Mar 212019
 

Noboru Tsubaki “Fresh Gasoline”, 1989

Yukinori Yanagi “Ground Transposition”, 1987/2019 (balloons) and Shinro Ohtake “Retina (Night Fever 1)”, 1990 (left on wall) and “Retina (DNA Shadow III)” (right on wall), 1990

Shinro Ohtake “Retina (DNA Shadow III)”, 1990

 

Blum & Poe’s current exhibition Parergon: Japanese Art of the 1980s and 1990s, is a selected survey exhibition of Japanese art of the 1980s and ‘90s, curated by Mika Yoshitake. It includes the work of over twenty-five visual artists in a variety of media including painting, sculpture, video, and photography.

From the press release

The exhibition title makes reference to the gallery in Tokyo (Gallery Parergon, 1981-1987) that introduced many artists associated with the New Wave phenomenon, its name attributed to Jacques Derrida’s essay from 1978 which questioned the “framework” of art, influential to artists and critics during the period. Parergon brings together some of the most enigmatic works that were first generated during a rich two-decade period that are pivotal to the way we perceive and understand contemporary Japanese art today. In the aftermath of the conceptual reconsideration of the object and relationality spearheaded by Mono-ha in the 1970s, this era opened up new critical engagements with language and medium where artists explored expansions in installation, performance, and experimental multi-genre practices.

When the U.S. and Europe were witnessing a return to Expressionism alongside a postmodern aesthetic of simulacra and deconstruction characterized by the Pictures generation, this zeitgeist of cultural capitalism was instead manifest under Japan’s unique social and geo-political conditions resulting from the rise and burst of the bubble economy. Artists began to explore subversive artistic languages and integrate underground subcultures into their practice using a variety of media, ranging from experimentations in electro-acoustic music, geopolitical and conceptual photography, and appropriations of advertisement culture. Others addressed the internalization of historical avant-garde and modernist aesthetics that were filtered through a new poetics of form, space, and language.

In the post-1989 Hirohito era, politics of gender, nuclear crisis, and critique of nationalism are especially poignant among artists from the Kansai region. This period also witnesses the rise of art collectives in the mid-90s and their darkly humorous performances and conceptual practices that reevaluated the history of Japan’s postwar avant-garde. These events reflect on a subculture generated out of a profoundly unique “infantile capitalism,” anticipating the explosive rise of the Neo-Pop generation.

This exhibition is presented on the occasion of Blum & Poe’s 25-year anniversary. Parergon commemorates a special facet of the gallery’s history rooted in this very timeframe in Japan—with Tim Blum’s early years as an art dealer and curator spent in Tokyo in the early ‘90s—and charts a bridge between the Japanese art historical territories the gallery has long championed. Parergon pursues the creative significance of the years between the milestones of Mono-ha and the Neo-Pop generation now synonymous with Takashi Murakami and Yoshitomo Nara.

This exhibition closes 3/23/19. Part II will open 4/6/19.

 

Mar 062019
 

Currently at The Rendon Gallery, at a pop-up space on Palmetto Street, is Los Angeles based South African artist Ralph Ziman’s exhibition, The Casspir Project. The Casspir is a massive military vehicle that was used to terrorize the civilian population in South Africa during the apartheid-era. Sadly, they are still used by police forces in certain parts of the world, including in the United States. Ziman, with a team of artists from Zimbabwe and the Mpumalanga province of South Africa, have covered the Casspir in brightly colored beads in traditional patterns, making something beautiful out of what was once a symbol of horror.

Although the vehicle is the centerpiece, the exhibition also focuses on the arms trade and includes photos, a video, and additional beaded work. From the press release-

For this iteration of The Casspir Project, Ziman has designed the massive gallery space with a “macro and micro” experience in mind. Each room within the gallery space brings context to the next, informing the project as whole. The exhibition starts with an installation of brightly colored AK-47s leading into a room with large photographs taken in Soweto. For the photos, Ziman recreated scenes from newspapers during the apartheid, incorporating many of the elements found within the exhibition such as the beaded guns and SPOEK 1. A screening room shows a 20 minute documentary by Ziman which tells the history of the Casspir, from its design and conception to people’s personal experiences with it in the ‘70s and ‘80s. It chronicles Ziman’s reclaiming of the Casspir, detailing how he transformed and Africanized it. The exhibition culminates with the dramatic presentation of SPOEK 1, lit only by a spotlight in a dark room.

