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323 articles written by heikemoras

Summer group exhibition round-up VII. Strength, perseverance, adaptability, knowing how to ignore bad advice, grit, tenacity. According to Forbes magazine, these are just a few traits that women possess to make it to the top of the annual list of the 100 Most Powerful Women in the World. If you ask art impresario Yvonne Force Villareal, curator of “Seed”, an exhibition of twenty-nine living women artists currently on view at Paul Kasmin Gallery, you would need to add destructive, foolish, creative, emotional, enlightened, and intuitive. Linking together the spiritual and the physical and working across a variety of media and styles, the show brings together a group of intergenerational women artists that include Theodora Allen, Morgan Blair, Sascha Braunig, Cecily Brown, Ginny Casey, Jessica Craig-Martin, Rachel Feinstein, Vanessa German, Loie Hollowell, Shara Hughes, Baseera Khan, Sanam Khatibi, Kate Klingbeil, Hein Koh, Emily Marie Miller, Wangechi Mutu, Sophia Narrett, Katherina Olschbaur, Yoko Ono, Ebony G. Patterson, Sarah Peters, Ruby Sky Stiler, Claire Tabouret, Ambera Wellmann, Summer Wheat, Robin F. Williams, Hiejin Yoo, Lisa Yuskavage, and Sarah Zapata.Without framing women into social, cultural, and political contexts, the exhibition runs on an esoteric undercurrent and celebrates the beauty, strength, brilliance and diversity of modern womanhood. Here is a detail of the incredibly intricate embroidery tableau “Stuck” by Sophia Narrett. At Paul Kasmin through August 10.


Summer group exhibition round-up VI. Orientation, a group exhibition featuring works by Sam Durant, Ken Gonzales-Day, Anton Kannemeyer, Byron Kim, Sol LeWitt, Kerry James Marshall, Meleko Mokgosi, Yasumasa Morimura, Gordon Parks, Emily Nelms Perez, Jackie Nickerson, Toyin Ojih Odutola, Claudette Schreuders, Richard Serra, Andres Serrano, Becky Suss, Tim Rollins and K.O.S., and Carrie Mae Weems is organized in partnership with The Radical Imaginary Institute (TRII) https://theracialimaginary.org, a virtual think-tank that brings together scholars, artists, poets, activists, and essayists to discuss topics centered around racial identity. The inaugural symposium confronts the issue of whiteness as it relates to white identity, white rage, and white social and political frameworks and is accompanied by a talks program, exhibitions and film series in conjunction with museums, galleries and non-profit institutions. Here is Sam Durant’s electric sign “You have the Power” from 2015. At Jack Shainman Gallery through August 10.


Summer group exhibition round-up V. Women-only shows have had their sceptics. While some artists say that gender imbalance in the arts is long overdue for a correction, others are ambivalent to be viewed through the lens of gender. The Mechanics of Fluids is a women-only show that ponders the fluidity of female body movement in relation to process. Organized by Melissa Gordon the exhibition features works by Lynda Benglis, Elisa Breton, Helen Frankenthaler, Melissa Gordon, Jacqueline Humphries, Lisa Oppenheim, Laura Owens, Charlotte Posenenske, Josephine Pryde, Eileen Quinlan, Amy Sillman, and Mika Tajima. Whether or not gender and physical attributes alter the trajectory of abstract art is debatable. True, however, are the extraordinary technical and aesthetic achievements of the assembled artists who managed overcome male orthodoxy in art history to alter and elevate the trajectory of art. This is Amy Sillman’s silkscreen print SK59 in front of an architectural intervention by Mellissa Gordon. At Marianne Boesky through August 3.

Summer group exhibition round-up IV. The hidden pleasure of visiting summer shows rests in the unexpected discovery of apreviously unknown artist. Galerie Lelong presents a three-womenshow that includes Lebanese-born artist Edel Adnan and the feminist performance artist Carolee Schneemann. Also on view are five small geometric abstractions by the little-known Brazilian artist Ione Saldanha (1921-2001). They are stunning. Grainy blocks of color, impressions of city architecture, underlie each composition. They are set on moody backgrounds, their bleeding lines creating a gently swaying ripple effect. She then translates these ideas into three-dimensionality via “ripas”, tall and slender wood slabs painted with vibrant bands of color that recall festive totems. Meditative and cerebral, elegant and harmonious – Saldanha works effortlessly weave symmetry with ethereal beauty. At Galerie Lelong through August 3.

