The oldest painting in this collection of landscapes, still lifes, and portraits, was begun in 1998 and completed 20 years later. That span is indicative of Holzmans process, where surfaces are built up and removed over years, their pentimenti giving form to a final image.
While the scene is locally situated in Cape Town, one of the major accomplishments of this very good show is Samsons ability to express a much larger view, universal in its portrayal of the tragic but often powerfully attractive nature of violence, its nearly erotic allure.
Lumin Wakoa made all of the 17 paintings on view at Deanna Evans Projects this year, beginning many at outdoor sites—including her own front garden—near her home in Ridgewood or her nearby Bushwick studio. This was in part occasioned by the pandemic, which made commuting via public transit inadvisable. The result is a body of work self-confidently located within the tradition of plein air painting,
For years now, Genieve Figgis has been playing—with astonishing success—the double game of caricature. A double game because caricature involves simultaneously viewing Figgis’s paintings and viewing in the mind’s eye the things she mocks.
Betsy Damons current solo show in New York successfully frames her as a pioneer of such a healing practice, and as a key artist through which to consider the relationship between art and activism.
When you google land art one of the top options features two photographic examples: Robert Smithsons monumental Spiral Jetty (1970), perhaps the paradigm for the genre, and Alan Sonfists Time Landscape (1978). Smithsons earthwork is a massive and muscular transformation of terrain set in the vast open area of Utahs Great Salt Lake. Its image is quickly identifiable, iconic. Time Landscape is modest, non-iconic, and set in the heart of an urban metropolis.
Invention and innovation leap from every change in direction, one technique superseding another and with elliptical explorations that return over the years: he never seems completely done with anythingthere is still more to do with fresh insight and new discoveries.
Gray New York has rounded up 10 of Susan Rothenbergs horses, all produced between 1974 and 1979. This is a rodeo of a very special kind: there are no riders as in a Marino Marini sculpture, no bronco busters, no human figures at all to distract us from the presence of the horses.
This show at Marc Straus, a combination of large and small compositions and several assemblages, gives us a good idea of how Stout, a gifted artist, is proceeding. Her work is varied and not given to sequential repetition, but the artist stays close to Black life and culture. Her vision is not always sanguine, being taken with the vicissitudes of Black culture and its capacity for joy.
Polina Barskayas newest paintings, 11 of which are on view at Monya Rowe Gallery through November 12, take lockdown-looking as their subject. As in her two previous solo exhibitions at the gallery, these are intimate, domestic scenes, derived from photographs that are acted upon and subtly distorted through the process of painting.
Eva Davidovas Global Mode > Omnivores is an ambitious project that takes on a swath of topicspolitics, history, climate change, the mythopoeticin new media works by Davidova and her guest artists.
Both catalogue and exhibition provide us a close look at Kauffer and his worka subject surely due more attention on this side of the Atlantic.
Demand has traditionally focused his work on the (promised) mnemonically specific indexicality of photography as a medium, and on the peculiar means by which it achieves said indexicality through the aid of mirrors and simulated proximity.
Late morning on East Houston, a trucker leans from his cab to look, and a young mother twists from her stroller to stare. The onlookers are studying Taxi: Journey Through My Windows 19771987, Joseph Rodriguezs hard-to-miss new show along the chain link fences of First Street Green.
In her debut solo show at Greene Naftali, Steffani Jemison presents a small retrospective survey that details a critical engagement with art history, popular visual culture, and the challenges of Black American experience.
Lights New Measure borrows its title from a poem in the 2012 collection Sea and Fog, gesturing to the dialogue between Adnans artwork and her poetry. Indeed, it would be impossible to think about her art practice as separate from her literary pursuits, especially since a persistent struggle with language(s) frames her experience of both the literary and visual.
Shannon Cartier Lucys nine oils occupy two rooms in Lubovs fourth floor space, in its airy perch above Chinatowns Kimlau Arch. The streetwise cacophony here gives way to domestic intimacy, of a quietly compelling kind.
Twenty pastel portraits of Emily, the protagonist of the 2020 Netflix series Emily in Paris, are distributed in identical size and formation across Galerie Bucholz.
That the unforgettably beautiful 18-year-old who modeled for Renoirs 1883 Dance at Bougival (in Bostons MFA) should turn out to be one of the great painters of the early 20th century is a puzzle designed to baffle any art historian of my generation.
Elizabeth Murray (19402007) had an astonishing capacity to develop. Looking just at the works in Wild Life, her two person show with the sculptor Jessi Reaves (b. 1986) curated by Rebecca Matalon, the distance between Night Empire (1967-68) and C Painting (1980-81) is amazing.
While on a residency in Kettwig Germany, Tom Doyle spent a year experimenting with adding color to his work. It was a risky proposition, and as Kirsten Swenson writes in her introduction to the exhibition catalog, Doyle did not expect [the] work to leave Germany.