Opening a dialogue between those who remember and those too young to know, The Casspir Project is a profound attempt to reconcile history. Ziman has reclaimed the savagely violent brute—embellished and bedazzled, the Casspir has been made less threatening, its power and authority subverted.

This exhibition has been extended through 3/10/19 and this weekend Ziman will be live painting at the gallery with artist Keya Tama.

 

 

Mar 022019
 

What are the webs within our own lives? How are we connected to others? What is seen and not seen in our world? How do we function within our environment? What is created without our even noticing?

Tomás Saraceno’s current exhibition at Tanya Bonakdar Gallery in Hollywood, his first ever solo exhibition in Los Angeles, explores these ideas through the intersection of science and art. In one room, balloons drag pens to create drawings from the air and movements of those who wander through. Spider webs (displayed without the spiders) play an important part in weaving together the themes of the exhibition. Made by different species of spider and dyed with carbon ink, they are in frames against the wall. Presented in another part of the gallery, in a dark room, they are spot lit creating beautiful three dimensional sculptures. In another room, in full darkness, they are lit by a slowly moving laser which highlights in red various sections of the webs as others fade away.

In the front room of the gallery is a sculpture that continues the artist’s Cloud Cities body of work (pictured below). Cloud Cities was shown on the rooftop of the Metropolitan Museum of Art in New York in 2012.

 

From the press release-

… Conceived and inspired by the geometries of soap bubbles, the cluster-like artworks are composed of a number of interconnected modules, some with web-like structures set within them, which form geometric constellations inspired by the Weaire-Phelan structure. The Cloud Cities project is intimately tied to and embodied in the Aerocene Foundation, a community that proposes an epoch free from fossil fuel emissions, which challenges socio-political atmospheres by trespassing and weaving new, much needed, aerographies.

Cloud Cities are fictional urban and socioscapes in such imagined post-Anthropocenic future. These sculptural assemblages whose interplay between being tethered to the Earth whilst inviting our gaze to the sky, are devoted to reimagining life in tune and in collaboration with the atmosphere. Indeed, with 102,465 planes and about 8.3 million people traversing the atmosphere every day, swarms of particulate matter crossing borders and billions of pounds of carbon dioxide produced by fossil fuel aerial transportation, there is an entire metropolis up in the air already, coming with a huge cost and carbon print. The elemental imaginaries of Cloud Cities and Aerocene epoch call to open up the boundaries of the Earth toward a new interplanetary ecology of practice. We can reconnect with elemental sources of energy and form a new set of values that would overcome the extractive economies of the fossil fuel regime – a new stratigraphy of the future.

This exhibition closes 3/2/19.

 

 

Mar 022019
 

Derek Fordjour, Two Party System, 2019

 

JRRNNYS, Derek Fordjour’s solo exhibition at Night Gallery, includes new paintings and sculptures that “advance explorations of earlier works, returning to the subjects of crowds and athletic competitions to illustrate the entrenchment of power relations, capital flows, and racial inequality within the economic and social systems of the United States”. The paintings are made of multiple layers of painted cardboard and newspaper that are then scored and sections are removed.

This interview with the artist from artnet goes into more detail on his fascinating process and the reasons behind it.

Signing Day, 2019

Signing Day detail

 

The centerpiece of the exhibition is the installation STOCKROOM Ezekiel.

