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McCorkles camera moves are minimal. She allows her images to linger on screen. Things feel informal and sincere, allowing the viewer to settle in and listen.
These are Color Field works, made quickly after painstaking preparation of the grounds, using spray paints. Describing them as Claudian Color Field paintings, Aden says that they allude to those rare moments as the sun ignites a new day or gently fades into the evening.
The title of this spectacular show of 59 artists should be: These Are Not Flowers. Only Magrittes admonition keeps us from confusing nature and art, though of course such confusion is the inevitable result of this floral avalanche. When do flowers cease to be nature and become art?
One very good reason, amongst others, to visit is to take the opportunity to see George Ortmans (19262015) works not solely through the lens of minimalismone view that has become habitualbut rather, to think about how Judd and Ortman relate historically, and contrast aesthetically.
Cecilia Vicuñas practice exists within a sensory threshold, situated between what is and what is not. It lives in the space of the broken, in the ruptures where the possible finds forms of release and reintegration.
Over 30 artists focus their attention on human crises in the Arab world and the global ecological emergency at large, while the exhibition itself sparks outrage for its partnership with the Qatari-state-run MATHAF: the Arab Museum of Modern Art.
Time out would not constitute time away from painting. Rather it meant a serious re-adjustment: the paintings produced during the peak of COVID-19 in New York would come from another environment, namely a living environment.
The rigor of Torkwase Dysons intellectual and pictorial practices was fully on display in Studies for Bird and Lava, a set of 11 works in Paces new, light-filled East Hampton space, but the compelling aesthetic appeal of her project was also evident.
The semiotic possibilities inherent in a passing tone, a non-chordal interstice between two dominant chords, hold both the capacity to conjoin and the potential to rebuff its modal order. A visit to Jennie C. Joness Passing Tones and Broken Chords at Alexander Gray Associates outpost in Germantown, New York, finds her not merely continuing to mine the juncture of sonic and sculptural forms, but playing within the fertile furrow of negative space between rigid hegemonic structures.
The seven-and-a-half-foot-square canvas BALENCIAGA, SS20, Look 89 (2019) by Rute Merk presents a disquieting vision of humanoid perfection: a confident androgyne blue goddess on a blue background. Like the depiction of the Vitruvian man, Merks model is inscribed in a square and stares out at us blankly.
New Yorkers who had an opportunity to see the exhibition Hélio Oiticica: To Organize Delirium at the Whitney Museum in 2017 may have tried on his “Parangolésmultilayered garments and capes made of fabric, plastic, or paper often bearing political slogans.
To date, the museums website features 51 videos testifying to artists personal reactions to this calamitous pandemic. But Ernis archival project does much more: the short, sometimes breathless clips in this video montage create a poignant exhibition with explicit themes distilling both the agony and unrelenting resilience of artists as they adapt to change.
Now, with vacant pedestals dotting the country, citizens have the physical and psychological space to reconsider how our diverse and complex histories are memorialized. Which individuals, groups, or historic junctures merit monuments? Which lessons should be relayed to following generations? Are there particular formal devices or motifs new monuments can employ to better captivate and communicate with the public?
As the catalogue exhibition essay by Francesco Solinas says, she was a famously strong and combative woman whose unbridled ambition for success, wealth and higher social standing made her famous and successful during her lifetime. But reaching that goal took heroic struggle and for a long time, Baroque painting and art by women was marginalized.
Just as René Magrittes Surrealist paintings often rely upon unexpected juxtapositions of banal objects or scenes, a daylight sky and a nighttime street for example, so Banksy shocks by creating irrational correspondences.
Organized by art writer and curator Paul Laster, An Alternative Canon: Art Dealers Collecting Outsider Art presents nearly 75 artworks collected by some 30 dealers. The range of the works, shown salon-style in Edlins space near the New Museum, is remarkable.
Now online, this project inevitably represents a reduction of the original installation, but it is nonetheless a clever reframing that responds thoughtfully to its changed circumstances.
Drawings like those made by Jones, though accepted into the canon, remain at odds with what is generally thought of as art as a result of their sincerity and independence. It seems to me that this type of work, which arises out of the necessity of existential conditions, has the potential to collapse the often-arbitrary division between art and life.
The four-episode series resembles an educational nature show, with essays spoken over digital animation and found footage, narrated by nonbinary artists Mykki Blanco and Danny Orlowski. As its name implies, Metamorphosis takes multiple forms as an artistic project.
Moving past familiar questions about art, machines, autonomy, and authorship that have been around since the invention of photography, the generative artworks on view through Kate Vasss website offers a chance to think about our respective starting points, the steps we take, and how rules apply in this game of life.
These works capture one significant period in Gustons multifaceted career (or careers), hinting at the breadth of his artistic and intellectual reach.
Voigt conveys her conceptual imaginings in color and line. Her peregrinations lead us through a sea of hand-dyed blue paper that has a Disney-esque underwater appearance in which strange, sometimes almost identifiable forms swim or float.
Scott Benzel's new show at LA's Bel Ami gallery, Mindless Pleasures, gives viewers an important opportunity to contemplate the mysteries of deterministic chaos during this period of human history.
Without many of its external markers, the phenomenology of time has been profoundly altered: we exist in a constant negotiation between realities and temporalities. In its excavation of memoryboth personal and collectiveMaureen Catbagans recent painting series plumbs the psychological space of this uncertainty.
Though a small selection of works, In the Paint aptly demonstrates the foundation for Hendrickss explorations of aesthetic sensibility and racial identity that would predominate his decades-long career.
These abstract works do not recount a heros journey but bear witness to vibrant forces of nature through swirling forms, capricious brushstrokes, and passages of brilliant light. It is as if the forests in which Artemis hunted or the seas which wrecked Odysseuss ship are given agency in Garretts work and begin to tell their own tales of turmoil and splendor.
Ari Marcopoulos has understood photographys singular capacity to apprehend and comprehend the world. And as an artist who has produced around 250 books and zines as well as a number of short films, Marcopoulos is also sensitive to the archival time contained in the photographic medium, and he grasps the fact that this temporality often resonates both backwards and forwards.
The show is a collaboration between artists Nancy Shaver, Max Goldfarb, and Sterrett Smith. In their artist statement, they suggest that this collection of objects convenes like an exquisitely discordant" set of sounds, known as a wolf tone to musicians.
The musculature of Jiménezs figures is exaggerated but also flattened, and their genders are ambiguous. Most of them are closely-cropped figure studies, but a portion of them appear to be drawn from memory-scenes or TV broadcasts.
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 glass and steel material content in Sleep Close and Fast bespeak the disinfecting wipe-downs that businesses, including galleries, perform with regularity. The artworks advertise sanitation, a less comforting quality than it may seem.