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Since earning his MFA from Columbia University in 2009, Cheng has been investigating ways to infuse humanity into the machine, not shying away from the possibilities embedded in chaos, in defiance of pristine and consequential order technology and science manifest. After debuting at Serpentine Galleries early last year, BOB continues Cheng’s utilization of simulation to challenge narrative constructs of art, a path he embarked on with his Emissaries saga, composed of intertwined and infinite narrative possibilities within live simulation, which will be a part of the upcoming Sharjah Biennial 14 in March.
Where does a masterful painter, a portraitist, go after painting the portrait of a First Lady? The answer is in Amy Sheralds grasping, intimate, and serene paintings of subjects she pulls from the crux of life, grasping the heart of the matter in each model.
"People really desire a narrative; they want to see a fully formed, closed, succinct message. Ive always in some way avoided a very closed, concise narrative."
Presenting a commissioned video installation and existing work by multimedia artist Hito Steyerl, Drill at the Park Avenue Armory is the Berlin-based artists most expansive presentation in the United States to date.
Yto Barrada is one of the most prolific artists working today, blurring the boundaries between different techniques, disciplines, and hierarchies in art and culture. The New York-based French-Moroccan artist’s primary material is history, with its gnarly paths and unforeseeable findings. In her expansive work, anecdotes from oral or documented pasts transform into visually haunting works stemming from meticulous research and an interdisciplinary vision.
The possibility of a queer visuality unfettered by ideas of representation is at the forefront of Doron Langbergs debut exhibition, Likeness, at Yossi Milo Gallery.
The core of the YBCA’s census awareness program was and still is a group exhibition titled Come to Your Census: Who Counts in America?, in which more than 20 artists, mostly from the Bay Area, could exhibit their work on citizenship and civic presence, supported by workshops and performances in line with the organization’s multidisciplinary program.
Mostly large scale, each of the 23 oils on canvas translates Simãos observations through her São Paulo studios window into liquid landscapes. Beyond what the eye sees, they defy geographies, optics, and harmonies of the material world.
In one of Alvin Baltrop’s photographs at Galerie Buchholz, the late queer icon and activist, Marsha P. Johnson joyfully smiles at the camera. Her face is nested in voluptuously flowing hair as she leans toward Baltrop’s lens. None of the seventy-two photographs on display are dated with precision.
Times are queer in Carrie Moyer’s twin exhibitions at DC Moore and Mary Boone Galleries, where the New York-based painter introduces exceptional, unabashedly jubilant new paintings of acrylic and glitter on canvas.
Thinking Collections: Telling Tales is the first U.S. survey dedicated to the Kazakh art collective Kyzyl Tractor. Kyzyl Tractor is an avant-garde art collective established in the mid ’90s in the wake of the liberating reformations of Perestroika.
Kader Attia’s recurring themes, such as repair, trauma, and loss, occupy Lehmann Maupin’s Lower East Side location in his ambitious exhibition Reason’s Oxymorons.
In a show with childrens drawings, such an angel resonates with growing up, the unstoppable passage from childhood into adolescence and adulthood.
The sprawling installation is the culmination of the artists sojourn amidst grassroots Latin communities and the skyrocketing gentrification of the Lower East Side. Dense with an unabashed color palette of low-cost plastic, items such as baskets or fly swatters are molded into various renderings of abstraction.
Befittingly, the 33rd Ljubljana Biennial of Graphic Arts assumes satire as its central theme under the curation of Berlin-based art collective Slavs and Tatars, who have long subverted despotic decrees of power with open-ended wit and an array of transcultural references
Arguably, Alex Da Corte has been one of the most prolific artists of his generation in the last two or so years. Between Die Hexe, his magnificent early 2015 occupation of the Upper East Side townhouse housing the blue-chip gallery Luxembourg & Dayan and his current return to New York with a solo exhibition at Maccarone this month, Da Corte has been productive.
Louise Lawler's extensive survey, She's Here, at Vienna's SAMMLUNG VERBUND Collection, manifests her interest in what I will call "transient visibility," which has over the years come to define Lawler's grand oeuvre.
Only a few months following the revoked prohibition of citizens of citizens from seven predominantly Muslim countries to enter the United States, and amidst gradually worsening political relationships with the Middle East, the Institute of Arab and Islamic Art opened its doors at a ground floor space in SoHo, in close vicinity to peer institutions such as Swiss Institute and Goethe-Institut’s Ludlow 38.
Absent are bodies in Pacifico Silano’s After Silence, yet this absence leaves a haunting presence in what remains.
Blending with its surroundings, the engaging art spills outside, runs through the streets, and bleeds into uncharted, overlooked interiors, bringing fresh breath to sites frequently occupied yet rarely used outside of their original intents.