From the press release

…The work takes its name from the 1884 letters of Ezekiel Archey, an 25-year-old unjustly held as a prisoner sent to labor at the Pratt Coal Mines in Birmingham. Archey’s letters, sent to the Alabama inspector of prisons, are among the most prominent primary-source documentation of the ravages of the convict leasing system, acknowledging the stark preponderance of black prisoners and the gruesome treatment of the laborers by their supervisors. Fordjour’s installation responds to Archey’s letters by creating a walled-in structure comprised of over 1,000 individually constructed compartments – cells, as the artist calls them – painstakingly organized with a variety of found and handmade objects, though by a logic that is never explicated to the viewer. Lights in individual cells blink on and off variously, while small speakers let forth bursts of music by the dictates of a rigid but similarly inscrutable pattern, luring the viewer in the eye-popping manner of the carnival game or game board. The intermittent sounds of music range from the early field recordings of 20th century ethnomusicologist Alan Lomax to 80s- and 90s-era drug dealer anthems to modern day Trap music, a largely Southern genre of hip-hop inspired by the illegal drug trade. The viewer has entered a gamelike arena whose rules remain obscure. With time, the objects that populate the shelves come into focus. Some cells contain familiar items – balls extracted from various sporting contests, the lottery and billiards, cameras, hood ornaments from luxury sports cars, decommissioned prison uniforms, and hundreds of hand blown glass balloons, among others. Others are closed off with metal grating, while still more are lined with the ubiquitous fabrics of luxury designers, invoking the aspirational quests of poverty-stricken urban communities. Finally, many cells contain small busts of the same expressionless figure, molded from resin, copper, metal, plaster, dirt, and salt – materials which stand in for the most prominent products from the era of convict leasing, including the coal mines and steel plants of of Alabama and the molasses distilleries of Florida. Taken individually, the contents of these cells suggest luxury and labor, surveillance and displacement, strategy and competition; as a whole, the work suggests the laws of chance taking place within the confines of a framework that is as unknowable as it is oppressive. From the era of Pig Laws to our current three-strikes mandatory sentencing, educational lotteries to modern day sporting empires, Fordjour’s installation points to the tragic persistence of unjust structures that define American life, employing contemporary commodities while invoking history. At once mournful and flickering with possibility, the installation conjures notions of personal loss and gain within the macro-scale context of the inscrutable systems that have determined the fates of black and brown people through the nation’s history.

Derek Fordjour, STOCKROOM Ezekiel, 2019 image via Night Gallery

This exhibition closes 3/2/19.

If you are in NYC you can see one of Fordjour’s new works, Half Mast, as a public art installation for the Whitney Museum. The large vinyl reproduction of his painting can be seen at the intersection of Gansevoort and Washington Streets, directly across from the Whitney and the High Line.

Derek Fordjour, Half Mast. Image via Whitney Museum

Mar 012019
 

Matvey Levenstein, LY, 2018

Currently at Kasmin Gallery are Matvey Levenstein’s paintings depicting scenes from his life in North Fork, Long Island. There’s a quiet, peaceful quality to the works, which begin with snapshots before they are turned into paintings. This exhibition closes Saturday 3/2/19.

Across the street at another of Kasmin Gallery’s Chelsea locations, and worth a visit, is an exhibition of some of Andy Warhol’s polaroid portraits.

Matvey Levenstein, Pink Moon, 2018

Susan Inglett Gallery is showing Slim… you don’t got the juice, an exhibition of work by Wilmer Wilson IV. His work with staples may seem familiar from its inclusion in the New Museum’s 2018 Triennial: Songs for Sabotage.

From the press release-

Slim… you don’t got the juice presents multidisciplinary departures from familiar modes of figurative representation, as they have evolved in the realm of photographic discourse. Wilmer Wilson IV has developed strategies of redaction and annotation in his work that begin to destabilize the norms of making and viewing portraiture through visual, material, and technical manipulation. An exploration into the complex renderings of individual subject-hood versus object-hood in portraiture, the artist has conceived of a stapled-surface-as-viewing-device that mediates image with material. The device is manifest in a series of staple works that almost fully shroud the photographic subjects beneath dense fields of metal fasteners. The austere, randomized application of the staples onto the surface of each portrait results in a resistance of visual penetration from many angles, complicating access to the underlying figures and deconstructing the voyeuristic inclinations of the viewer.

This exhibition closes 3/16/19.

Wilmer Wilson IV, Host, 2018

 

At Lehmann Maupin’s 24th Street location is McArthur Binion, Hand:Work, an exhibition of the artist’s grid paintings created with oil paint stick and paper on board. The patterns created in the work are overwhelming at first glance but then when seen up close, the personal details add a new dimension to the paintings.

