Tania Franco Klein: Long Story Short, Yancey Richardson Gallery, New York

Thu 24 Oct 2024 to Sat 21 Dec 2024

525 West 22nd Street, NY 10011

Tue-Sat 10am-6pm

Franco Klein’s debut exhibition will present a selection of works from her seminal series Break In Case Of Emergency, Proceed To The Route, and Positive Disintegration. These series evolve with no definitive beginning or ending, taking shape through continuous emotional exercises and explorations of social behavior and states of solitude within ambiguous spaces and time.

Franco Klein’s practice centers around the examination of modern anxieties and the performative stresses that come from living life online: a constant fixation on self-improvement and productivity, an endurance of media overstimulation, and a propensity to profile ourselves, and others, to fit into today's eclectic and fragmented realities.

Often using herself as the subject, Franco Klein creates vivid, cinematic photographs. In her work, female characters inhabit a visually rich world, recalling the psychological film noir dramas of Alfred Hitchcock and David Lynch. Franco Klein juxtaposes a nostalgic affection for and disillusionment with the narrative of a woman trapped in the loneliness of domestic settings, as seen in Toaster (Self-portrait), 2016 or within the dystopian western landscape of Car, Window (Self-portrait), 2018 and Valley, (Self-portrait), 2019. Her figures cannot escape the tension of their environment, or the stress of how they are seen by others. As the artist explains, “We are always trying to create identities with social media to express the good part of ourselves, as if there is some kind of shame in knowing what we are on the other side... because we feel that we have failed in what we are supposed to be.”

Tania Franco Klein, born 1990 in Mexico, received her BA in Architecture from Centro Diseño, Cine y Televisión in Mexico City, and her MA in Photography from the University of Arts London. Franco Klein will be featured in New Photography 2025: Lines of Belonging, the 40th anniversary edition of MoMA’s celebrated New Photography series. She was the recipient of Artproof Schliemann Award supporting Artist Residencies in Arles, France, and her work is in the prestigious collections of the Museum of Modern Art, New York and The Getty Center, Los Angeles, CA.

Cristina BanBan: 14th Street Madonna, Skarstedt, New York

Thu 7 Nov 2024 to Sat 21 Dec 2024

20 East 79th St, NY 10075

Mon-Fri 10am-5pm

Skarstedt presents Cristina BanBan: 14th Street Madonna. The word “Madonna” has many origins and connotations. Tracing its roots to the Latin mea domina, or “my mistress,” which is the feminine form of dominus, or “master,” it took further shape in the old Italian ma donna, or “lady.” Within these phrases lies a duality of the soft feminine lady and the more dominant dame or madam. This juxtaposition of the many faces of femininity, seen through the lens of contemporary society, binds together the new works on view.

While BanBan’s work is not autobiographical in the strict sense of the word, there is something personal and diaristic in each of her paintings. Taking influence from such things as major life events, all the way down to the little things she notices as she traverses the city, the works on view in 14th Street Madonna reveal who BanBan is in the moment in which she makes each work—what excites her, what intrigues her, what piques her curiosity. Sometimes, these influences are a conscious choice, such as the benches, plants, and windows that crop up in several paintings. Other times, they are unconscious, an element BanBan does not fully understand until the work is complete.

This shows up through the abstracted architectural elements that appear throughout some of the works on view. Women lean on railings, sit on benches, or stand in front of a window as if they are moving between boroughs on the subway alongside BanBan. Continuously charting a path between pure representation and pure abstraction, these elements are discovered through looking closely at these compositions. Whether consciously noticed or not, they lend a newfound sense of groundedness and contemporaneity. This modern aura continues in the accessories worn by many of these figures. A mainstay of her earlier work, the inclusion of things like underwear, high heels, or knee-high socks are donned in all kinds of colors and patterns. Whether an elaborate hat or exaggerated bow laces, they simultaneously heighten the femininity latent within her oeuvre, lend a sense of kitsch, and further place them as a contemporaneous women. The shoes, in particular, allow the viewer to take a proverbial step back. Whereas recent work has engulfed its viewers through the sheer scale of each figure, in 14th Street Madonna we start to get a look at the full figure, set in a nebulous yet still particular place and time.

BanBan is not new to painting the contemporary female experience. Still, it has taken on a new framework in 14th Street Madonna thanks to one of the other major influences on this series: the early films of Pedro Almodóvar and Sofia Coppola. Both thematically and aesthetically, their respective filmographies are well-considered throughout the exhibition. Whether it be rich cherry reds or soft pastel pinks, the palettes of these filmmakers become part of BanBan’s own palette, underscoring two different ways to view girlhood or feminine tropes such as femme fatales, mothers, or heroines. For Coppola, girlhood is a place of fantasy, experimentation, evasion, or transcendence, shown through stories in which a woman’s strength and desire are often underestimated. In Tres Mujeres y el Horizonte, for instance, there is a tenderness in the positioning of the three bodies and a kind of girlish shyness as two of them turn away from the viewer, hiding their eyes, while the woman on the left turns her head so swiftly, we see it like a film strip, her different expressions highlighting the multitude of emotions latent within women. Meanwhile, Almodóvar’s women are openly strong, intense, and complex—a guiding thread for emotions. In Striped Socks, a woman stands confidently in a set of red undergarments—echoing Almodóvar’s palette—and knee-high striped socks, her hips tilted to one side; she appears comfortable and alluring, as if she has complete ownership over the gaze inflicted upon her.

Cinematic language is a way to draw a line between the real and the imagined, something BanBan charts in her use of contemporary markers and well-defined women juxtaposed against amorphous backgrounds and details that fade into the overarching composition. This balance was fodder for the work of Willem de Kooning, a constant influence on BanBan, who was specifically inspired to create the series of narrow paintings in this exhibition after looking at de Kooning’s paintings on narrow wooden doors he made following his move to the Hamptons.

If the women of BanBan’s previous paintings were more universal in their scope, those shown in 14th Street Madonna

Lydia Baker: Sonnet, Massey Klein Gallery, New York

Lydia Baker: Sonnet

October 26 – December 7, 2024

Massey Klein Gallery,

124 Forsyth St. New York, NY 10002

Sonnet is a discovery and a personal r/evolution. Whereas the drawings in Baker’s debut solo exhibition In Between (2022, Massey Klein Gallery) depicted a sharply focused, somber world—small and distant female figures were often shown navigating difficult terrain on their own, despite their proximity to one another—the paintings in Sonnet realize the artist’s fantasy: a once-sought utopia, now discovered. The painter’s surrealist eye takes on a softer glow, as if gazing through a foggy, winter window to look upon the warmth inside a family home. “I have an image in my mind, where I am forehead to forehead with my partner; we’re sometimes asleep or just paused momentarily, taking each other in. Our bodies create a shape that holds everything,” the artist writes.

Unlike the third-person drawings set in Baker’s anthropomorphized landscapes, these first-person paintings bring two female figures to the fore. Sonnet’s protagonists become a cistern in which expansive, romantic love runs to reservoir. Emotional security, previously depicted as elusive and ephemeral, can now be captured (seen most directly in “A pool of our hopes and dreams,” where the composition and color overlay impress certain intimacy, and gesture toward multiplicitous futures). Each painting is a crucial component of the whole Sonnet, fourteen pieces in which the two women traverse an array of environments and imaginations together: ovum both literal and figurative in “Bird nest inside a flower” symbolize the birth of family, and also the creative ideas of artistic muse; arched, layered bodies create a haven in “Forming a window for previous selves,” protecting the children they once were; and “Daughters and cells flying side by side” casts the figures into a speculative future of queer reproductivepossibilities.

