I like a lot of what I saw at the third BRIC Biennial, but I collect articles abandoned on Brooklyn curbs. Human teeth, intact ponytails, the remnants of birthday balloons, a torn copy of Sarah Waters's Tipping the Velvetthese are a few of the objects on view.
Lesley Vance swirls her powerful colors over the canvas until she dominates the entire surface. Horror vacui or will-to power? Probably equal doses of both, but the utter assertiveness of her ribbons of color in these nine oils on canvas mark her as a conquistador.
Double Existence presents works on paper and sculpture that offers the "double" perspective of someone coming from a culture very different from the one he lives and works in now; it may also be true that "double existence" refers to the double lifeinternal and externalwe experience during the course of our existence.
American Standard is the product of a resolutely original mind and represents an expansive view of the nation in the momentit is exacting in its technique and sharp in its cultural commentary.
Descending a flight of stairs into the sunken gallery, the syrupy sounds of a '60s exotica album echo off a tiled floor. A large hardbound reference book is propped up on a bookstand. It is opened to a page with a black and white photograph of a darkened room containing what looks like the shell of an observatory, brightly illuminated from the inside.
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.
Using a combination of casting, 3D printing, and hand modeling, Pondick has refined her methods of fabrication in pigmented resin and cast acrylic, which she combines in constantly changing relationships.
Incrediblygiven the quality of the paintingsthis is Robert Duran's first showing in New York City since 1977. The exhibition, comprising seven acrylic on canvas and eleven watercolor on paper paintings from 1968 to 1970, locates Duran's work at a particularly divisive moment for contemporary art in general and painting in particular.
“My paintings used to be dense and layered, and lately I’m separating out the parts.” This was Keltie Ferris’s remark in a September 2015 interview with Jason Stopa about her exhibition that year with Mitchell-Innes & Nash.
Wilmer Wilson IV is a performance artist who makes sensuous objects, the process of whose creation leaves traces that inform the meaning of the artworks.
At Open Source Gallery, 60 white porcelain hatchets, patterned with red and blue florals, tumble end over end in a shallow arc along the length of the gallery. Suspended from the ceiling by threads of clear fishing line, they fly as if thrown.
Chambers Fine Art’s exhibition Adrift highlights four young artists grappling with China’s version of being a millennial.
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.
Viva Ruiz is the daughter of Ecuadorian immigrants, a Queens native, and an artist for whom showing in a gallery is the exception rather than the norm.
At the very moment that the European Union appears on the verge of splintering, with Britain’s impending Brexit on March 29, four concurrent monographic and single venue exhibitions have celebrated artists central to fin-de-siècle Symbolism, the last truly unified movement in European art.
As my taxi dropped me off on a cobblestoned street, there was no sign of the Cuenca Biennial.
Margrit Lewczuk has, as they say, a thing for angels. She has summoned 18 of them for this show, along with two paintings of birds and four of wings: a veritable heavenly host.
Starting with iPhone photos, some dating back to 2009, Levenstein employs a conceptual process of selecting and expanding or shrinking images without the aid of a projector. It is a manual translation of the intimacy of the phone screen, first to drawings and then to oils.
Seldom does a contemporary art exhibit leave an aftertaste of joy. But this one does.
Immediately upon entering Waddington Custot gallery, photographer Nick Brandt's series "This Empty World" dazzles with its imposing scale, colorful detail, and technical ambition.
A view of a landscape opens with Kevin Beasleys relief, The Reunion (2018), a heavy slab of guinea fowl feathers, Virginia soil, and cotton built up and suspended in polyurethane resin.
In a lush new series of works at Rubber Factory, Bushwick-based artist Jon Key layers personal realities, myths, and acrylic paint in the spaces between body and landscape.
Luke Stettners current exhibition at Kate Werble Gallery, ri ve rr hy me sw it hb lo od, is a heavy show. I do not use the word heavy lightly.
David Byrd died in 2013 at the age of 87 in Oxford, New York. Since then his paintings have gradually received attention, resulting in a number of exhibitions in recent years
Turkish artist Banu Cennetoğlu, in her first US solo exhibition at SculptureCenter, curated by Sohrab Mohebbi with Kyle Dancewicz, assembled an archive of every video file and photograph she has taken over a twelve-year period into one continuous reel.
SWEAT SHAME ETC. succeeds, but as an exhibition, the intense dialectic its title proposes is engulfed by the etcetera.
What does history look like? Jacob Lawrence's series of fifteen prints on Toussaint L'Ouverture, displayed at DC Moore gallery, invites us to contemplate the complexities of a historiographic intervention within the context of aesthetics.
The scale, calm, and quietude of Daniel G. Baird's second solo exhibition at PATRON Gallery are befitting of its title: murmur. Indeed, the prevailing features of the installation are its dimness and the burbling hum of tiny fountains.
Yukultji Napangati paints timelinesyellow and orange dots connected by undulations that curve and spiral, submerging the viewer within the immensity of a vibrating sea. Time through lines, and yet outside of time.
Nothing is obviousthere is no face, rather a series of brushstrokes fill in for a face, itself flanked by a flurry of criss crossed marks motioning the wind of a wing otherwise invisible on either side of the central form. There is something deeply mysterious and poignant in the immediacy of Lewczuk's Angels.
The Bristol-based Clayton's new show at the southeast London gallery Gasworks uses archival material to simulate this emigration from one international mining hub to another. Titled Quantum Ghost, the installation considers inorganic matter is the vital agent driving international flows of capital and the coerced movement of bodies.
Everyday events are deceptive in that their very ordinariness can remain transparent to us. It is a somewhat irrational human impulse to maintain a more exalted interval between the art of life and naked subsistence. Who hasn't harbored a secret wish, formed perhaps in the magical thinking of childhood, that we can be artists of our own lives, authors of our own destiniesthat we can make "me" a world.