Mar 152022
 

Artist Sophie Calle’s Here Lie The Secrets of the Visitors of the Green-Wood Cemetery, a 25 year long public artwork. The project debuted on April 29th and 30th, 2017.

From Creative Time’s website-

To inaugurate the project, the public was invited to Green-Wood Cemetery, a National Historic Landmark, in Sunset Park, Brooklyn, to privately unburden and inter their most intimate confessions.

During the two-day opening, in a setting nestled among the mausoleums and monuments of Green-Wood’s verdant rolling hills, visitors transcribed their secrets onto paper, and deposited them into the earth below, through a slot on a marble obelisk of Calle’s design. The artist was on hand during the two-day event to receive some visitors’ secrets.

The two-day performance was free and open to the public. Guests were invited to spend the day exploring the sculptures and monuments throughout Green-Wood, a tradition that dates back to the early 1800s. Free maps of the cemetery, specially designed to accompany Calle’s installation, were be available. Guided walking tours emphasizing the cemetery’s symbols and iconography were offered at no cost.

Visitors to the Cemetery can now see Calle’s installation during regular cemetery hours and independently deposit secrets into the marble obelisk. Calle has also pledged to return periodically over the next 25 years, each time the grave is filled, to exhume and cremate them in a ceremonial bonfire service and moment of remembrance.

Everyone has a secret to tell, now there’s a place to put one of yours.

 

Mar 102022
 

Sharon Norwood’s Polite Conversation, 2019, part of Spaces Between, the 2021 artist-in residence group show at McColl Center in Charlotte, North Carolina.

She currently has a solo show at Washington and Lee University Museums in Lexington, Virginia, running until May 28th, 2022.

Oct 112021
 

Happy Indigenous People’s Day! The work above, Because You Enter My House, It Becomes Our House, is by Choctaw-Cherokee artist Jeffrey Gibson. The sculpture was commissioned for Socrates Sculpture Park in New York, but is currently located at deCordova Sculpture Park and Museum in Lincoln, Massachusetts.

The deCordova website gives the following information about Gibson and the work-

Jeffrey Gibson weaves together his Choctaw-Cherokee heritage and queer identity into vibrantly patterned painting, sculpture, video, performance, and installation. Drawing on Indigenous process and materials and queer camp aesthetics, his artistry aims to transcend binary thinking and corrects nostalgic views of indigeneity. Merging styles and historical references, Gibson states, “I have continued to think about my practice as encompassing the past and present while considering the future.” Gibson often integrates phrases and words into his artwork, with language drawn from pop songs to activist slogans, to offer open-ended declarations of love, community, and liberation.

Standing over 40 feet wide and 20 feet tall at the entrance to deCordova’s Sculpture Park, Gibson’s Because Once You Enter My House, It Becomes Our House commands attention to its stepped form and psychedelic facade. Originally commissioned by Socrates Sculpture Park in Long Island City, this installation expands Gibson’s signature artistry and collaborative process to a monumental scale. He took inspiration from North American Indigenous history, as well as queer nightlife to create this monument advocating for Indigenous space and culture. The tri-layered form references the earthen forms of the ancient Mississippian city of Cahokia which flourished in the seventh through the fourteenth centuries before European contact.

The title, Because Once You Enter My House, It Becomes Our House, comes from the song “Can You Feel It” by Mr. Fingers (Larry Heard). Gibson evokes 80s and 90s-era house music and night clubs as they provided welcoming spaces for queer communities and people of color. Mr. Finger’s lyrics embrace intimacy, generosity, acceptance, and community. This installation echoes this broad communal ethos as Gibson invited fellow Indigenous artists–Eric-Paul Riege (Diné), Luzene Hill (Eastern Band of Cherokee Indians), and Dana Claxton (Hunkpapa Lakota)–to co-create the wheat-pasted posters covering the façade of the installation and stage performances on and around the ziggurat.

Oct 052021
 

Kim Anderson, “Alone Together”, 2021

Stereoscope for viewing the above painting

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the Tampa Museum of Art. The museum has a video playlist on YouTube that includes all of the artists in the exhibition discussing their work. The links below are to the artists’ websites or those videos.

Selina Román “XS” 2019

For Selina Román’s XS series, she created abstract self portraits that examine standards of beauty in relation to expectations of weight and body. The title XS references an extra small size and alludes to the word excess.

This exhibition closes 10/10/21.

 

Sep 202021
 

Jake Troyli, “Shhh…this is the best part!”, 2018

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the The Ringling in Sarasota. I’ve included links for these artists as well as those not pictured.

Heather Rosenbach, “American Dream Byproduct”, 2018

Heather Rosenbach, “Class Warfare Shooting Star”, 2019

Eric Ondina, “Miss 911”, 2018

Eric Ondina, “Miss 911”, 2018 (detail)

Eric Ondina, “Palms”, 2020

Eric Ondina, “Keep the Change”, 2020

Ya Levy La’ford “American/Rōōts”, 2021

This exhibition closes 9/26/21.

 

Aug 142021
 

Casey McDonough “the immeasurability of this cosmological collider”, 2021

Casey McDonough “the immeasurability of this cosmological collider”, 2021 (detail)

Casey McDonough “the immeasurability of this cosmological collider”, 2021 (another view)

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at USF Contemporary Art Museum. I’ve included links for these artists as well as those not pictured.

