Sep 202020
 

Numerous prints of Ruth Bader Ginsberg by David Barthold are popping up around Brooklyn after her passing on September 18th, 2020.

Jun 222020
 

Everything is falling apart according to plan, one of artist and writer John Tottenham’s works from his show The Indifferent Sublime, at Maloney Fine Art in Culver City in 2014.

Jun 052020
 

For more of Brooklyn artist David Barthold’s work, check out his website and Instagram

May 182020
 

 

Two works from Museum of Latin American Art’s outdoor sculpture garden, just one of the great things about this Long Beach museum.

Currently they are showing Arte, Mujer, y Memoria: Arpilleras from Chile; Dreamland: A Frank Romero Retrospective En Vision: Picturing the Self -selected pieces from MOLAA’s Permanent Collection in conversation with self-portraits by students of Las Fotos Project, a community-based nonprofit organization that inspires teenage girls through photography, mentorship and self-expression; and the work of Afro Cuban artists José Bedia and Belkis Ayón; in addition to work from the museum’s permanent collection, as part of their Museum en Casa online programming.

Apr 182020
 

One of artist Sean Duffy’s Road Signs, part of a group exhibition in 2013 at Vielmetter Los Angeles.

Feb 132020
 

For its inaugural exhibition at its Chelsea New York location, Mucciaccia Gallery is showing the work of Yayoi Kusama. The show includes sculptures, her signature infinity polka dot paintings, and several of her works on paper.

This exhibition closes 2/15/20.

Jan 302020
 

It’s the last week to see Swoon: Cicada at Jeffrey Deitch’s New York location. This exhibition of Caledonia Dance Curry (aka Swoon)’s work includes a sculptural installation, drawings, and a stop motion film.

From the gallery’s website-

Cicada marks a new development in Swoon’s practice. A celebration of rebirth and transformation, the exhibition at 76 Grand Street features recent films, drawings, and installations in which her personal story becomes more central.

Moving away from her street pasted portraits that encouraged the viewer to imagine a background story, Swoon now creates narratives that draw from her personal history as well as classical mythologies. She is also inspired by the handcrafted quality of silent era and 20th-century folkloric films. In her stop-motion animations, fragments of the subconscious coalesce into subliminal images. Open-ended stories unfold and weave recurring motifs such as birth, divination, trauma, and healing.

Swoon’s stop-motion films emphasize the body’s ability to serve as a vessel carrying memories and traditions. A house, a ship, and human figures split and open to liberate a cast of imaginative and mythological creatures trapped inside. The central figure is the “Tarantula Mother,” a half-human, half-spider allegory that evokes traumatic memories from childhood. Swoon’s response to parts of her family history – and the legacy of her parents’ addiction and substance abuse – has recurred throughout her work. These components inflict a strong element of realism to the films, grounding the otherwise- whimsical atmospheres of Cicada.

In Swoon’s work, the sea often constitutes the physical and metaphorical ground for possible encounters. In Cicada, underwater scenarios become a psychological space for introspection and subconscious explorations. Surrounded by new sculptures and her portrait series, Cicada allows viewers to immerse themselves into Swoon’s world, creating a vivid experience embedded in the present moment.

Swoon’s inner circle of friends is the subject of a new series of drawings included in the exhibition. The intimacy of these portraits recalls the romantic and humane spirit of her earlier street pasted works. A tableaux vivant of performers will accompany the exhibition on the opening night, renewing her interest in the counter culture of collectives and carnivals. Whether presented without permission or realized in a traditional gallery or institutional space, Swoon’s work connects with viewers on an emotional level.

The sculptural work is incredibly intricate and its amazing watching it come to life in the film.

This exhibition closes 2/1/20.

 

Jan 172020
 

It’s the last week to see Robert Longo’s eight hyperreal charcoal drawings from his “Destroyer Cycle” at Metro Pictures.

From the press release-

The title (of the exhibition) Fugitive Images refers to the transitory appearance and displacement of impactful media images from across the globe. Longo believes it is morally imperative to secure their permanence.

Longo’s drawing of Jamal Khashoggi is central to the exhibition, which includes works depicting a range of world events from disparate locations. The journalist is shown disappearing into a field of static that recalls a television with poor reception, struggling to maintain the picture. In stark contrast to the evanescent portrait of the murdered journalist is a deeply humane drawing of a mass of migrants on a grueling journey from Central America. The work focuses on the faces and personal effects of the individual men, women, and children, who appear desperate and exhausted. Another drawing that shares the main gallery counters this sympathetic sentiment, showing a choreographed military parade of North Korean soldiers in an exaggerated, highly athletic, mechanized goose step commonly associated with dictatorial regimes and blind obedience.

The reference images that are the basis of Longo’s drawings are generally extensively altered and merged. His drawing of a Jewish cemetery in France crudely vandalized by Neo-Nazis is an exception. Longo maintains the legibility of the tombstones despite the spray-painted swastikas, which fail to obscure the engraved epitaphs of the people buried there––a widow, a religious man who lived a long life, and an honest hardworking man who died on Shabbat.

The exhibition ends with a moment of optimism, determination, and progress. Longo’s drawing of Congress during President Trump’s second State of the Union Address immortalizes the female representatives and lawmakers who chose to wear white in solidarity with the suffragette movement by portraying them as a blurred beacon of light within a sea of darkness.

This exhibition closes 1/18/20.

Jan 162020
 

Drink More, 1964 by Ushio Shinohara (left piece) and Untitled, 1980s by Nobuaki Kojima (sculpture on right)

Souvenir, 1964, by Jasper Johns

Shadow of a Hanger, 1971 by Jiro Takamatsu

Japan is America at Fergus McCaffrey gallery in Chelsea “explores the complex artistic networks that informed avant-garde art in Japan and America between 1952 and 1985. Starting with the well-documented emergence of “American-Style Painting” that ran parallel to the Americanization of Japan in the 1950s, Japan Is America endeavors to illustrate the path and conditions from Japanese surrender in 1945 to that country’s putative cultural take-over of the United States some forty years later”.

Artists in the show include: Yuji Agematsu, Ruth Asawa, James Lee Byars, John Cage, Joe Goode, Sam Francis, Marcia Hafif, Noriyuki Haraguchi, Tatsuo Ikeda, Shigeo Ishii, Ishiuchi Miyako, Jasper Johns, Alison Knowles, Nobuaki Kojima, Tomio Miki, Sadamasa Motonaga, Hiroshi Nakamura, Natsuyuki Nakanishi, Senga Nengudi, Yoko Ono, Ken Price, Robert Rauschenberg, Ed Ruscha, Richard Serra, Ushio Shinohara, Fujiko Shiraga, Kazuo Shiraga, Jiro Takamatsu, Anne Truitt, and Toshio Yoshida.

This exhibition closes 1/18/20.