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Ann Craven: Animals Birds Flowers Moons

Something seems to have changed between Ann Craven’s last Karma exhibition in 2018 and Animals Birds Flowers Moons, the current exhibition. Individual works now advance a particularly estranging form of romanticism with even more boldness and adventure than before.

Broken Dishes

Shaver consciously seeks to remove the notion of traditional gallery etiquette and hierarchy: the artists’ works are tangled together—their placement is about concept, not convenience—and while the works share aesthetic affinities, this is not a group show in the typical sense but more of a collaborative presentation.

Tiffany Sia: Slippery When Wet

Sia’s ontological approach to the “glocal” (although she never mentions the term in the show—maybe it died out in the early aughts?), spectacle, and landscape at/from/through her home of Hong Kong recalls this same a-historical, locality-driven condition.

Marina Xenofontos: I DON’T SLEEP, I DREAM

For an unusually long time, it felt like Marina Xenofontos’s solo show, I DON’T SLEEP, I DREAM, was stuck in perpetual postponement. Originally planned to go ahead in March 2020, it was re-scheduled for December 2020 before a second strict lockdown.

Marina Perez Simão: Tudo é e não é

Mostly large scale, each of the 23 oils on canvas translates Simão’s observations through her São Paulo studio’s window into liquid landscapes. Beyond what the eye sees, they defy geographies, optics, and harmonies of the material world.

Rebecca Shore: Green Light

Neither symbolic nor literal, Shore’s emerald forms seem to hover outside of time and space, occupying an elusive realm where illusionism and geometric abstraction merge in a dynamic but uneasy tension.

Clayton Patterson: Beauty Mark

This series of more than 300 images, carefully selected from Patterson’s archive by curator Gryphon Rue, covers a relatively brief but volatile period between 1985 and 1999, during which Patterson played an important role as documenter of the vibrant culture, crime, and transformation of the Lower East Side.

Man Ray & Picabia

Historically speaking, some observers would argue that Man Ray and Picabia, the subjects of a joint show currently on view at Vito Schnabel, became important because Dada made them important. But this is not altogether true.

Talia Levitt: My Moon

Levitt’s works sensitively depict objects atop tapestries which are cropped to suggest clothing or the body. A grid overlays the patterned backgrounds of the paintings, resulting in an acrylic texture that mimics a textile weave.


jc lenochan is a teacher and activist in New York, and his commitment to anti-racist education shows in his rhetorical artworks.

Adam Straus: Still Looking for the Promised Land

Adam Straus is Still Looking for the Promised Land. A romantic at heart, he’s as humbled by nature’s transcendent beauty as he is unnerved by humanity’s ugly relationship with it.

Tomoko Amaki Abe: Respire

Ecologically-minded art like Abe’s reminds us, in poetic fashion, not only of what we have lost, but what we can keep alive of nature in our imagination.

Kenneth Tam: Silent Spikes

Kenneth Tam collaborates with groups of men who are willing to investigate, with him, collectively, the liminal space between vulnerability and masculinity, sensuality and sexuality, performance and selfhood, belonging and otherness.

Auriea Harvey: Year Zero

Year Zero offers a compelling argument for dismissing distinctions between physical and digital art as Auriea Harvey's digital and material practice merge in this impressive body of sculptural works.

Adam Henry: God Speed Speed Demon

Whether working with bursts, mists and sprays, glossy finishes, expanses, or intense nodes of pure color, Adam Henry is visually indulgent in the minimal style of an ASMR recording, distilling painting down to the most basic stimuli that evoke a pleasurable response.

Stephanie Syjuco: Native Resolution

Working with archives at the Smithsonian National Museum of American History and the National Museum of Anthropology, Syjuco desecrates colonialist photographs that aim, as Hito Steyerl argues, to “[measure] the resolution of the world as a picture.” She photographs early 20th-century ethnographic images and reproduces them as photogravures crumpled and mounted on cotton rag, pixelated ink jet Headshots, digital collages, and photo composites.

Peter Kennard: On Hannah Arendt: ‘The Concept of History’

In the three bodies of work on display, which span the artist’s more-than-50-year career—Kennard portrays humanity as a faceless mass in the thrall of greater impersonal forces: militarism, repressive state apparatuses, unfettered markets, austerity.

Chloe Wise: Thank You For The Nice Fire

Since her breakout moment in 2014 when she was catapulted into an arena where art meets fashion meets popular culture, Chloe Wise has become an art fair darling and has demonstrated herself as a witty observer of, and participant in, her millennial generation and culture.

Robert Grosvenor and David Novros

Taking advantage of Paula Cooper Gallery’s West 26th Street double storefront windows, Robert Grosvenor has placed a floor-bound sculpture in each space.

Chitra Ganesh: A city will share her secrets if you know how to ask

As this year’s QUEERPOWER commission, Chitra Ganesh has filled 10 panels of Leslie Lohman’s façade with images of queer activism, joy, and meditations on history, possibility, and gentrification.