An obsessive color theorist, Baker continues to challenge her palette in her latest exhibition, drawing inspiration from painters like Lisa Yuskavage and Matthew Wong. With Sonnet, Baker employs jewel tones across textured surfaces, favoring a range of blues and ochres, to create new visual harmonies and vibrations. The effect is both dreamy and visceral, sensual and cerebral.

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Lydia Baker (b. 1990 Virginia) lives and works in Brooklyn, NY. Baker received her BFA from Virginia Commonwealth University in 2013 and MFA from the New York Academy of Art in 2020, where she was awarded the Merit Scholar Award (2018-2019) and the Post-Graduate Chubb Fellowship She has been awarded numerous artist residencies, including the High Line Nine x Sugarlift Residency, NYC (2021); the Saltonstall Foundation Residency, Ithaca, NY (2021) and the Vermont Studio Center (2023). Baker was also awarded the IEA Art Heals Grant (2020) and NYFA’s City Artist Corps Grant (2021).

Her works have appeared in print and online with publications like West Branch, The Wick, New American Paintings, FAD, Artnet, Juxtapoz, Art Maze and Artsy. Special projects have included David Zwirner’s PLATFORM Pride Curation, in partnership with Gayletter (2024), and their 2022 November Selection. Recent group exhibitions include CHARTA, Fortnight Institute, NYC (2022); A Suitable Accomplishment, Trotter & Sholer, NYC (2023); The Drawing Stall Fair, Monopo New York, Brooklyn, NY (2023); Future Fair, Massey Klein Gallery, NYC (2023); and Aura, Wilder Gallery, London (2023). Solo exhibitions include In Between, Massey Klein Gallery, NYC (2022), London Art Fair with Wilder Gallery, London (2023) and Sonnet, Massey Klein Gallery, NYC (2024).

Learn More Here

Lap of the Gods, Caro, Sarah Brook Gallery, Los Angeles

Lap of the Gods,

CARO

October 26 - November 30, 2024

Sarah Brook Gallery

If it’s true that attention is the highest form of prayer, in the words of Simone Weil, then the luminous textiles comprising CARO’s debut solo exhibition, “Lap of the Gods,” are devotional objects. One doesn’t need to know that the show represents more than a thousand hours of labor or that the creation of one of the tapestries spans five years to see the cumulative effect of such durational attention: a sometimes contemplative, other times ecstatic, interiority.

Using silk filament, sequins, and beads, bullion knots, picot stitches, and surface couching bind color to light, the workings of hands to the vision behind closed eyes. CARO’s consonant interests in jewelry and embroidery—they received their BA in Metalsmithing from Earlham College in Richmond, Indiana, and continued onto Embroidery School at École Lesage in Paris, France—produce the dynamic tension between the tangible and intangible at the heart of their practice. Diaphanous organza trimmed with iridescent beads is stretched taut across obdurate metal frames.

Here, with each pass and pull of needle and thread, that which is mysterious and ethereal threatens to escape the staid ore to which it’s bound. In Is it the same for you?, the frothy night sky is fixed within a hand-fabricated brass and silver frame covered in radiating tines that emphasizes the dissonance but also the interdependence of the materials: the fabric would fall slack without the structural tension; the frame would lose its context, its meaning. Imagining the tapestries in rectangular frames rather than embroidery hoops, CARO collapses the tired distinction between fine and applied arts. Their use of luxuriant untwisted silks, rarefied jewels like sapphires and rubies, and precious metals elevate the decorative premium of the textiles and give the works their illusory and ambiguously reflective surfaces. By relegating the metalwork, historically considered a man’s trade, to bracing and displaying the textiles, the long-underestimated women’s pastime further subverts convention. —Tara Anne Dalbow

CARO (b. 1992) is a multidisciplinary craft artist based in London, UK. They received their BA in Metalsmithing from Earlham College and continued onto Embroidery School at École Lesage in Paris, France. CARO then learned bobbin lacemaking at the Textile Arts Center in Brooklyn, NY. Currently they are pursuing their Masters in Jewelry and Metalsmithing at the Royal College of Art. They blend hand embroidered tapestries with hand fabricated metal framework to recall a sense of the sacred and to preserve the cultural identity of craft. CARO has exhibited their work internationally. Recent group shows include Aurora Borealis at Abigail Olgilvy, LA; Whisper In The Roots, My Pet Ram, NYC, NY; Eternal Flame, Fredericks & Mae, NYC, NY, Red Thread, Latitude Gallery, NYC, NY; Summer Crush, Arden Asbaek, Copenhagen, DK; Act II, Yellow Cube Gallery, Paris, FR; & Craft in Contemporary Art, Site: Brooklyn, NY.

Learn More Here

Rema Ghuloum: Atmospheres,Philip Martin Gallery, Los Angeles

Sat 21 Sep 2024 to Sat 2 Nov 2024

3342 Verdugo Road, Ste A, CA 90065

Wed-Sat 11am-5pm

Philip Martin Gallery presents “Atmospheres,” its first solo exhibition of paintings by Arab-American, Los Angeles-based artist Rema Ghuloum. As Ghuloum's show title suggests, her paintings are atmospheric, engaging pictorial and narrative instincts, optical sensation and proprioceptive awareness.

Rema Ghuloum’s medium and large scale oil-on-canvas works are produced over weeks and months of studio practice. Ghuloum works in layers, initially covering the canvas with paint applied with traditional tools - like brushes - and non-traditional ones - like spray and squeeze bottles. Ghuloum then sands the layers to create subtle gradations of deep painterly space. This space appears to stretch away from the viewer to infinity; at the same time, the viewer is physically oriented by a 'frame’ of brushstrokes that run up, down and side-to-side in narrow bands at the top, bottom and side edges of the canvas.

The optical sense in Ghuloum's atmospheres plays off the physicality of these frames. The tactile raised, painterly marks of the frame invite the viewer’s touch; the atmosphere of the picture points to deep painterly space. The viewer feels a space into which their mind might travel optically, as well as the gravity of the actual space in which they stand.

There is a sense of openness and mystery in Ghuloum’s work. There is a feeling of the known and the unknown. Her paintings have a sense of the intense emotion of American painter Mark Rothko and the healing instinct of Swiss artist Emma Kunz. There is also a sense of displacement and erasure that comes perhaps in part from Ghuloum’s own experience as an American of Lebanese descent.

Ghuloum notes the careful mood of Etel Adnan, a landmark Northern California artist who used painting and poetry as keys to express inner feeling. The lives of Etel Adnan and Ghuloum's own grandmother overlap in many ways: born the same year, each fled Lebanon as refugees of war - Ghuloum's grandmother first from Haifa in 1948 - and then like Adnan, from Beirut. Adnan writes,

Clouds pile up,
turn into human
forms
on riverbeds
the same inscription
always dissolves,
then reappears,
as the sky has
already told me.

A Reiki healer, Ghuloum moves energy in her paintings. With this energy she finds the gravity of the painting. Sensing this energy, the viewer finds their own gravity, too. We get out of these works what we put into them. Rema Ghuloum invites us on a journey; to participate in an exchange between maker and viewer; to consider our own experiences and those of the people around us; to think about what we want for ourselves, for each other, and the world in which we live.

