Ann Craven: Animals Birds Flowers MoonsBy David Rhodes
Something seems to have changed between Ann Cravens 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 DishesBy William Corwin
Shaver consciously seeks to remove the notion of traditional gallery etiquette and hierarchy: the artists works are tangled togethertheir placement is about concept, not convenienceand 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 WetBy Maddie Klett
Sia’s ontological approach to the glocal (although she never mentions the term in the showmaybe 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 DREAMBy Chloe Stavrou
For an unusually long time, it felt like Marina Xenofontoss solo show, I DONT 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 éBy Osman Can Yerebakan
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.
Rebecca Shore: Green LightBy Jared Quinton
Neither symbolic nor literal, Shores 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 MarkBy Nicholas Heskes
This series of more than 300 images, carefully selected from Pattersons 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 & PicabiaBy Robert C. Morgan
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 MoonBy Joachim Pissarro and Dana Notine
Levitts 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: UNDOING WHITE MESSBy Billie Anania
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 LandBy Joyce Beckenstein
Adam Straus is Still Looking for the Promised Land. A romantic at heart, hes as humbled by natures transcendent beauty as he is unnerved by humanitys ugly relationship with it.
Tomoko Amaki Abe: RespireBy Jonathan Goodman
Ecologically-minded art like Abes 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 SpikesBy Helen Georgas
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 ZeroBy Charlotte Kent
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 DemonBy William Corwin
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 ResolutionBy Ekalan Hou
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’By Bartolomeo Sala
In the three bodies of work on display, which span the artists more-than-50-year careerKennard 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 FireBy Susan Harris
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 NovrosBy Amanda Gluibizzi
Taking advantage of Paula Cooper Gallerys 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 askBy Amber Jamilla Musser
As this years QUEERPOWER commission, Chitra Ganesh has filled 10 panels of Leslie Lohmans façade with images of queer activism, joy, and meditations on history, possibility, and gentrification.
Lee Krasner: Collage Paintings 19381981By Mary Ann Caws
Kasmins 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.By Zoë Hopkins
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 LadderBy Charlotte Kent
Ladders appear across spiritual traditions linking the lower and upper, the earthly and material with the everlasting and transcendent.
Tad Beck: Eyes OfBy Yxta Maya Murray
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: ConstellationsBy David Rhodes
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 MotherBy Robert R. Shane
In the second annual Artist/Mother Podcast exhibition, juror and curator Qiana Mestrich takes up the problematic fact that a womans social value is often determined by whether or not she is a mother.
Lost & FoundBy Hovey Brock
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 DoBy Nicholas Heskes
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: NaïvetéBy Graham W. Bell
Hidden in a riot of pattern, color, and spatial uncertainty, David Alekhuogies 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 generations cultural ideas.
Alexander Calder: Modern from the StartBy Brandt Junceau
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 FireBy Alfred Mac Adam
We live, Wise says, in a new edition of W.H. Audens 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 factsBy Mark Bloch
In their first solo presentation in New York in over 40 years, the Boyle Familys earthprobes are disorienting re-creations of randomly selected areas of the earths surface, made from resin, fiberglass, and found materials, that combine Robert Smithsons earthiest visions with the uncanny eeriness of a Duane Hanson clone.
Kyoung eun Kang: TRACES: 28 Days in Elizabeth Murray's StudioBy Robert R. Shane
Each morning for 28 days, performance artist Kyoung eun Kang inhabited the late Elizabeth Murrays 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 Murrays studio seem like a continuation of the physical space of A.I.R.s darkened Gallery II.
Justine Kurland: SCUMB ManifestoBy Robert Slifkin
Riffing on Valerie Solanass 1967 feminist broadside announcing the society for cutting up men (SCUM), Kurlands project adds a silent B to indicate that, here, it is mens books that are being cut up.
Karon Davis: No Good Deed Goes UnpunishedBy Folasade Ologundudu
With a cornerstone of the partys 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 GrassBy Phyllis Tuchman
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 CenturyBy Barbara A. MacAdam
Curator Samantha Friedman has made a sensitive selection of some 80 drawings from MoMAs international pool of artists working between 1948 and 1961.
Olafur Eliasson: Your ocular reliefBy Jason Rosenfeld
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 FallBy David Carrier
Liliane Tomaskos 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.