At Five Myles Gallery – a solo exhibition by Etty Yaniv in the front Plus/Space: “Into the Maelstrom”. In the main gallery, a four-person exhibition co-curated by Charlotta Kotik and Hanne Tierney. It matches up two sculptors, Gerard McCarthy and Gunnar Theeland with two painters, Kathleen Maximin and Michael Filan.
On view through November 9th are Kiki Smith River Light and Outlooks: Martha Tuttle, two separate exhibitions that share an installation art character in that they are made of many parts, but otherwise very different in feel and temperament.
Jennifer Guidi’s exhibition “Gemini” opened February 28th, 2020 at the Gagosian gallery in New York City. The exhibition was scheduled to close April 4th but was extended to May 30th due to the Coronavirus pandemic. Gemini is an ambitious large-scale exhibition, composed of paintings and a solitary architectural intervention.
In his current exhibition, CAPRICE, on view at The Red Head Gallery, artist Ian Mackay, has his finger on the electrical pulse of our current socio-political ethos.
Finding Sanity in Madness: exhibition review of “Ancestral Mindscapes” by Rick Miller, Jules Koostachin, and Geneviève Thibault at Tangled Art + Disability art gallery.
Emilio Cavallini’s exhibition “Transfiguration” at the Rosai Ugolini Modern gallery in Manhattan’s Lower East Side channels the geometry and spirituality of mandalas into colorful sculptural matrices. “Transfiguration” is Cavallini’s first solo exhibition in New York.
The ambitious but uneven group show INTO THE WOODS starts with a quote from the Brothers Grimm’s Hansel and Gretel:
“Early tomorrow morning we will take the children out into the forest to where it is the thickest. …”
I had a chance to see Greg Miller’s “J Street” at the gallery. In the exhibition I encountered large, overcrowded canvases with depressing color combinations, paint drips extending lethargically downward, I felt as if I was in a gallery of wallpaper peeling off the wall.
I had high hopes for “Analogue”, Zoe Leonard’s 10-year plus project now on view at The Museum of Modern Art. All artists of my generation, including myself, are affected by and respond differently to this overwhelming datascape we have at our disposal. Leonard’s approach is archival though not nostalgic and without a directive moral.
Jacqueline Humphries’ new large-scale paintings, recently on view at Greene Naftali’s new ground floor space, are an exploration of what we might call screen noise abstracted into paintings that I don’t want to stop looking at.