William Eggleston The Democratic Forest
by Sara ChristophArtSeen
Through the lens of Eggleston’s sensuous, radical color, the things that seemed so distant at the time—most poignantly, the fragility of the American Dream—were very close indeed.
Beverly Buchanan Ruins and Rituals
by Jared QuintonArtSeen
Beverly Buchanan isn’t exactly an art world unknown. In 1981, the Cuban-American artist Ana Mendieta included three of Buchanan’s cast concrete sculptures in Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States at the all-female cooperative A.I.R. Gallery.
Gimme Shelter
by Michelle StandleyArtSeen
The problem begins with the wall-sized photograph of bright orange life vests just outside the entrance. The life vests make an attractive, rather benign, visual representation of the crisis.
The Democracy of Touches: A New Reading of Richard Pousette-Dart
by Phong BuiArtSeen
What I have essentially discovered in my recent observations of Pousette-Dart’s work is that they appear to have been made for future generations of artists.
Carrie Mae Weems
by Matthew BiroArtSeen
Since the late 1970s, Carrie Mae Weems has pursued a socially engaged form of creative practice, examining how identity is constructed through concepts of race, gender, and class, while interrogating the processes by which we produce a sense of self in relation to both private memory and public history.
Pipilotti Rist Pixel Forest
by Lara AtallahArtSeen
In the midst of the political tide of darkness that has submerged the country, the Swiss artist Pipilotti Rist’s Pixel Forest retrospective at the New Museum is a much-needed gasp for oxygen.
Æthelred Eldridge
by William CorwinArtSeen
There is little to guide one through the twistings and turnings of the fervid imaginings and aphorisms of Æthelred Eldridge in this beautifully curated exhibition at Essex Flowers, but the enigmatic approach is in keeping with the artist’s own practice of ambiguous and oracular image-making and writing.
Doris Salcedo The Materiality of Mourning
by Timothy Francis BarryArtSeen
A rose is a rose is a rose. Or, as Martin Heidegger put it, “what is pre-given to the poet … can be re-given in the poem.”
Kerry James Marshall Mastry
by Hovey BrockArtSeen
This first ever retrospective of Kerry James Marshall (b. 1955) at the Met Breuer proves he has pulled off a stunning two-fold accomplishment.
Zao Wou-Ki No Limits
by David CarrierArtSeen
When painters migrate between previously distant visual cultures, novel artistic syntheses may seem possible. No country has a longer or more illustrious tradition of visual accomplishment than China. But until the 20th century, art in China mostly developed without directly responding to European painting. Zao Wou-Ki was one of the first Chinese painters to attempt a synthesis of these very different traditions.
Ragnar Kjartansson Scenes from Western Culture/Architecture and Morality/World Light
by Jason RosenfeldArtSeen
The Icelandic artist Ragnar Kjartansson’s fourth solo show at Luhring Augustine is a tripartite serving of oils, videos, and a four-screen film. Concurrent with his survey retrospective at the Hirschhorn Museum, the exhibitions show Kjartansson seeking to redefine the terms of a durational aesthetic engagement through his deeply mindful, perhaps too historically conscious, art, while displaying the multivalent nature of his somewhat uncharacterizable approach.
Carolee Schneemann
by Ann McCoyArtSeen
In this time of war and uncertainty, Carolee Schneemann, the best artist embodiment of Aphrodite we have, has brought us two exhibitions that take us, with her uncompromising authenticity, into places rarely visited.
Alex Da Corte A Man Full of Trouble
by Osman YerebakanArtSeen
Arguably, Alex Da Corte has been one of the most prolific artists of his generation in the last two or so years. Between Die Hexe, his magnificent early 2015 occupation of the Upper East Side townhouse housing the blue-chip gallery Luxembourg & Dayan and his current return to New York with a solo exhibition at Maccarone this month, Da Corte has been productive.
Tetsumi Kudo
by Ciara MoloneyArtSeen
The Japanese artist Tetsumi Kudo’s work emerged at the height of Cold War paranoia. From nuclear annihilation and techno-capitalist commodification to environmental collapse, manifest anxiety bursts from the artist’s diminutive birdcage sculptures, now on view at Andrea Rosen Gallery.
Dreamlands: Immersive Cinema and Art 1905-2016
by Charlene K. LauArtSeen
Comprising the work of over forty artists and filmmakers, curator Chrissie Iles’s massive undertaking speaks comprehensively to the expanded field of cultural production, where the cinematic moves beyond its disciplinary boundaries and unites art with lived experience.
Decolonize This Place
by Terence TrouillotArtSeen
Walking into the meeting hall at Artists Space Books & Talks is like stepping into community-based organizing center with the energy and excitement of a rock concert. One is not only greeted by a crowd of young artists and activist, but immediately inundated with a spate of hand-painted banners—battle flags for social justice and equality, as it were.
Julia Rommel Man Alive
by Phong BuiArtSeen
“I don’t believe in history, that’s his story. / I believe in mystery, that’s my story.” Sun Ra once declared. / My Stories, Your Semi-Autobiographical First Novel, that’s her story. / This mystery is told by a folded history that unfolds the story
Leah Raintree: Another Land: After Noguchi
by Taney RonigerArtSeen
Considering those shimmering fields of human handprints that cover the walls of prehistoric caves, the human impulse to make a mark on the world is not a recent mutation
No Man’s Land: Women Artists from the Rubell Family Collection
by Joyce BeckensteinArtSeen
How sweet it is, then, that this 1908 Renaissance revival landmark is now “no man’s land”—home to an art museum dedicated to women in the arts! This is the irony, though not the inspiration, for the current exhibition NO MAN’S LAND: Women Artists from the Rubell Family Collection.
Siah Armajani
by Jonathan GoodmanArtSeen
Born in 1939, Siah Armajani has become one of America’s most venerable sculptors. Originally from Iran, the artist came to Minnesota in 1960 to study at Macalester College, where he has since stayed and, over the last fifty years, produced a remarkable body of work closely tied to the American democratic tradition and poetry.
Black Pulp!
by Terence TrouillotArtSeen
Black Pulp! presents a historical survey of how African American writers, journalists, poets, activists, artists, and organizations utilized printed media to offer “counternarratives to Jim Crow era stereotypes.
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