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Todd von Ammon and the gallery have together curated a menagerie of form: these objects may illustrate the history of sculpture, they certainly depict its various categories and typologies, and all are very small. They veer from the figurative to the abstract, the absurd and surreal to the conceptual and symbolic.
Double Take brings together five paintings from 202021 and 33 photographs by the New York-based artist Erick Johnson. Taken over the last five years, the 33 untitled photographs come from Johnsons Instagram feed @erickjohnson9. Mostly taken in New York, each one is a street scene that somehow triggered Johnsons aesthetic sense.
Innovation appears every once in a while. When it does, an encounter occasionally brings a full on coup de foudre. Wu Tsangs site-specific sonic sculptural space Anthem (2021) did this in spades for me, and is the not to be missed sensorial experience at the Guggenheim Museum on view through September 6.
In the process of creating what she calls self-cannibalized assemblages, Friedman-Pappas continually disassembles and rearranges found bits of driftwood, plastic figurines, half-chewed dog toys, phragmites, and other materials from the Freshkills area. The results are objects that appear to be neither hand-crafted nor found; they are weathered by wind or decomposed under layers of soil, but are simultaneously new.
Tales of Manhattan celebrates the quarter-century history of the gallery as a place for innovative art and an exemplar of the internationalism that has been central to New Yorks remarkable longevity as a cultural center.
The 12 modest paintings on view at Mother Gallery take on the ambitious challenge of Asian landscape painting. They are accompanied by five small but richly worked graphite drawings that hark back to Marshs 2016 residency at a garden north of Tokyo, where he experienced an autonomous realm of design based in nature.
Kozloff brings to bear her considerable Pattern and Decoration chops, reinterpreting with bold compositions and colors the plans created by Union and Confederate soldiers. On every map, she also paints renderings of the COVID-19 coronavirus, juxtaposing past and present in an urgent appeal to confront the forcespolitical, economic, and culturalthat have made this country as divided as it has ever been since the Civil War.
The vast expanse of Smithsons artistic vision is staggering, and in this exhibition, we are transported on a geological timeline from the Proterozoic to a futuristic possibility of entropic collapse.
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.
Martins career has been a gentle, deliberate burn. The consummate artists artist, his ingenuity and willingness to dive into possibility is that of tremendous envy from many younger artists. Light, famously, took to painting to proclaim his devotion after a stint in prison in 1966. His voice is sharp, urgent.
Waiting for the Bell, Andrew Cranstons first solo show in New York at Karma, presents a new direction in scale for his dreamlike and beautiful paintings. The show is split in two distinct sections: one contains many of Cranstons small paintings on book covers, which he is known for; the other includes eight large-scale paintings on canvas. These are the standout works in the show. Each has a restrictive color palette and depicts simple, oddly familiar and sparsely populated landscapes. A sense of stillness prevails over everything.
The sinister, tenebrific aura of Nguyens earlier works, like the macabre scene in Mary, Anne, Christ, and John (2018), is tempered in this recent show. Its true that his works still resist easy projection, but therein lies Nguyens main aesthetic claim: like good theology, his works make the familiar strange again.
In Lantern Strike (Strong Loneliness), her second solo exhibition at 47 Canal, Cici Wu presents nine sculptures, four drawings, and a video, all dated 2021, that invite us to expand our understanding of proto-cinema by letting light, perception, and philosophy lead the way.
In their two-person show at Ceysson & Bénétière, the abstractions of Rosy Keyser and Joseph Montgomery take us through an eclectic journey of Constructivism, Abstract Expressionism, Arte Povera, assemblage, and Minimalism into their own personal synthesis of painting and sculpture as frictional yet unified objects.
The readymade has long been one of the art worlds most misunderstood tropes.
Saul Chernicks Enlightened Objects are both physically and perceptively sensible.
At Gladstone, Wangechi Mutus sculptures stand alone, but at the Legion of Honor they mount a meta-critique of their environment.
Gathering materials that are aged, processed, transmuted, and repurposed, Johnson does not set his focus on fixed objects but in the way things evolve over time.
Conceived prior to the 2020 election and before coronavirus became common terminology, the Hammer Museums Made in L.A. 2020: a version, offers a trenchant and diverging array of artworks under the auspice of localityLos Angeles as a lens, however ambiguous.
As they were planning their joint exhibition at Ricco/Maresca, Alice Hope, Bastienne Schmidt, and Toni Ross agreed to choose an evocative object from the collection of the Metropolitan Museum of Art that would serve as an organizing principle for each artists portion of the show. To their surprise, all of them chose the same piece.
William Eric Browns ColorStatic is a highly innovative show of TV screen-like tablets, spotted with random shapes that look both like abstract paintings and the static ones that used to be found on televisions.
Chloë Basss The Parts, organized by the Brooklyn Public Librarys curator for visual art programming Cora Fisher outside the Central Branch in Grand Army Plaza and the Center for Brooklyn History in Brooklyn Heights, addresses both the isolation brought on by the pandemic and the trauma and exasperation of Black and brown Americans brought on by police killings.
The most recent exhibition by Los Angeles painter Daniel Gibson at Almine Rech summons various descriptors to mind: psychedelic, floral, surreal, Boschian. But the one that connects them all is autochthonous.
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.
Louise Bourgeois, Freuds Daughter, an exhibition of 47 objects including sculpture on pedestals, in suspension and multiplying in vitrines, plus large freestanding vitrine-pieces, a very large Cell installation, paintings, collage, drawings, notes, plaques, and reliefs by Louise Bourgeois, with a selection of especially eloquent quotations from Sigmund Freud, is an event that each of its subjects might have wished for, maybe even demanded.
Kley imagines heaven, or at least an alternate realm, not as an aery cloud-filled firmament, but of geometric perfection and the comforting repetition of vegetal forms, rolling waves, and architectural detail.
In June 2020, Mary Mattingly and More Art launched A Year of Public Water, a collaboration that uses various platforms to inform its audience about the sources of New Yorks water supply.
The structures that occupy these intensified spaces at Mana incite feelings of hyper-sensitivity, impossible to categorize through any specific artistic means or style.
There is a light touch here that nonetheless manages to be immersive. The retrospective is selective in its offerings, and though much is necessarily missing, there is no sense of lack, but rather encouragement to seek out more on your own.
Through her work, Brice reclaims the female nude, depicting a cast of women who do not perform for the pleasure of the male gaze, but for their own.
In John Dilgs paintings, dusk and dawn are suffused with green, and the color seems as inevitable as the setting and rising of the sun. His is an old green, like celadon or lichen, that makes the hues of spring shoots seem rather showy.
Maren Hassinger’s new work, commissioned for Dia Bridgehampton, frays the boundaries between artistic genres by circling back to a formative material, process, and politics of her five-decade practice: fiber.
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.
Border Crossings and its accompanying, richly illustrated catalogue highlight important issues for the reception of art across the ideological boundary between North and South Korea.
Relying on devices familiar to cinema and theater such as darkened rooms, outsized projection, and spectacle, teamLab aims to make visitors participation integral to the fruition of their artworks in the service of democratizing art.
In The Forever Museum Archive_Circa 6000BCE Onyedika Chuke presents new iterations from his decade-long ever-expanding body of work, The Forever Museum Archive. The archive includes an assortment of art and non-art objects, hand-made sculptures, texts, and moving images.
Works by 20 artists are included in this wood-themed show.
These two exhibitions showcase the way sculpture functions as a trigger.