Lee Krasner: Collage Paintings 1938–1981

Kasmin’s current exhibition is presented in collaboration with the Pollock-Krasner Foundation and contains several masterpieces from the very debut of her collage paintings at the Stable Gallery in 1955.

Otis Houston Jr.

In a new exhibition at Gordon Robichaux, the textures of sociality that charge Otis Houston Jr.’s street performances take up new dwelling in a gallery space.

William Corwin: Green Ladder

Ladders appear across spiritual traditions linking the lower and upper, the earthly and material with the everlasting and transcendent.

Tad Beck: Eyes Of

One approaches the montages squinting, blinking, and straining to piece together their arrangements. No matter how hard the viewer attempts to “get it,” the works’ resolution remains just out of reach.

Cordy Ryman: Constellations

Cordy Ryman has long made a practice of installing works to suit the context of a specific gallery space, and his current exhibition at Freight + Volume is no different.

You Are Not Wonderful Just Because You Are a Mother

In the second annual Artist/Mother Podcast exhibition, juror and curator Qiana Mestrich takes up the problematic fact that a woman’s social value is often determined by whether or not she is a mother.

Lost & Found

Lost & Found is an invitation to stop, take a breath, and engage with these artworks sans an agenda, perhaps to discover the unexpected.

Bat-Ami Rivlin: No Can Do

Rivlin abandons the impulse to make unlikely or surprising combinations of things convey a message, or play a role, if even a small one. The sculptures rather act out on their own, bringing attention to a permanent wound they share, not broken, repurposed, or fixed, but indefinitely repairable.

David Alekhuogie: Naïveté

Hidden in a riot of pattern, color, and spatial uncertainty, David Alekhuogie’s inaugural exhibition at Yancey Richardson is a biting treatise on the prescribed views of African art in the Western mind and the power of photography to influence an entire generation’s cultural ideas.

Alexander Calder: Modern from the Start

The Museum of Modern Art considers Modern from the Start the story of a relationship to its first and only “house artist.”

Chloe Wise: Thank You For The Nice Fire

We live, Wise says, in a new edition of W.H. Auden’s “ The Age of Anxiety” (1947), where the intimate relationships we crave may be dangerous traps, where what we eat to stay alive may poison us.

Boyle Family: Nothing is more radical than the facts

In their first solo presentation in New York in over 40 years, the Boyle Family’s “earthprobes” are disorienting re-creations of randomly selected areas of the earth’s surface, made from resin, fiberglass, and found materials, that combine Robert Smithson’s earthiest visions with the uncanny eeriness of a Duane Hanson clone.

Kyoung eun Kang: TRACES: 28 Days in Elizabeth Murray's Studio

Each morning for 28 days, performance artist Kyoung eun Kang inhabited the late Elizabeth Murray’s upstate New York studio. These sessions, recorded with a stationary camera, have been edited into a two-hour single-channel wall-sized video projection that makes Murray’s studio seem like a continuation of the physical space of A.I.R.’s darkened Gallery II.

Justine Kurland: SCUMB Manifesto

Riffing on Valerie Solanas’s 1967 feminist broadside announcing “the society for cutting up men” (SCUM), Kurland’s project adds a silent B to indicate that, here, it is men’s books that are being cut up.

Karon Davis: No Good Deed Goes Unpunished

With a cornerstone of the party’s politics on full display, Davis brings our focus to the grassroots community organizing Seale and the Black Panthers were known for. Half a century later, lies perpetuated by the US government still surround the activist organization whose free breakfast programs fed school children in dozens of cities across America. In her newest work, Davis sets the record straight.

Giuseppe Penone: Leaves of Grass

Sculptures, installations, assemblages, photographs, and other works executed by Giuseppe Penone and his Arte Povera colleagues often look off-kilter and slightly madcap. Think DIY. Or picture these Italian artists, active since the late 1960s and early ’70s, stranded on a deserted island and joyously making art from found materials.

Degree Zero: Drawing at Mid Century

Curator Samantha Friedman has made a sensitive selection of some 80 drawings from MoMA’s international pool of artists working between 1948 and 1961.

Olafur Eliasson: Your ocular relief

Olafur Eliasson’s show at Tanya Bonakdar Gallery represents a focusing of energy and a break from the pressure of producing vast displays, offering “ocular relief,” a kind of COVID-deflecting eye candy for our society under pressure.

Liliane Tomasko: We Sleep Where We Fall

Liliane Tomasko’s new paintings, all made in 2019 and 2020, are about liminal states. In the gallery announcement she says: “maybe during those hours spent in this almost unconscious state, something is illuminated that cannot be seen in the brightness of the day.” Her art aims to recover and represent these experiences.


The Brooklyn Rail

APRIL 2021

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