular culture that he re-forges into biting social commentary.
An exhibition of seven sci-fi assemblages made by Manuel Alejandro Rodríguez-Delgado from repurposed materials which, though undergirded by a general memento-ization of home and family, serve as prototypes for the cultivation and sustainment of life on an inhospitable Earth or extraterrestrial environment.
Since 1994, Edward Steichens landmark exhibition The Family of Man has been on display at Clervaux Castlean outpost of the Centre national de l'audiovisuel (CNA)in northern Luxembourg. Between 2011 and 2013, these works underwent a campaign of conservation treatments that Luxembourger photographer Jeff Weber was invited to document.
An homage, a funerary march, a quiet celebration: Louise Lawlers final exhibition at Metro Pictures, which will permanently shutter its doors in the coming months, resounds with a distinct nostalgia.
Sounds of life fade away as you, along with four museumgoers and one museum guard, pass through three successive off-white chambers separating the Guggenheim’s rotunda from Doug Wheeler’s PSAD Synthetic Desert III in the topmost tower gallery.
By choosing the rather doomed crickets as her subject, Hollanders Flatwing highlights the enormity of an impact that can be brought about by even the smallest of changes, thus emphasizing the precarity of our present environmental situation and the intensely choreographed nature of the world around us.
By magnifying the stylistic, architectural, and compositional inconsistencies present within the original comic frames, Kelley highlights the vagaries and mythologies of memory—the tendency to forget and invent a (new) past.
Twisted is the 80-year-old artists first ever solo museum exhibition in New York Citydespite a career marked by invisibility (whether purposeful or socially enforced), Hershman Leeson has only gained visibility with time.
Legibility varies greatly in the work of over thirty international artists exhibited in Stories of Almost Everyone at the Hammer Museum in Los Angeles.