Mottas work in film, sculpture, print, and photography has long dissected the ways religious fundamentalism, primarily Catholicism, has condemned diverse representations of sexuality in indigenous cultures.
“Memory figures large in David’s life: As a young adult, because of the images he has to overcome in order to heal from his past,” writes Amy Scholder in her introduction to In the Shadow of the American Dream: The Diaries of David Wojnarowicz. Scholder
The group exhibition The Young and Evil at David Zwirner looks at an artistic moment, foremost in Downtown New York, during the first half of the 20th century, when homosexuality and figurative painting were equally frowned upon.
Fatherhood, compared to motherhood, remains less-charted terrain. Family Portrait, Aneta Bartos’s first exhibition with Postmasters Gallery, delves into the artist’s relationship with her father, a former bodybuilder living in central Poland, with photographs full of vigor and vulnerability.
The Warmth of Other Suns: Stories of Global Displacement, a 75-artist exhibition about the history, state, and future of migration thrives through its intricate groupings of artists, juxtaposed to integrate mediums, genres, undertones, and geographies, reasserting the capability of thematic group shows to narrate the evolving yet repetitious fate of human experience.
New York-based curatorial initiative Duplex and digital designer Hollie Pollak helped the organization to gather presentations of new or existing artworks from Visual AIDS alumni, such as Carlos Motta, Conrad Ventur, and Pamela Sneed, in addition to fresh faces, including two video artists, Jake Brush and Jaimie Warren.
Spearheading Richard Hawkins’s fifth exhibition at Greene Naftali is a painting titled, And then come the dawn (2017), which took Hawkins over a decade to complete. In an email conversation, the L.A.-based artist expressed his restored interest in this painting after a decade with the current socio-political climate. Hawkins re-imagined the story of a worn-out, gay, white liberal at a hotel room in Thailand where the protagonist “takes his indulgence a step too irrevocably far.
Dedicated to Barkley Hendricks’s lesser known works on paper, Them Changes starts with an X-ray image of a person’s derriere superimposed over a graphite drawing of an anonymous buttocks, the X-ray overshadowing the liveliness of human flesh.
Fragments constitute Ibrahim Ahmeds art: pieces of colorful textiles, words from disparate languages, and memories of remote places.
‘Delicious’ rarely defines a work of art. Out of the five senses, tasting is a relatively new tool for experiencing art; an inclusive spectacle employed by contemporary artists for social engagement.
The word “life” is a fine title for any exhibition because, in the end, isn’t everything surrounding us simply life? But in the case of Gillian Wearing’s Life, which is the largest exhibition of the artist’s work by a U.S. institution, it proves to be a perfectly fitting title right from the beginning.
Andrew Sendors InstaCOVID Drawings, which remained accessible through Sperone Westwaters online viewing room through August 3, testified to the intrusion of the digital into physical reality as powerfully as Zoom happy hours, Clubquarantine parties, or camera hook-ups.
The tightly sewn paintings of dungeons decorated with confessionals, crosses, and domestic furniture come from an artist who clearly creates like his life depends on it. The salvational aura in each painting radiates not only through his mastery of color and form through thread but also from his vivid rendition of sex in a ritualistic devotion.
The paintings on view in Israeli artist Tsibi Geva’s first solo exhibition at Albertz Benda embody the tumultuousness of his homeland. They evoke displacement, belonging, and demise through narratives that range from intimate to commonplace.
Tens of branches sprout out of a large white wall, each with a colored plastic bag hung to it at the entrance to Colorful Line, Pascale Marthine Tayou’s first exhibition in New York in over a decade.
The artist’s meditation on his bygone mother’s legacy infuses benevolence and longing into a universe poised between a sassy ’90s house music video and a purgatory scene à la Bosch’s The Garden of Earthly Delights.
At age 30, Self is an artist with an unmistakable visual cohesion, from her orchestration of figures staring over their shoulders, to vibrantly monochromatic backgrounds that spit the characters back at us. Most crucially, however, her chosen technique renders a Self painting unmistakable.
A bleached and fractured world surrounds the artist. To organize this mess of corrosion into patterns, grids, and subdivisions is an aesthetic process that has scarcely been touched,” explained Robert Smithson in his 1968 essay “A Sedimentation of the Mind: Earth Projects.”
In the combat between weightlessness and force, the winner is left ambiguous: are the hands guardians of affably soft columns or do they clutch the helpless anchors to destroy? Searching for an answer is futile, and settling for humor is suggested.
Minouk Lim’s first solo exhibition in New York introduces the South Korean artist’s equally haunting and inquisitive practice with three bodies of work intertwined into a eulogy on loss and the consequential search for the missing.
Juliens love song to the Brazilian architects life and philosophy is his most recent film installation, Lina Bo Bardi Marvellous Entanglement (2019), which is currently on view at the Bechtler Museum of Modern Art in Charlotte, North Carolina.