Summer group exhibition round-up III. Summer shows, like summer reading, are supposed to be fun! At David Zwirner visitors are encouraged to sit on, play with, and touch two of Franz West’s installations which form the backbone of a group of works that loosely deal with body/object relationships and include art by Alex Da Corte, Jonathas de Andrade, Felix Gonzalez-Torres, Jonah Groeneboer, Gordon Hall, Hannah Levy, Donald Moffett, Paulo Nazareth, Elle Pérez, Oren Pinhassi, Christina Quarles, Paul Mpagi Sepuya, and Wolfgang Tillmans. Be forewarned, though – the art works come with specific instructions: Feel free to sit on the chairs. Please do not touch the sculpture. But by all means – have fun! But not too much, as the cold glare of the security guard suggests. Those chairs that you are sitting on still need to find a billionaire’s home. At David Zwirner through August 3.

Summer group exhibition round-up II. Barely two years old, Fake News is increasingly threatening our pillars of civil debate and cultural tolerance. Evidence, a group show organized by Josh Kline, brings together a diverse group of artists who examine how the creeping spread of misinformation is undermining democracy and inflames animosity between nations. The line-up include works by Paul Chan, Otto Gillen, Josh Kline, Liz Magic Laser, Gloria Maximo, Paul Pfeiffer and Allyson Vieira. Dominating the gallery space is Liz Magic Laser’s Primal Speech installation where, in a nod to Arthur Janus’ Primal Therapy, in a padded isolation chamber patients regress to their earliest childhood in order to produce a scream exposing subconscious expectations towards politicians. They generate subjective, unrealistic, infantile and commercial assumptions that invite ruthless exploitation by only the most callous of leaders. At Metro Pictures through July 27.

Summer group exhibition round-up, I. Gladstone gallery ponders the malaise of the American cultural and political landscape with a group of artists that engage with Vito Acconci’s seminal installation “Voice of America (1975). The fall out is dystopian, as expected. The world and America at its apex has grown darker. Paul Chan leads the pack with one of his manically animated Breather sculptures, a plum colored nylon construction coming to life via a noisy fan. But rather than offering sexy car deals, the creature beckons towards Dante’s purgatorio. Sharon Hayes’ Lesbian Scenography takes up the back room with a fabric on acrylic all-American landscape that has little progress to show for itself in the past 20 years and Rikrit Tiranija wants us to get a whiff of the odious smell of truth (2018) with a pile of t-shirts on a mirror. But no-one captures the sour taste of misogyny, inequality, blatant consumerism and fake news better than Barbara Kruger with her prophetic text work from 2016. At Gladstone through July 27.

No one can accuse the German sculptor Ursula von Rydingsvard for pusillanimity. Breath-taking and grand, her work touches upon the monumentality of the spirit and the limitless voracity of the human ambition. Several new works aim to harness the intense corporeality of nature by wresting arteries, cavities, and gigantic florets out of cedar wood and channelling them into awe-inspiring burst of movement. They remind of the authority of nature and the conspicuous smallness of man. At Galerie Lelong through June 23.

Myths & Mortals, the achingly beautiful exhibition by Marlene Dumas at David Zwirner, contains a series of small oil paintings depicting tightly cropped body fragments and facial close-ups that float contextless in her famously inauspicious washes of blues and greens. Sexuality, mortality, and shame have always been the hazy undercurrent in Dumas’s oeuvre, yet her new works take a decidedly gentler, kinder and ultimately melancholy view of humanity. In “Kissing” (2018), a small gem tucked away in a corner of the clinical White Cube, two faces meld together in color, form and texture into a magnetic singularity that transcends the seemingly endless corruption of the human condition. At David Zwirner through June 30.

Conventional, verging on the boring, yet oddly captivating. Charles Rays’s sculptures reward prolonged viewing. Three new works in a five-work show at Matthew Marks pick up on art historical references, two others depict the work and study of a craft; yet they all meld the artists’ meticulous study of traditional sculptural practices with ideas that are firmly positioned in the present. Ray asserts his conceptual intention by manipulating the expected with the unfamiliar. Like most of his sculptures, “Mechanic I” and “Mechanic II” are painstakingly carved from stainless steel, but then Ray subverts scale and surface in a way that propel both figures into the uncanny: You have seen it before but yet something is off. At Matthew Marks through June 16.

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