Rema Ghuloum (b. 1978, North Hollywood, CA) received her BFA in Drawing and Painting from California State University, Long Beach (Long Beach, CA) in 2007 and her MFA from California College of the Arts (San Francisco, CA) in 2010. Recent projects include "The Sky Has a Thousand Windows" (Philip Martin Gallery, Los Angeles, CA) and "When the Day is Done" (David De Boer, Antwerp, Belgium). Recent institutional projects include, "Color Fields" (2023, Long Beach Museum of Art, Long Beach, CA) and "Shaping Gravity: Art Beyond the Picture Plane" (2023, Forest Lawn Museum, Los Angeles, CA). In 2022, Ghuloum was included in “The Holographic Principle” at Philip Martin Gallery (Los Angeles, CA). Solo exhibitions include Et al. (San Francisco, CA); Emma Grey HQ (Los Angeles, CA); Edward Cella Gallery (Los Angeles, CA); Five Car Garage (Santa Monica, CA); Sargent’s Daughters (New York, NY); Contemporary Art Matters (Columbus, OH); Hawthorn Contemporary (Milwaukee, WI); Jacob’s (Los Angeles, CA) and Sonce Alexander Gallery (Los Angeles, CA). Group exhibitions include The Pit (Los Angeles, CA); Make Room (Los Angeles, CA); La Loma Projects (Los Angeles, CA); Odd Ark LA (Los Angeles, CA); Part 2 Gallery (Oakland, CA); Harris Gallery, University of Laverne (Laverne, CA); Five Car Garage (Santa Monica, CA); Nathalie Karg (New York, NY); Mother Gallery (Beacon, NY); Taymore Grahne Projects (London, UK); Meyer Reigger (Berlin, Germany) and Baik Gallery (Seoul, Korea). Ghuloum’s work is included in the Achenbach Foundation for Graphic Arts Works on Paper Collection at the Legion of Honor Museum (San Francisco, CA). Ghuloum’s work has been reviewed in Art Forum, Hyperallergic, CARLA, the Los Angeles Times, Fabrik, and LA Weekly. Ghuloum lives and works in Los Angeles, CA.

Mariah Robertson: Many Mini Moons, Halsey McKay Gallery, New York

Sat 19 Oct 2024 to Tue 31 Dec 2024

79 Newtown Lane, East Hampton, NY 11937

Wed-Sun 11am-6pm

Halsey McKay Gallery presents the first solo exhibition with Mariah Robertson. Primarily known for photographic work experimenting with darkroom techniques and materials, her practice began in the late 1990’s with improvisational performance work inspired by 1970’s conceptual art. Many Mini Moons finds her at a place in between and amongst her established strategies. The show begins with an installation of photograms that serve as catalyst for paintings at varying degrees of finish and experimentation. The installation will be augmented throughout the duration of the exhibition and will be accompanied by writing that documents how she came to and is finding her way through her process.

Developments will be updated throughout the run of the exhibition on the gallery webpage and will culminate in a printed risograph publication. We begin with her proposal for this show:

Since 2015, I have been working on a commissioned project for a large non-commercial entity building at a facility in a foreign country far from the US. Over the years there have been technical requirement changes and other challenges to the point that it would be impossible to make the work as originally proposed. At some point last year, I re-proposed making painted copies of my photograms. This came about in part because I saw a painter I admire use lens based source imagery in a way I found lazy, and a critical amount of friends had said to me that my work was “painting.” I’m able to talk endlessly about how my work is a conceptual analysis of photography as a system and grows out of my performance practice, but my understanding of painting is a bit stunted, being frozen where I was at age 13 spray painting all my belongings black.

And so, I thought I would “learn by doing” and hitch my immediate prospects to this project so I could not turn back.

It’s been a really strange, destabilizing inner and outer journey. I have been keeping a choppy journal of a person who has achieved some skill in one field, trying to learn another, failing and making scary bad decisions, all while contemplating what it means to copy, to interpret, to reproduce. I’ve worked on various aspects of materiality of photography, inverting the gendered gaze, and now the double helix relationship with drawing/painting. It’s actually terrifying me as we speak and I think it would best be expressed with writing, but there’s also all the detritus of making along the way.

Currently, I’m trying to “copy” 2 photograms, or interpret them via memory or translation or reproduce them in a new medium.

-Mariah Robertson
September, 2024

Mariah Robertson (b. 1975) received an MFA from Yale University and a BA from UC Berkeley. Select solo exhibitions include Van Doren Waxter, New York; 11R, New York; Green Gallery, Milwaukee; M+B, Los Angeles. She has been included in exhibitions at institutions such as MoMA, New York, NY and MoMA PS1, New York; International Center of Photography, New York; Baltic Centre for Contemporary Art, Gateshead, England, and Museum of Contemporary Art Detroit. Robertson’s work is in the permanent collections of The Museum of Modern Art, New York, and Los Angeles County Museum of Art, California, Whitney Museum of American Art, The National Gallery of Art, Solomon R. Guggenheim Museum; Art Institute of Chicago and National Museum of Women in the Arts, among others. Her work was featured on the cover of Elton John’s 2016 album, Wonderful Crazy Night.

Robertson’s work was recently included in three museum shows: The Sky’s the Limit at the National Museum of Women in the Arts, October 21, 2023 – February 25, 2024. The Surrealist Impulse at the North Carolina Museum of Art, Raleigh NC, August 12, 2023–January 28, 2024, and The Art Institute of Chicago February – August, 2024.

Book of Details, a self published artist book had its debut at the 2024 at the NYABF at the table of Van Doren Waxter. A book tour series of events began in Chicago in June 2024 and will include stops in Kansas City, Houston, Los Angeles, Sacramento and San Francisco.

Nan Goldin: You never did anything wrong, Gagosian West 21st St, New York

Thu 12 Sep 2024 to Sat 19 Oct 2024

522 West 21st Street, NY 10011

Tue-Sat 10am-6pm

Gagosian presents Nan Goldin: You never did anything wrong at 522 West 21st Street, New York. The exhibition consists of two new moving-image works presented in specially designed pavilions and an extensive body of new photographs. This is Goldin’s first exhibition of new work since joining Gagosian in 2023.

Stendhal Syndrome (2024) is a moving-image work that juxtaposes photographs Goldin has taken over the last twenty years of Classical, Renaissance, and Baroque masterpieces with portraits of her own friends, family, and lovers. Photographs of paintings and sculptures from museums around the world including the Galleria Borghese, Louvre, Metropolitan Museum of Art, and Prado flow seamlessly with images of Goldin’s community, crossing centuries to resonate in harmony with each other, revealing uncanny resemblances in composition, color, form, and emotional tone. Goldin’s ability to draw such precise visual connections raises profound questions about traditional hierarchies within art, and the enduring human compulsion to memorialize beauty in works fueled by love, and grief.

You never did anything wrong, Part 1 (2024) is a home movie centered around the totality of the solar eclipse, filmed in Super 8 and 16mm. The soundtrack includes a mournful piece by Valerij Fedorenko, a chilling new score composed by Mica Levi, and ambient sounds of nature recorded during the eclipse. It is Goldin’s first abstract work, born from an ancient myth that an eclipse is caused by animals stealing the sun.