A rare and welcome opportunity to see veteran Los Angeles artist Takako Yamaguchis new work is currently at Ramiken. This show of 14 paintings, titled 7 + 7, is a tour de force, a culmination of Yamaguchis rigorous, intellectual approach to craft, representation, and the intertwining of pattern and identity developed over four decades.
Dewey Crumpler is a painter living in the Bay Area. His solo exhibition The Complete Hoodie Works, 1993Present at Cushion Works in San Franciscos Mission District features over 100 small paintings on canvas made over the past 28 years.
A spotlight pours yellow rays on an upright Mellotron encircled by socially distanced chairs, all wrapped in a dome of controlled darkness. An arresting silence lingers, occasionally broken as gallery guests hesitantly part the velvet curtain, enter the space, and interact with the organ. The Instrument of Troubled Dreams, 2018, is the acutely engaging centerpiece in Janet Cardiff and George Buress Millers After the summer of smoke and fire on view at Luhring Augustine gallery in Chelsea, which documents a selection of recent productions by the British-Columbia-based duo who have been collaborating since 1995.
Centered in the gallery rests a motorcycle, a relic of someone whose absence has been palpable since she left the realm of the living in 2019. Barbara Hammer is the subject of a museum-quality show, albeit in a gallery, curated by Tiona Nekkia McClodden.
The first Aegean farmers to unearth ancient Cycladic figures with their ploughs must have wondered at their articulate simplicity, as successive generations of artists have been inspired by Myron Stout's single-minded commitment to exploring similarly shaped (and similarly mysterious) forms in his paintings and drawings.
There is a man floating in the bathtub. Iridescent violet, red, and ochre seem to seep from his pores into the sultry waters below, staining the porcelain bath and tiles. We feel the humidity pressing in, as if someone has just pulled the bathroom door shut. The air is intoxicating and close; we could be in the midst of a fever dream.
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.
Under the voluminous skirts of the effusively praised Jasper Johns retrospective on the fifth floor of the Whitney Museum of American Art, on the level usually reserved for educational programming, is a show of 30-or-so small works of art by women.
Entering the Geffen Contemporary, the entryway lights are dimmed, eyes adjust to reveal a chandelier of white underwear, 29 Palms Chandelier (2019), flooding the room with a pink-hued light. Above the foyer to the main gallery Pipilotti Rist greets guests (as she refers to visitors) in the form of her infamous video Open My Glade (Flatten) (200017), squishing her face against a glass surface, the artists aim break through the video screen is forefronted as you enter into the main exhibition space.
We might see Nguyens film as an elegy to failed revolutions or the ways in which all revolutions transform themselves and become institutionalized, a memorial to lost histories, or histories that never took root. As the narrator at the beginning of the film asks comrade Weronika, where is the truth of unremembered things?
Love, loss, pain, desire, hope: these are the strongest emotions that we know. Throughout life, one or more is our constant companion. When the Venetian Renaissance painter Titian (ca. 14901576) received his greatest commission in 1550 from Philip II, the future King of Spain (r. 15561598), he was clearly involved in thinking through the resulting human problems.
The recent sculpture of Michael Gitlin shows the enduring influence of this moment: the best way of coming to terms with it is to experience it directly. His art goes beyond virtual descriptions in favor of tactile sensations that resonate to the core. Gitlin combines raw and painted oak in modest architectonic constructions that appear simple but never evasive.
The nine recent paintings presented in this exhibition differ in significant ways from Peter Bradleys earlier work, examples of which could be seen here in New York just last month in Karmas recreation of the groundbreaking De Luxe theatre exhibition of 1971, an exhibition Bradley curated at the invitation of the de Menils in Houston, Texas, and one of the first racially integrated exhibitions of contemporary art in the United States. Included, whether high profile or not, were those who Bradley considered the best artists working with abstraction in the country.
Ways of Attaching at Swiss Institute, Mayer’s first institutional survey, presents a luminous collection of visual work, which glows with the attention and endearment her clearly held for her projects.
John Ferrens extraordinary biography can sometimes overshadow his achievements as a painter. Born in Oregon in 1905, he spent some youthful years in the 1930s in Paris, where he befriended Gertrude Stein, and was embraced by the Parisian avant-garde.
Jeff Koons. Shine is Koonss most recent exhibition at the Palazzo Strozzi in Florence. This extensive exhibition features over 30 of the artists most lionized and varied works spanning from the 1970s until the present.
What if Picos Oration on the Dignity of Man is as alive today as it was some time ago? What if LAtalante was the best film ever made, and Jean Vigo was a true anarchist
Whatever we think of our love affair with Modernism, at times we think of our disdain for its ultimate objective being the constant rebuke of any previous art in order to claim a new birthright that would continue to do the same subsequently.
In 2020, people started sending the sculptor Patricia Miranda lace. She has worked with found and vintage fabrics for years, dyeing them with hand-made cochineal and oak-gall inks, stitching them with images or together.