Cynthia Mason, “Limp Grid with Arm”, 2021

Cynthia Mason, “Limp Pricks and Plants in Rising Water” 2021

Akiko Kotani, “Red Falls”, 2021

Akiko Kotani, “Red Falls”, 2021 (detail)

This exhibition closes 9/1/21.

 

Aug 132021
 

Dolores Coe “Perimeter”, 2019

Dolores Coe, “Borderland”, 2020

Dolores Coe, “Borderland”, 2020 (detail)

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the Museum of Fine Arts, St. Petersburg. I’ve included links for these artists as well as those not pictured.

Gabriel Ramos, “Mi Isla”, 2021

Gabriel Ramos, “Mi Isla”, 2021 (detail)

Savannah Magnolia, “Chemical Inhalation”, 2019

Savannah Magnolia “In Big Pharma We Trust”, 2019

Savannah Magnolia “In Big Pharma We Trust”, 2019 (detail)

Savannah Magnolia “In Big Pharma We Trust”, 2019 (detail)

Keith Crowley, “Rain Season”, 2019

Keith Crowley, “Nocturne”, 2020

Bassmi Ibrahim, “Awareness 41”

Bassmi Ibrahim, “Isness 158”

Bassmi Ibrahim, “Isness 158” (detail)

The exhibition at this location closes 8/22/21.

Aug 112021
 

Rapunzel, 2021

Fruity, 2021

Fee-fi-fo-fum, 2021

Good Hair, 2021

Lisson Gallery in New York is currently showing Hugh Hayden: Huey. This new body of work by Hayden “examines the American experience via agency, appearance, athletics and religion” and “interweaves symbols of the institutions that play key roles in an American upbringing with equally ever-present fairy tales to produce a new series of sculptures in wicker, vine, and ebony.”

More from the press release-

Hugh Hayden has previously examined the concept of the American Dream as well as the role historical foodways and dining traditions have played in shaping American identity. For Huey, the Texas-born artist chronicles and remixes his upbringing in the American South. Church, sport, school and hair are highlighted as Hayden probes the ingrained nature of cultural expectations. The exhibition is split into a trinity of rooms: a barber shop cum sanctuary, a basketball chapel and an ebony crypt, all of which harbor Hayden’s meticulously sculpted, sawed, sanded and woven objects.

The sanctuary features “Good Hair,” a new body of bristled wooden works that explore expectations of appearance and refinement in obligatory adolescent participation in athletics, education and religion. For Hayden the bristles render a subject simultaneously desirable yet uncomfortable, creating order via an abrasive action that, like the American Dream, is challenging and difficult to inhabit.

In the second chapel-like space hang woven basketball hoops out of hair, rattan and vine. The works are a childhood reimagination of the iconic peacock chairs the artist grew up with as well as an homage to the 1967 portrait of Black Panthers co-founder Huey P. Newton seated in one. The braided and woven works conflate tedious domestic handwork with hypermasculine athletics to materialize a queerness at odds with the fairy tale-like aspirations and reservations of becoming a professional athlete.

The final room of the exhibition is a meditation on agency, blackness and invisibility. Works sculpted from Gabon and Texas ebonies are presented in a daylight-lit, all-black room shifting in and out of visibility. Sculptures that reference the body, both moving fast as well as relaxing, offer an opportunity to reflect on the many hues of blackness.

This exhibition closes 8/13/21.

Aug 102021
 

summer syllables, 2021

soft, dark, demigod, 2021

marshling, 2021

Currently at Jack Shainman Gallery is Diedrick Brackens: Rhyming Positions, the artist’s second exhibition with the gallery. Brackens’ weavings use nature as symbolism to tell stories about the current world.

From the press release-

In several tableaux situated in nature, Brackens plays with the idea of creating home in a wild space, honoring the outdoors as a place in which queerness lives. This is a nod to the history of queer and femme folks who have gathered in nature, creating safe spaces for ritual and communion. This notion of commune is present in summer syllables, in which two figures stretch in lyrical movement, seemingly fashioning loops out of their own bodies, as if flowing one into the other within a vast, yellow landscape. In soft, dark, demigod, a figure bends over, caught within a thicket of roses in full bloom. This moment is indicative of Brackens’ own observation of the outside world over the course of the past year, as he has relished in these quiet moments of continued life as flowers grow. The presence of roses hint at the sensuality and eroticism that are apparent throughout this body of work and in Brackens’ practice more broadly.

In marshling a lone figure stands poised in the water, akimbo, surrounded by catfish and flora of the swamp. Catfish are a recurring motif in Brackens’ work, an emblem of the American South, embodying the soul and ancestral spirits. Continuing his practice of pulling from traditional folklore, two rabbits rest on chairs in each their own, almost as if they have been conjured up by the figure seated in their midst. Rabbits, creatures that live both above and below the earth, have shown up throughout African and African-American tales and literature as messengers and trickster figures. To Brackens, the animals in these works feel less literal and more like other humans or spirits  in communion with the figures, the trio seated together almost as if awaiting a dance.

This exhibition closes 8/20/21.