The moving-image works are projected within freestanding pavilions designed by Goldin in collaboration with Lebanese-French architect Hala Wardé. Each structure is conceived to echo the corresponding film therein, creating a Gesamtkunstwerk that fuses architecture, image, and sound.

Drawing from the same associative impulse that informed Stendhal Syndrome, Goldin created an expansive body of new grid photographs in which her own autobiographical images are mirrored by photographs taken in museums of artworks spanning millennia. The grid format, which has been a key element of Goldin’s work for three decades, echoes the cinematic structure of her moving-image works, encapsulating her understanding of history and time. These photographs line the walls of the gallery, surrounding the pavilions. Many of the grids explore stories of love and loss from antiquity, as in Orpheus Dying (2024), in which an 1866 Baroque painting by Émile Lévy of Orpheus is paired with a 1977 photograph of Goldin’s lover Tony. The visual parallels are striking, as both figures lie in nearly identical, seductive positions. Their pronounced rib cages create a haunting symmetry, and both bodies are draped against rumpled blue sheets that further unify the images, despite one being a classical nude and the other of a modern man wearing jeans. The shared palette and eerie shadowing of the two scenes blur the lines between past and present, high art and personal narrative, making their connection almost surreal—and evoking the pleasure and terror of the Stendhal Syndrome.

Throughout her storied fifty-year career, Goldin has fearlessly probed the depths of the human condition, capturing raw moments from everyday life that reveal universal experiences of love, loss, and the truths that connect us all.

Beverly McIver: Entangled, Berry Campbell Gallery, New York

Thu 17 Oct 2024 to Sat 16 Nov 2024

524 W 26th Street, NY 10001

Tue-Sat 10am-6pm

Berry Campbell presents its first solo exhibition of paintings by contemporary artist, Beverly McIver (b. 1962), after announcing her representation last year. Beverly McIver: Entangled is comprised of 18 recent paintings created in the artist’s North Carolina studio with subjects ranging from reflective self-portraits that capture her emotional ebbs and flows of the past year, to portraits of her family, friends, and neighbors, including tributes to her mentors, Faith Ringgold and Philip Pearlstein. The exhibition will be accompanied by a 44-page, fully-illustrated catalogue with essay by Paul Jaskot, Professor of Art, Art History, and Visual Studies, Duke University, Durham, North Carolina, and introduction by Dorothy Moss, Director of the Hung Liu Estate.

The central paintings of the exhibition are a series of emotional self-portraits entitled Entangled that depict the artist’s head being wrapped and strangled by colorful chords or rope or netting, showing the artist at her most vulnerable. While the subject matter of her paintings can be challenging, McIver’s virtuoso painting technique is unrivaled. McIver says: “The commonality is the human part, I think people are just refreshed to see somebody telling the truth, being authentic.”

McIver often chooses to paint the grittier side of her life: depression, poverty, illness, death, and the life of her developmentally disabled older sister. McIver’s artistic journey serves as a testament to her perseverance and the complexities that shape her identity such as stereotyping, self-acceptance, family, otherness, and, ultimately, freedom to express one’s individuality. McIver states: “I think it gives others hope that you can be on welfare, from the projects, and everybody around you doing other things like selling drugs and you can actually get a college degree and be a professor at Duke and have this great gift of sharing your voice and offering it as sort of a hug to what it means to be a human being and what it means to suffer.”

The exhibition coincides with McIver’s involvement in People for the American Way’s Artists for Democracy project, in which McIver is working alongside other renowned contemporary artists including Carrie Mae Weems, Jeffrey Gibson, Jenny Holzer, Shepard Fairey, and Titus Kaphar to promote voter mobilization through art in advance of the 2024 presidential election.

Beverly McIver is a Professor of Art, Art History, and Visual Studies at Duke University, Durham, North Carolina, and recently had a museum survey organized by the Scottsdale Museum of Art, Arizona, that traveled to Southeastern Center for Contemporary Art, Winston-Salem, North Carolina, and The Gibbes Museum of Art, Charleston, South Carolina. Last month, The National Academy of Design announced Beverly McIver has been elected as part of the class of 2024.

Mary,Mary - London’s Artist Garden Dedicated To Women Artist

M A R Y M A R Y, a major exhibition of public, outdoor sculpture in central London by nine women artists. The exhibition features commissioned works by Rong Bao, Candida Powell–Williams and Alice Wilson, adapted works by Lucy Gregory and LR Vandy and existing works by Olivia Bax, Frances Richardson, Holly Stevenson and Virginia Overton.  It is on view at The Artist’s Garden, a vast and once neglected half-acre roof terrace on top of Temple tube station, which is now the world’s first sculpture garden dedicated to the work of women artists, established in 2021. Thought to lie partially over the seventeenth century formal garden of Lord and Lady Arundel in which they amassed and displayed England’s first classical sculpture garden, The Artist’s Garden continues to be a place to contemplate the human/nature relationship through sculptural interventions.

3 October 2024 – 3 September 2025

The Artist’s Garden, on the roof of
Temple tube station, London, WC2R 2PH

More Information Here

Shirazeh Houshiary: The Sound of One Hand, Lisson Gallery, Los Angeles

Sat 14 Sep 2024 to Sat 26 Oct 2024

1037 N. Sycamore Avenue, CA 90038

Tue-Sat 10am-6pm

For her first solo show in Los Angeles for over a decade, the British artist Shirazeh Houshiary presents new and recent works, exploring the origins of life and the mysteries of the cosmos, from a microscopic cellular level, to the stratospheric phenomenon of the aurora borealis. The show’s title relates to a Zen Buddhist teaching that instructs the student to listen to the sound of one hand clapping, in order to open their mind to such a possibility and transcend the constraints of the physical body. Despite not being a Zen practitioner, Houshiary realised that her work revolves around the insistent sound made by one of her hands, making tiny, looping, scratched marks in pencil onto large aluminum surfaces, building up worlds through the silence of her inscribed words.

Houshiary’s abstract paintings emerge from an initial pour of liquid color that floods the surface in irregular pools, before she then covers these areas with her own calligraphic gestures in graphite, which are in fact tiny repetitions of the Arabic phrases: “I am” and “I am not”, which she also likens to the natural act of inhaling and exhaling. For one of the two largest works in the show, entitled Enchanter (2024), Houshiary applies red pigment and pencil to a black ground in five ring shapes, recalling structures of carbon particles linked in a chain. Matching this in scale but cooler in tone, is the painting Earth Lament (2023), with two silhouetted blue figures that somehow materialized from the sedimented pigment, one appearing to soar and the other seemingly being dragged down. This accidental figuration also occurs in the work Cicada (2023), which could just as easily be a depiction of the wings of this insect as it could be a representation of its rhythmic song. At the other end of the scale are the galactic indigo swirls of So Far So Near (2024) and the bands of ethereal light crisscrossing the work titled Aurora (2023), recalling those seen occasionally streaking across a night sky.

Occupying the floor is a sculptural installation in nine parts, made from an open latticework of aluminum bricks in blue and green hues, each with the same footprint, but all at different heights, growing at increments of one layer at a time (the shortest has five layers, the highest thirteen). Entitled Maelstrom (2022), these curved forms, both hard and supple at the same time, recall not only the molecular structures of the red painting Enchanter, or “that primeval storm within the spiral of creation where something grows,” as the artist puts it, but also the shape of the ouroboros snake eating its own tail.