From the press release

…For Binion, his personal documents represent the sum total of one’s social life: relationships, citizenship, vocation, and family life. The revealing and obscuring of these aspects of his life also addresses the larger sociopolitical reality of African-American identity—often obscured or erased from common knowledge, yet always present in tandem with major movements in American culture. In his newest Hand:Work paintings, Binion takes an introspective approach that is more closely aligned with the artist’s own self-perception—effectively, his first self-portraits. Using copies of a photo of the home where he was born, along with a photograph of his hand as the ground layer of the paintings, Binion pares down his identity to its most essential elements. These images are tiled in repeated succession, layered under his repetitious line work in oil stick. These gestures themselves relate to memories Binion has of his early childhood farm life, a disciplined approach to the cyclical, sustained effort he maintains in his work today. Through the insertion of his hand, literally in the photographs, and figuratively in his intricate, overlapping mark-making, the artist relates to his earliest introduction to artistry in his mother’s quilting, a tradition he modified and carried into his practice.

This exhibition closes 3/2/19.

McArthur Binion at Lehmann Maupin

McArthur Binion at Lehmann Maupin, detail of above painting

Robert Mann Gallery is showing the newly discovered work of photographer Ed Sievers. The exhibition of black and white photos also includes his later work from the 1970s in Venice Beach. The gallery also has an exhibition of Michael Kenna’s series of black and white female nudes made in Japan (not shown). Both shows close 3/2/19.

Ed Sievers, Untitled (woman in the shadows), c. 1960s, courtesy of the artist, image via Robert Mann Gallery

Damn! The Defiant, a group show curated by Damon Brandt and Andrew Freiser at Fredericks & Freiser Gallery, brings together “images of rebellion and dissent in contemporary portraiture” and includes a wide variety of work in different mediums from an incredible selection of artists that includes Mary Ellen Mark, Gordon Parks, Dana Schutz, Bruce Davidson, Whitfield Lovell and many more. It’s a show that’s very appropriate for a time period that is going to require more and more defiance.

From the press release-

Nothing creates projected personal territory more than the emotional push back generated from the recalcitrant expression of a defiant subject. Yet ironically, it is the very nature of this engagement that makes it difficult for the viewer to quickly detach or withdraw from what in fact amounts to an extended glare or moment of social tension. In a time of undeniable anxiety, finding both the common and contrasting ground in the portrayal of defiance speaks directly to the angst and pre-occupation for self-determination that has been and continues to be a pervasive human concern.

This exhibition closes 3/2/19.

 

Installation view of Damn! The Defiant, image via Fredericks & Freiser

 

Feb 252019
 

 

Currently outside of LACMA’s Ahmanson Building is one of artist Sam Durant’s “electric signs”. It takes its text from a photo taken at the 1963 March on Washington for Jobs and Freedom where Martin Luther King, Jr. delivered his “I Have A Dream” speech.

Feb 232019
 

Artist Pierre Daquin’s tapestry “La Vue” courtesy of Galerie Chevalier as part of The 13th Floor project

Several art fairs took over Los Angeles last weekend, two of which used hotels to create temporary galleries and installations.

At the The Hollywood Roosevelt was the first edition of Felix, a free art fair co-founded by Dean Valentine along with brothers Al Morán and Mills Morán (of LA gallery Morán Morán). Galleries took over rooms along the pool, on the 11th floor, and the penthouse.  Starting at the penthouse was The 13th Floor (pictured above), a collection of work by French artists curated by writer Andrew Berardini and presented by The French Committee of Art Galleries and the Cultural Services of the French embassy.

Kenny Schachter had some fun pieces in his room on the 11th Floor including Ilona Rich’s sculptures, one of which was in the bathroom shower (pictured above), and a framed collection of artist Chris Burden’s cancelled checks.

Bodega gallery, from New York’s Lower East Side, had a selection of interesting work including paintings by Alexandra Noel.

Alexandra Noel, “And then the air was filled with 10,000 things (or when a minor piece of wood becomes a missile)”

Grice Bench’s selections included a collection of lovely watercolors by Roger White and a painting placed above the bed by Lara Schnitger.

