Georges de La Tour. LEuropa della lucethe artists first retrospective in Italy bringing together 16 works out of the 40-odd ones that survived to this daysheds further light on de La Tour by placing him side by side with other artists who made the 17th century the golden age of nocturne.
Tucked into one of the many galleries of Mana Contemporary, a tobacco warehouse now repurposed as a creative hub in Jersey City, Global Alt Comics, on view at Scott Eder Gallery and curated by Alessandra Sternfeld, showcased work by seven female cartoonists and one queer cartoonist. Staples of the American underground, Mary Fleener and Trina Robbins, rising stars Lauren Weinstein and Gina Wynbrandt, voices of the international comics scene, such as Colombian-Ecuadorian Power Paola, Australian Tommi Parrish, and Catalan Conxita Herrero, and memoirist Gabrielle Bell, all found a spot in this exhibition, whose title was originally supposed to be “All Girl Thrills” after an all-female anthology edited by Robbins, sketches of which were also on view.
Public Images, a virtual exhibition now on view on the website of New York gallery Carriage Trade, a space that often interrogates big social and political issues, bursts precisely this frictionless conception of city-dwelling, exposing it as the ultimate illusion.
Few photographers have taken as many iconic photographs as Don McCullin (b. 1935). Think of the Vietnam War, and Shellshocked US Marine, The Battle of Hue (1968) will very likely pop up.
When CONDO first appeared in London in 2016, the idea behind the collaborative show envisioned by gallerist Vanessa Carlos was to provide galleries losing out to an increasingly return-on-investment-driven art market with a platform that would foster creative collaboration and experimental daring.
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.
As curators Martino Stierli and Vladimir Kulić illustrate, in Tito’s Yugoslavia, architecture was not only viewed as a way to reconstruct a physically ravaged country, and promote Pan-Slavic identity; it was also believed to be capable of making the abstract idea of a better society tangible.
Since his death in relative obscurity in 1827, William Blake has experienced a continuous revival that has turned him into a sort of artists patron saint, or as DJ and producer Martha Pazienti Caidan calls him, perhaps half-cheekily, a pioneer of slasher culture.
In a world in which Blackness continues to be fetishized and objectified even when it is celebratedYiadom-Boakyes oil paintings carve out a space where Black personhood, unconstrained by the nightmare fantasies of others, is finally afforded the luxury to be, to breathe.
Set in the cultural heart of El Valparaíso, Chile, it tells the story of Ema (Mariana di Girolamo)a young dancer who, in an attempt to reunite with the adopted son she previously returned to social services, breaks away from the curbing influence of her husband and Pygmalion.
When Nothing Personal first came out in 1964—just months after the passage of the Civil Rights Act and the assassination of President Kennedy—it was meant by its authors, the photographer Richard Avedon and the writer James Baldwin, as a blow to American myths and lies which, in their view, concealed a wasteland of loneliness and despair.