A second sculpture, seemingly another form defying logic and gravity, bursts from the wall. Its two sinuous, entangled lines are the artist’s approximation of the movement of a solitary wave – lending it the name Soliton (2024) – which is a type of swelling or surging motion that is not dependent on previous pulses, or followed by other waves. From such unfathomable objects, to minute molecules and gigantic expanses of space, Houshiary’s art works represent a journey through everything from the chaos and messiness of the Big Bang to the silent contemplation of the resulting energies that surround every one of us.

Danielle Mckinney: Haven, Galerie Max Hetzler, Bleibtreustraße 15/16, Berlin

Sat 7 Sep 2024 to Sat 26 Oct 2024

Bleibtreustraße 15/16, 10623

Tue-Sat 11am-6pm

Mckinney’s interior scenes capture moments of human introspection with painterly lyricism. Depicted in darkly lit domestic interiors, the artist’s exclusively Black and female protagonists sleep, read, smoke, or lounge languidly across sumptuous furniture, wholly immersed in their inner worlds.

It is here that Mckinney’s figures find refuge – a state of being that permeates the fifteen new works on view. The titular painting, Haven, acts as a central work. A woman lounges on her golden bed as light filters in through the curtains to illuminate a small painting of a resting unicorn enclosed by a fence. The artist here imagines a mythological corollary to her protagonist, who finds a place of repose – a haven –amidst a turbulent world.

Trained as a photographer, Mckinney arranges her subjects cinematographically, with an astute awareness of space, atmosphere and mood. The compositions are built from an all-black canvas, creating scenes which seem to emerge from darkness, echoing both the chiaroscuro of Spanish Golden Age painting and the evolution of a photograph in a darkroom. Shimmers of light and colour, rendered with thick, dappled brushstrokes, punctuate this eternal twilight: the faint glow of a lit cigarette, the glimmer of a velvety sofa or the piercing red of carefully applied nail polish.

Mckinney’s atmospheric interiors are both anonymous and welcoming, often incorporating imagery from social media, 1960s magazines, or art history itself. In Rhythm with Blue, a nude figure dozes off, sprawled under a rendition of Henri Matisse’s The Dance, while several of the artist’s other reclining figures conjure Edouard Manet’s Olympia. Uninhabited by our gaze, these women command the spaces in which they find themselves.

Through painting, Mckinney revels in the interior spaces we hold and inhabit. Her compositions are at once cryptic and soulful, translating private yet universal gestures of solitude and contemplation with extraordinary sensitivity. ‘I’m kind of putting myself into those spaces’ the artist notes, ‘I just hope I leave them open enough for people to feel comfortable coming in.’

Danielle Mckinney (b. 1981, Montgomery, USA) lives and works in Jersey City, USA. The artist’s work has been presented in institutional solo exhibitions at Kunsthal n, Copenhagen and Fondazione Sandretto Re Rebaudengo, Turin (both 2024); and group exhibitions in institutions including Columbus Museum of Art; Bemis Center for Contemporary Arts, Omaha; Dallas Museum of Art (all 2023); Zeitz Museum of Contemporary Art Africa, Cape Town; Scottsdale Museum of Contemporary Art; The Contemporary Austin; Rudolph Tegners Museum and Statue Park, Dronningmølle; Modern Art Museum of Fort Worth; Institute of Contemporary Art, Miami (all 2022); Asia Art Center, Taipei; and Flag Art Foundation, New York (both 2021), among others.

Mckinney’s work is in the collections of Aïshti Foundation, Beirut; Columbus Museum of Art; Dallas Museum of Art; Fondazione Sandretto Re Rebaudengo, Turin; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Institute of Contemporary Art, Miami; The Israel Museum, Jerusalem; Longlati Foundation, Shanghai; Los Angeles County Museum of Art; Modern Art Museum of Fort Worth; The Museum of Fine Arts, Houston; Pérez Art Museum Miami; Philadelphia Museum of Art; and Stedelijk Museum, Amsterdam, among others.

Caroline Jackson: This Place,Sim Smith, London

Thu 12 Sep 2024 to Sat 5 Oct 2024

6 Camberwell Passage, SE5 0AX

Thu-Fri 10am-4pm, Sat 11am-5pm

Sim Smith presents Caroline Jackson’s first UK solo exhibition, This Place. The exhibition is an exploration of the artist’s intuition and investigation of paint, soaking, dripping and blurring through many forms. The nature of the paintings allow for a subject to emerge only to submerge again, in an entrancing connection between surface, colour, scale and instinct.

This Place refers to the sensation of being taken to specific landscapes, soundscapes, places, and memories when experiencing the paintings individually or as a whole. This ambitious exhibition untangles and understands Jacksons painterly language in a place that she invites us to enter.

The making for this exhibition spanned many months, with paintings being worked on simultaneously over a long period of time – this is the first time Jackson has worked in this way. One of the results of this is reflected texturally, with surfaces and consistencies that have not been explored in her practice before, emerging from deep stratums of coloured, course grounds made up of thick oil paint and oil pastel, juxtaposed by agile washes of diaphanous pigment. There are various points at which these paintings could have reached their final destination, but Jackson has pushed each piece more and more asking, what happens if you keep going past a point of comfort and of previous knowledge to one of discovery.

“I have never used so many pastels”, she remarks when talking about this exhibition. ““I have often used pastels to carve out and hold loose spaces of paint together, but in these works, pastel feels as much of a material to build as paint. It’s felt like making a puzzle, deciding which shapes might lock together, some that complement each other and others which don’t.” Unintentional marks and intuition hold these paintings together, with drawing and painting slipping back and forth, entangled over and under each other. Not only are they equal and complimentary but they give life and complexity to each other through an exchange of enigmatic energy. Natural forms start to surface through the making of the works, seemingly excavated geological visions of minerals, craters, butterfly wings or even a whole landscape. But they are also visibly made by the artist’s hand and have a certain quality of the man-made or other, possibly mechanical, possibly alien. Jackson plays with the natural, the artificial and the spatial, unmasking an amalgam of ghosts as she goes.

“I start with the bones of the piece and then build the flesh up, it rolls from there and each mark is informed by the last. Lots of things can go wrong with paintings, you have to detached yourself from wanting a specific finale.”

-Jackson, August 2024

Colour takes a central role in the paintings, it gives life to the habitat of these works. The diversity of pigment in the paintings, similar to their surfaces, is based on the perception and instinct of a painter with as much sensitivity as a desire to explore, there is no pre-determined plan at play, just a feeling. The works are directed by what feels right, particularly at the start of a piece, fluid and unspecified. The painting soon takes over, guiding paths to be composed and carved out to a more intentional ending “…a space where colour, shape and form intersecting often surging and resolving themselves in some moments and then dissolving in others.” The paintings also evoke sensory memories, the feeling of being in and amongst nature and experiencing the world from a sensory standpoint, absorbing and replicating impressions of scent, touch and light.

“With works like Brisk all I could think of when trying to title was the feeling of walking through a harsh landscape- maybe Cornwall where I always holidayed as a kid and always remember the feeling of the wind, the sideways rain, being cold, the smell of the wet shrubbery.”