Work by Lara Schnitger and Roger White

On the ground floor Marc Selwyn Fine Art presented Jennifer Aniston’s Used Book Sale, artist Kristen Morgin’s incredibly realistic ceramic replicas of books she imagines might make up the actress’ collection (the VHS tape is real).

Kristen Morgin’s ceramic books

At a hotel in a completely different part of town was the stARTup Art Fair, taking place at The Kinney in Venice. Here, instead of galleries representing the artists, it’s the artists that set up their rooms and sell their art.  It made for a great experience as the artists were all very friendly and eager to discuss their work. Below are a few highlights from the fair.

Lisa Kairos and Melissa Mohammadi’s work

“Leaf Insects Turn Into Butterflies” by Melissa Mohammadi

San Francisco artists Lisa Kairos and Melissa Mohammadi’s room was filled with really beautiful work. Kairos makes dreamy multilayered paintings based on natural landscapes. She then cuts patterns into the images which adds yet another dimension to the paintings. Mohammadi’s work incorporates botanical and marine life into a meditative world where bright pastels stand out among subdued watercolor backgrounds; highly detailed sections mix with the more abstract. The end result for both artists is work you want to spend time looking at.

Work by Annie Galvin of 3 Fish Studios

Work by Eric Rewitzer of 3 Fish Studios

Husband and wife artists Eric Rewitzer and Annie Galvin of 3 Fish Studios in San Francisco had lots of great, affordable prints. They also teach printmaking and collage classes in their studio.

One of Camilla Magrane’s artworks

Artist Camila Magrane had several pieces in her darkened hotel room that use augmented reality technology to make the works animated and three dimensional when looked at through her Virtual Mutations app. The video above illustrates the effect.

Jeff Horton uses his architecture background to create paintings of urban structures (often larger than what’s pictured above), some of which incorporate wax with oil paint for an added layer.

Other artists work not shown but worth checking out- Margaret Hyde makes ethereal still life photographs of natural objects she finds and combines with water, and Kyong Ae Kim showed a variety of impressive work including her animal skulls cut from multiple layers of drafting film and acrylic paintings combined with hand cut elements.

 

 

 

Feb 172019
 

Currently at Shulamit Nazarian gallery is Trenton Doyle Hancock: An Ingénue’s Hues and How to Use Cutty Black Shoes, the artist’s first solo exhibition in Los Angeles.

From the press release-

The new drawings, paintings, and sculptures in this show expand upon the artist’s saga of The Moundverse, a constructed world that has propelled his artistic practice for the past twenty-five years.

In addition to the narrative tradition of his religious upbringing, Hancock immersed himself in graphic novels, comics, and Greek mythology; at the age of ten, he began creating characters as articulations of his experience as a Black youth in small-town Paris, Texas. In The Moundverse, Hancock has developed an extensive cast: altruistic Mounds, destructive Vegans, and mutated Bringbacks; TorpedoBoy is a tragically flawed hero who serves as the artist’s alter ego; Undom Endgle is a color-wielding goddess who protects young souls, representing the force of the Black women who have affected and supported Hancock over the years. These characters and others explore timeless polarities like good and evil alongside related issues of race, class, identity, politics, and social justice.

Using the fantastical to grapple with the deeply personal has long been at the core of Hancock’s artistic practice. Formally, this is seen in what the artist calls his “rough and tumble” aesthetic: Richly colored tactile surfaces are loaded with objects that range from bottle caps that the artist played with in childhood to bits and pieces of older works that have been rebirthed to create something entirely new. Drawing heavily from the temporal structure of comics, Hancock’s practice seamlessly weaves storylines spanning long periods of time, often within a single artwork. The totality of his practice can be seen as an ever-expanding graphic novel in its own right, articulated through a variety of media.

Laced with personal memoir, Hancock’s Moundverse is a metaphorical space that reflects the everyday world. Several works show TorpedoBoy in mid-stride, clad in football gear, wearing his “cutty black shoes” as he runs from evil-natured Vegans that at times take the aggregated form of a goofy-footed, cloaked member of the Ku Klux Klan (the Paris, Texas, of Hancock’s youth had an active Klan). The malignant force that reaches for this distraught—albeit defiant—central character points to longstanding concerns of systematic racism and oppression.