-Jackson, August 2024

The sensory is explored further in the scale of these works, their extremes and their reactions on the physical body. Jackson has made her largest work to date for this exhibition, Abiogenesies – referencing the origin of life from non-living matter. specifically: a theory in the evolution of early life on earth. This work, due to its scale and layout, feels like a life span, and ecosystem evolving into life form. Made over three panels, each relating to a state of being and stages of time, past, present, future. Each panel was worked on in isolation and then brought together through a canopy of texture, interweaving connecting tendrils and bursts of rays of light. The smallest works also make up a significant part of this exhibition evolving Jacksons investigation and exploration into the extreme. The small works do not form part of the preparatory for the larger, Jackson has not scaled down her mark making. They are much simpler pieces, being informed by the larger works and not visa-versa. By taking away the scale, they are predominantly colour driven. They are very nostalgic to Jackson relating to places she feels she knows or has seen in childhood, they are precious, more intimate memories “there is one that has lots of baby pink and dark green, it reminds me of being in my garden as a kid, having BBQ’s and the smell of suncream”. Nostalgia does not play role when making but is referenced retrospectively when observing the works for Jackson, connecting the present to the past.

There is no denying that this exhibition has surfaced from deep within, with Jackson unconsciously moving, shaping and carving out mysterious spaces that we come to inhabit or feel as though we may have inhabited before. She destroys and rebuilds the works which seem to exist naturally, just like a landscape that has morphed and merged over many years. Paint and pastel are enmeshed, texture and form interwoven and yet paint is kept in its truest form “I want paint to look like paint, fluid, sheer, thick, I want to keep paint as paint, loose, I’m not trying to depict anything when painting”. Jackson’s paintings are animate; moving, metamorphosing, held together only by a structure beckoned from the subterranean.

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Lee ShinJa: Weaving the Dawn, Tina Kim Gallery, New York

Thu 22 Aug 2024 to Sat 28 Sep 2024

525 West 21st Street, NY 10011

Tue-Sat 10am-6pm

Tina Kim Gallery presents “Weaving the Dawn,” the gallery’s first solo exhibition dedicated to Lee ShinJa - a pioneering artist who is remembered in Korean art history for introducing the “tapestry” genre when the concept of “fiber art” was still unestablished in her native Korea. Marking her New York debut, the show highlights Lee’s expansion of the material characteristics and aesthetic beauty of thread as a medium.

The full breadth of her career, which spans more than half a century, will be represented—from her avant-garde embroidered appliqué work from the 1960s to the more recent “Spirit of Mountain” series that pays homage to her hometown. Featuring preliminary sketches of her early compositional ideas and archival materials that highlight her role as a dedicated educator and researcher, “Weaving the Dawn” will be on view from August 22 to September 28, 2024.

Born in 1930 in Uljin, Korea, while the country was under Japanese colonial rule, Lee first encountered textiles through the women in her life. As a child, she played with her mother’s sewing rings, and watched her grandmother weave cloth for household use. In a 1977 conversation with critic Yoo Keun Joon, she remarked that it was natural for women to gravitate towards embroidery within the limited scope of applied arts at the time. (1) Her innovative spirit can be felt early in her practice when she boldly integrated appliqué and dyeing into her embroidery. In Image of the City (1961), she unraveled the plain weave of the base fabric and twisted subtly colored threads to the loosened ones to create a structural tension previously unseen in traditional textiles. Meanwhile, Portrait of My Daughter (1962), modeled after her second daughter, broke formal embroidery conventions with its semi- abstract representation of a face and hands. Lee’s experimentation with technique and form reaches a crescendo in Screen (1979), which divides space by introducing thick cotton yarn to a deconstructed linen cloth. Lee’s avant-garde approach and subversion of the boundaries between craft and fine art, as well as traditional and modernist technique, received mixed reviews at the time. Some critics claimed that she was destroying the practice of Korean embroidery. Others hailed her as a comet in the craft world. (2)

In the 1970s, Lee fully embraced tapestry techniques, developing new dyeing methods and experimenting with unique materials such as bedding and wool sweaters sourced from secondhand markets. Her works from this period, such as Sun and Moon I (1973), feature geometric motifs, lyrical colors, and harmonious horizontal and vertical compositions, achieving a complete abstraction. In the 1980s, after visiting the 1970 Osaka Expo and the 1983 Lausanne International Tapestry Biennale, Lee gained the confidence to expand her textile forms into sculptural installations. During this decade, she also met and engaged with international artists like Magdalena Abakanowicz and Issey Miyake through textile exhibitions at the National Museum of Modern and Contemporary Art, Korea. Reflecting her remarkable dedication, Lee’s large-scale woven works became increasingly experimental, incorporating bold colors and extensive weaves. Despite her prolific output, she faced personal sorrow in 1982 with the passing of her husband, painter Chang Woon Sang.

Amid this loss and the challenges of being a single parent, Lee discovered a profound passion for creation. From 1984 to 1993, she had three solo exhibitions with works expressing a resilient will for renewal stemming from the artist’s deep reverence for nature’s life-sustaining and cyclical forces. Pieces such as Dawn, Legend, and The World is Beautiful transform images of nature through abstraction: Their densely populated and meticulously layered threads evoke the sky, wind, sunlight, and ocean, suggesting a powerful vitality rising from the earth and a sense of coexistence, hope, and expansion. Critic Kim Bok-Young articulated this as themes of “metaphor of light” and “space of memory” in Lee’s oeuvre. (3)

Reflecting on her childhood memories of nature, Lee said, “Growing up in a rural area, I vividly remember the intense sunlight at sunrise and sunset. I have cherished memories of climbing mountains with my father every morning to witness these moments. The sunlight rising from the East Sea left a lasting impression on me. I have always believed in creating nature as I see it. However, I still feel that my work has yet to match the beauty of my hometown.” (4)

After her 1993 solo exhibition, Lee focused on further developing her abstract representations of nature in her “Spirit of Mountain” series. This body of work, which epitomizes her later practice, uses a variety of materials to portray dynamic mountain ranges through intricate diagonal structures. Since the 2000s, Lee’s work has highlighted sculptural abstraction and spatial depth by incorporating new materials such as wood and metal into her tapestries. While maintaining her characteristic color palette of red, yellow, black, and gray hues, she has introduced tonal contrasts, enhancing vertical and horizontal structures to create a more static composition. Her serene landscapes often feature rectangular shapes reminiscent of windows, drawing inspiration from traditional Korean houses, or hanok. Seen through these frames, Lee’s mountainous forms reflect her tranquil and humble vision of simultaneously observing and residing within nature.

Critic Kim Hong-hee, former director of the Seoul Museum of Art, commended Lee’s achievements in challenging gender and genre biases in craft. (5) Furthermore, she observed that Lee’s fiber art subtly reflects autobiographical elements, despite their formally abstract style, offering a foundation for feminist critique. “Weaving the Dawn” seeks to reinvigorate this conversation around historically marginalized artistic practices that have been overlooked due to their associations with women’s domestic labor.

Lee ShinJa (b. 1930) is a pioneering first-generation Korean fiber artist and educator. She has been exhibited widely in major solo exhibitions across Korea and abroad at galleries and institutions such as Press Center (1965), Gallery Hyundai (1983), Seoul Arts Center’s Hangaram Art Museum (1993), the Republic of Korea’s National Academy of Arts (2003) and more. In 2023, the National Museum of Modern and Contemporary Art (MMCA) in Gwacheon, Korea, presented her retrospective “Threadscapes,” which shed new light on the world of a pioneer who opened up the possibilities of fiber art. She has also participated in a number of group exhibitions including ones at MMCA Deoksugung (1986), Ho-Am Art Museum (1988), and Jakarta Textile Museum (2000), and biennials like the 5th Lausanne- Beijing International Fiber Art Biennale at Tsinghua University Academy of Arts and Design (2008). Lee’s works are housed in the collections of major institutions such as the National Museum of Korea, the National Museum of Modern and Contemporary Art, the Seoul Museum of Art, the Seoul Museum of Craft Art, Sookmyung Women’s University, Duksung Women’s University, and elsewhere.