The exhibition also includes Hancock’s most recurring character, The Mound—a half-plant, half-animal creature that absorbs and processes negative human emotions to bring positive energy to the world. Presented within the exhibition will be two large-scale paintings of Mounds, one standing nearly eight feet tall. In addition, Hancock will present new ink-on-paper works that introduce the first chapter of the artist’s most ambitious drawings to date: Trenton Doyle Hancock Presents The Moundverse. Designed as a traditional graphic novel, this series offers a sequential understanding of the characters and stories that have dominated Hancock’s practice for the past two and a half decades.

An Ingénue’s Hues and How to Use Cutty Black Shoes continues the artist’s exploration of primal forces as they play out in The Moundverse, reflecting our current moment and inviting viewers to consider parallel themes and stories in the world around us today.

This show closes 2/17.

 

Feb 162019
 

This month there are a lot of excellent exhibitions on view in Chelsea.

At David Zwirner is God Made My Face: A Collective Portrait of James Baldwin, a group show curated by writer Hilton Als. The works are varied and include portraits by Richard Avedon (shown above), a friend of Baldwin’s who also attended De Witt Clinton High School with him, as well work by Njideka Akunyili Crosby (seen below), Kara Walker, James Welling, Beuford Delaney, Glenn Ligon and many more.

Nyado: The Thing Around Her Neck, 2011 by Njideka Akunyili Crosby

At Marianne Boesky Gallery is Pure, Very, New, Paul Stephen Benjamin’s first solo exhibition in New York. The exhibition includes paintings, photographs, sculpture, and single and multi-channel video installations, as well as a new site-specific black light installation in the internal passageway between the two spaces.

From the press release

Benjamin’s practice is rooted in a vigorous meditation on blackness, considering: “What is the color black?” “What does black sound like?” “Is it an adjective, a verb, an essence, or all of these components mixed to create a nuanced whole?” For his large-scale monochromatic paintings, Benjamin thickly coats the canvas in varying shades of black, producing a sensation of boundless depth. This is further accentuated by Benjamin’s application of the particular tonality’s name within the field of color—the words appearing to float and dissipate within the richness of the paint itself. The development of these paintings followed an ordinary visit to a hardware store, where Benjamin was confronted with the many permutations of commercial black paint. Shades of black came with emotive titles like “Totally Black,” “New Black,” and “Pure Black,” among numerous others. For Benjamin, this sparked a multi-layered investigation of the color and whether it could be distilled or understood differently within the context of a painting or the color itself.

 … Benjamin’s practice also extends into a conceptual investigation of sound, and how “black” can be conveyed and experienced aurally. In these works, he often uses single and multi-channel video installations to loop portions of particular historic and cultural footage to isolate fragments of collective memories or internalized narratives. With Black is the Color (2015), which will be included in the exhibition, Benjamin arranges a towering cluster of antiquated televisions, forming a glowing grid that endlessly repeats a segment of Nina Simone’s 1959 performance of “Black is the Color of My True Love’s Hair.” Here, Benjamin appropriates only the words “Black is the Color,” creating an abstraction of the song that reveals the contradictions and parallels between the notion of black being the color and it being a color. Moving fluidly from sound installation to painting to photography and sculpture, Benjamin’s practice is driven by the idea that blackness, whether explored as a matter of conceptual inquiry or identity, cannot be captured in a single action, emotion, or language.

Black Is The Color 2015 by Paul Stephen Benjamin

At Yancey Richardson is Blue Sweep, an exhibition of Andrew Moore’s beautiful photographs, taken in Alabama and Mississippi over the course of three years.

Carmen, Saunders Hall, AL 2015 by Andrew Moore

At Bryce Wolkowitz Gallery is Oliver Jeffers’ charming painting exhibition For All We Know. If his work looks familiar it may be because Jeffers is also the author of several critically acclaimed picture books.