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MARIGOLD SANTOS,of armour bespoke, of fabric, of skin, of within / binubuo ng pasadyang proteksyon, ng tela, ng balat, at ng kalooban, Norberg Hall Gallery

Exhibition: Sept 13 – Oct 26, 2024

333b – 36 Ave SE
Calgary AB T2G 1W2
Canada

Across cultures and in artistic practices, needle work – that is, any kind of handiwork completed with a needle and thread – has both quotidian utilitarianism and can produce artefacts that ceremonially mark life’s milestones. By extension, tattooing, a practice that also involves the needle – is also a type of needle work that punctures skin with ink and marks the bearer with designs that hold personal significance. Tattooing elevates the skin beyond its biological function, turns it into a surface of ornamentation, and imbues the body with talismanic power. It is a transformation from physical to spiritual protection. A malunggay sprig, hand fans woven from palm leaves, stylized flora, a harlequin asuang, a cross-section of a lanka are whispers of a rich heritage from which many children of the diaspora are estranged. With a needle, the artist sutures these disjunctures and reconnects the bearer of these markings with our collective histories.

In this new exhibition, Manila-born, Calgary-based Marigold Santos re-interprets Philippine traditional material practices of needle work, both textile embroidery and tattooing, into magical moments of transcendent relationality.

Santos takes on a new direction in her practice with this series of large scale studio photographic portraits of people she has tattooed. For the artist, tattooing is a trauma-informed and relational practice in which she prioritises IBPOC bodies, particularly Filipino/a/x. The individuals who are photographed have been marked by Santos; just as she has supported their bodily and aesthetic choices, these people support Santos’ artistic career. Adopting the same artful intimacy that she takes on when tattooing her subjects, Santos engages with the sitters of each portrait, each a member of the Filipinx diasporic community. These photographs not only capture relations of mutual support, but also networks of reciprocated trust.

Reinventing these traditional practices in the diaspora not only physically marks people but marks them as time and space travellers who have traversed oceans, violent colonial encounters, racism, sexism, homophobia, and transphobia to stand in that very moment.

Shrouded in black, Santos’ portraits are enveloped in darkness, but a levity shines through the eyes of her sitters. Brown skin, white grins, and the glints of eyes shine through the darkness. In a world that denies full humanity to Filipinx diasporic subjects who are often seen as labourers and expendable, these portraits celebrate the embodied resistances and joys that have been cultivated by communities that are seeking to reclaim ancestral power and move it into abundant futures. They exude comfort in their own skin – skin that they have willfully chosen to adorn with motifs oftentimes created collaboratively with Santos.

For Filipinos/as/x amid white supremacy, feeling good “in ones’ skin” cannot be taken for granted. Intergenerational trauma, colonial mentality, and toxicity within the Filipinx community amplify lies that proximity to whiteness is desirable as it moves closer to privilege and power. To be joyful in one’s body is radical. To be joyful in one’s brown body is revolutionary.

Santos’ needle work is in fact, needed work for these children of the diaspora – mga anak ng diaspora: Bianca. Darren. Dianne. Gina. Jackie. Jean. Joey. Jules. Mac. Michelle. Ray. Robi. Ruth. Tiffany. Tomi. Aware of these colonial harms, Santos mobilises her art to heal. And like a babaylan, the artist conjures the wisdom and skills of the ancestors, bringing them into conversation with contemporary artistic vocabularies and shows us art as salve for battered, brown bodies.

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If You Want To Be My Lover, A solo exhibition by Annika Earley at Moss Galleries in Falmouth, Maine

September 27 - November 23rd 2024

FALMOUTH GALLERY

251 Route One, Falmouth, ME

Tuesday - Saturday: 10am - 5pm

Annika Earley makes intimate works on paper about her alter-ego/fairy godmother/personal demon named Batshit. Her work considers the demands and joys of motherhood, sensuality and sexuality, gender, and pre-teen nostalgia. She often uses German fairy and folk tales and Spice Girls lyrics as reference points in her work.

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Nan Goldin: You never did anything wrong, Gagosian West 21st St, New York

Thu 12 Sep 2024 to Sat 19 Oct 2024

522 West 21st Street, NY 10011

Tue-Sat 10am-6pm

Gagosian presents Nan Goldin: You never did anything wrong at 522 West 21st Street, New York. The exhibition consists of two new moving-image works presented in specially designed pavilions and an extensive body of new photographs. This is Goldin’s first exhibition of new work since joining Gagosian in 2023.

Stendhal Syndrome (2024) is a moving-image work that juxtaposes photographs Goldin has taken over the last twenty years of Classical, Renaissance, and Baroque masterpieces with portraits of her own friends, family, and lovers. Photographs of paintings and sculptures from museums around the world including the Galleria Borghese, Louvre, Metropolitan Museum of Art, and Prado flow seamlessly with images of Goldin’s community, crossing centuries to resonate in harmony with each other, revealing uncanny resemblances in composition, color, form, and emotional tone. Goldin’s ability to draw such precise visual connections raises profound questions about traditional hierarchies within art, and the enduring human compulsion to memorialize beauty in works fueled by love, and grief.

You never did anything wrong, Part 1 (2024) is a home movie centered around the totality of the solar eclipse, filmed in Super 8 and 16mm. The soundtrack includes a mournful piece by Valerij Fedorenko, a chilling new score composed by Mica Levi, and ambient sounds of nature recorded during the eclipse. It is Goldin’s first abstract work, born from an ancient myth that an eclipse is caused by animals stealing the sun.

The moving-image works are projected within freestanding pavilions designed by Goldin in collaboration with Lebanese-French architect Hala Wardé. Each structure is conceived to echo the corresponding film therein, creating a Gesamtkunstwerk that fuses architecture, image, and sound.

Drawing from the same associative impulse that informed Stendhal Syndrome, Goldin created an expansive body of new grid photographs in which her own autobiographical images are mirrored by photographs taken in museums of artworks spanning millennia. The grid format, which has been a key element of Goldin’s work for three decades, echoes the cinematic structure of her moving-image works, encapsulating her understanding of history and time. These photographs line the walls of the gallery, surrounding the pavilions. Many of the grids explore stories of love and loss from antiquity, as in Orpheus Dying (2024), in which an 1866 Baroque painting by Émile Lévy of Orpheus is paired with a 1977 photograph of Goldin’s lover Tony. The visual parallels are striking, as both figures lie in nearly identical, seductive positions. Their pronounced rib cages create a haunting symmetry, and both bodies are draped against rumpled blue sheets that further unify the images, despite one being a classical nude and the other of a modern man wearing jeans. The shared palette and eerie shadowing of the two scenes blur the lines between past and present, high art and personal narrative, making their connection almost surreal—and evoking the pleasure and terror of the Stendhal Syndrome.

Throughout her storied fifty-year career, Goldin has fearlessly probed the depths of the human condition, capturing raw moments from everyday life that reveal universal experiences of love, loss, and the truths that connect us all.