From the press release

This series of paintings illuminate a dream-like nocturnal world populated by astronauts, deep-sea divers, sinking ships, floating pianos, and burning matches. Omnipresent throughout are the night sky and the ocean – the two great and unknown frontiers – glittered with the imaginary lines that create constellations, serving in this case as a mysterious key to unlock our world.

Expanding on years of observation, from the history of his upbringing in Belfast, to contemporary New York City, Jeffers’ evokes the precarious state of our home and its inhabitants. Inspired by Buckminster Fuller’s seminal book Operating Manual for Spaceship Earth, he presents pianos as dubious flotation devices and our planet presented as a cumbersome motor vehicle, overheating as we argue over what to play on the radio. From researching astronaut’s descriptions of looking at Earth from the distance of the Moon, Jeffers noticed certain recognizable patterns to the way in which he discussed the politics of his hometown from a vantage point of across the Atlantic Ocean. In finding that few people outside of Northern Ireland knew or cared of the intricate conflict there, a great waste of time was revealed: a divided population identical to each other in every way save for the flags they flew and the stories they told. Tragically, each side’s identity are still firmly rooted to the existence of the other, and therefore locked into a spiral of repeated patterns.

 

At both of Jack Shainman’s locations are a series of impressive paintings by Lynette Yiadom-Boakye.

Black Allegiance to the Cunning, 2018 by Lynette Yiadom-Boakye

 

For a new kind of exhibition experience, Asad Raza has organized the group show Life to Come, at Metro Pictures which “brings together works that meditate on the creation of new worlds and new models for living.” There are no labels or listings for the works included in the show. Instead there is a guided tour by hosts who take you around the various works to help you draw connections between the objects. Adding to the uniqueness of the experience, at one point the host pauses while talking and partially in motion, recreating a work by artist Tino Sehgal, and at another they show you that they have changed their eye color, a work by Rirkrit Tiravanija.

From the press release

Experiencing these works together incites intellectual, physical, and spiritual understandings of what it means to make an entirely new world, one in which reality is made from fiction. Raza asserts that “by re-immersing ourselves in the strangeness and fecundity of attempts to create worlds that have gone before, our imagination of a world beyond the present may be renewed.” The uncertainty about what new paradigm awaits us is unsettling in the wake of the modernist 20th century, but it links us to previous generations who experienced radical reinventions of biological and social life.

Philippe Parreno, La pierre qui parle (The Speaking Stone), 2018.

 

Selection of work by Camille Henrot (floral arrangements inspired by books)

All of these exhibitions close 2/16/19.

 

 

Feb 162019
 

While we are living in a time where anxiety is prevalent, it’s nice to imagine being as calm as Superchill, the title character of Hannah Epstein’s comic strip, and star of her exhibition Do You Want A Free Trip To Outer Space? at Steve Turner gallery. The show combines hooked rugs, video animation, and a video game that you can play, all creating a fun little world to inhabit for awhile.

Also in the gallery’s other rooms are Jamie Felton’s painting show Parts from an Oyster and Paige Jiyoung Moon’s paintings for Days of Our Lives.

All three exhibitions close 2/16/19.

Nearby at Regen Projects is Glenn Ligon’s exhibition of new work, Untitled (America)/Debris Field/Synecdoche/Notes for a Poem on the Third World.

From the press release

Over the years, Ligon has created neon sculptures that illuminate various phrases or words in charged and animated ways. Notes for a Poem on the Third World, Ligon’s first figurative sculpture, is comprised of a large neon based on a tracing of the artist’s hands that takes its inspiration from an unrealized film project by Pier Paolo Pasolini that was to be shot in India, Africa, the Arab countries, Latin America, and the “black ghettoes of the United States.” Pasolini claimed that it was the “discovery of the elsewhere” that drove his identification with the struggles of non-Western peoples and people on the margins of the West. Ligon’s neon, with its ambiguous gesture of greeting, protest, or surrender, is the first of a series of works inspired by Pasolini’s project.

Also featured in the exhibition is Untitled (America), 2018, a black-painted red neon in which the word “America” is displayed upside down, and Synecdoche (For Byron Kim), a neon showing the date of the next presidential election that will be lit on that day.

 

This exhibition closes 2/17/19.