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Chrissy Angliker: Post Liminal, Massey Klein Gallery, New York

September 7th through October 19th

Massey Klein 124 Forsyth Street

New York, New York

Massey Klein Gallery is pleased to present Post Liminal, a solo exhibition of new paintings by Chrissy Angliker. The

exhibition will be on view from September 7th through October 19th. An opening reception will be held on Saturday,

September 7th from 6-8pm. This is the artist’s second solo exhibition with the gallery.

***

Post Liminal

The ripples slice the mirror,

Opening the void of duality.

In still waters it takes one drip to remember.

Whole worlds appear to hold.

Walls as solid as light,

Flickering within its foundation,

The wind carries them like leaves to their future.

Arrival and leaving,

Rubbing like twigs,

Creating that warmth

Found in here.

***

“This being human is a guest house,” Rumi told us centuries ago. “Every morning a new arrival. A joy, a depression, a

meanness, some momentary awareness comes as an unexpected visitor.”

Over the past year and a half, I have encountered many unexpected visitors. The loss of a dear loved one catalyzed

the sale of her building, which housed my sacred art studio for 14 years. In a way that felt synchronized, the building

where I lived sold soon after. During the pandemic’s epilogue, the New York I had known felt as if it was untethering

itself from me; and with so many foundations convulsing below, the fragility of sanctuary and illusion of permanence

became my fixation.

We meet here in the Post Liminal, where much has transpired in rapid succession. The pace was so swift that at times

all that was left to capture from each place was a thing on the cusp of change, a moment heated to its limit by

transition, a flash of stillness amidst turmoil.

Massey Klein 124 Forsyth Street New York, NY 10002 masseyklein.com

My sanctuaries were destinations: my native Switzerland; the homes I’ve moved to and from in Brooklyn; my new

studio; and Casa de Nada, an artist residency in Taos, New Mexico. And as the cut flowers bravely bloom to their

wilt within their temporary homes, I know I am them.

A known mirage is a gift. We swim, confronting our reflections in the waters, bathing inside the fragile mirrors of the

structures we’ve built and cling to still. I grasped at the ripples hoping I could dive beneath the tenuousness of truth.

In my collaborative dialogue with paint, I have always aimed to disentangle the medium from the illusory image. And

here, I endeavor to explore the fallacy of permanence, the fleeting nature of all things, and to pause in that liminal

glow.

-Chrissy Angliker

***

Chrissy Angliker has exhibited extensively in Europe and the United States, with notable recent exhibitions including a

solo exhibition at Craig Krull Gallery, a group exhibition at Stalla Madulain, inclusion at the Dallas Art Fair, and a

group exhibition at Massey Klein Gallery. She presented her first solo exhibition with Massey Klein Gallery, Crazy

Says the Daisy, from January 28th through March 5th, 2022, and was featured on David Zwirner’s PLATFORM in the

fall of 2022. Last year, Angliker exhibited with Massey Klein Gallery in a solo presentation at Future Fair (May 11-13,

2023) and a group presentation alongside artists Bethany Czarnecki and Kate McQuillen at the Dallas Art Fair (April

20-23, 2023).

Her work has been featured in numerous international print and online publications, including Interview,

Platformart.com, Cool Hunting, Creative Boom, In Style, Forbes.com, The Know Culture, The Last Magazine, Bolero

Magazine, and Hyperallergic, to name only a few. In 2016, Neidhard & Schoen AG published an in-depth book,

Chrissy Angliker PAINT/ING/S, examining Angliker’s process and resulting paintings with a focus on her work created

between 2014 and 2016.

Angliker has been awarded the Rowena Reed Kostellow Award (Pratt Institute) and the International Takifuji Art Award

(Tokyo), among other international accolades and nominations, and has had site- and project-specific work

commissioned by AOL America Online, Burton Snowboards, and Wired Magazine, among others. The artist lives and

works in Brooklyn, NY.

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Transforming Karma: Art, Earth and Responsibility,Solo Exhibition by Lisa-Marie Price

Thursday, 19 September 2024

• 18:00 21:00

• Loom ClubUnit 23, The Ivories, 6 Northampton StreetLondon, England, N1 2HYUnited Kingdom (map)

Loom Club is proud to present "Transforming Karma: Art, Earth, and Responsibility," an exhibition featuring the soft and delicate works of artist Lisa-Marie Price. This exhibition, inspired by the teachings of Thich Nhat Hanh in Love Letter to the Earth, invites viewers to explore the profound connection between human actions and the environment.

“When we understand the nature of karma, we see that every action we take contributes to our collective future.” - Thich Nhat Hanh in Love Letter to the Earth

The exhibition takes place for one night only on September 19th from 6PM to 9PM at Loom Club, Essex Road, London. Price delves into the concept of karma and its relationship to our treatment of the planet. Central to Price’s practice is the use of natural paints made from earth minerals, grounding her work in the

elements she seeks to honour. This process deepens her exploration of how our actions impact the Earth, reinforcing the need for harmony with nature. Transforming Karma is more than an exhibition; it’s a call to action, urging us to recognise our deep connection with the planet and the responsibility we hold. In the face of climate change, this exhibition reminds us that mindful actions can heal both ourselves and the Earth.

Join us on September 19th to explore the art of transformation and reflection. Witness how art can inspire change and together we can create a more mindful and compassionate world.

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Robin F. Williams, Good Mourning, PPOW Gallery, New York

390 Broadway, 2nd Floor

September 6 - October 26, 2024

P·P·O·W is pleased to present Good Mourning, Robin F. Williams’s fifth solo exhibition with the gallery. Featuring a series of new large-scale paintings and gouaches on paper, this exhibition builds upon Williams’s previous examinations of the constructions of gender in portraiture, advertising, folklore, and social media. An avid cinephile, Williams found themself looking for ‘the paintings’ in horror films and psychological thrillers. These films cultivated a generative space for Williams, revealing transformative moments where both composition and narrative collide. In Good Mourning, Williams blends their filmic references with art historical and cultural events to develop a type of fan fiction that creates space for alternative endings.

Obscuring the line between villain, victim, and savior, each of the female protagonists within Williams’s paintings resist the confines of their prescribed role. Morally complex, they present their dualities to the viewer as they learn to escape cycles of abuse. In Out the Window, 2024, Williams invokes Carl Andre’s infamous words, “she went out the window,” in his 911 call following the murder of Ana Mendieta. Visually referencing the 1973 vampire film, Ganja & Hess, Williams pays homage to the role of the female character, Ganja Meda, as one who will go to any length to protect herself. Throughout the film, Ganja grapples with her sexuality, gender, and morality as it relates to race, class, and her bodily autonomy. In an act of self-preservation, she enters into an unholy union with a male vampire, leaving her further from her autonomy than before. In Williams’s version, the female figure is given the power to preserve her freedom by throwing that union out the window, creating a new horizon for her story.               

Robin F. Williams (b. 1984) received their BFA from the Rhode Island School of Design and has presented solo exhibitions at P·P·O·W, New York, NY; Morán Morán, Mexico City, Mexico; Perrotin, Tokyo; Pace Prints, New York, NY; and Various Small Fires, Los Angeles, CA, among others. Robin F. Williams: We’ve Been Expecting You, Williams’s first solo institutional exhibition, was on view at the Columbus Museum of Art, April 5 - August 18, 2024. Their work has been featured in numerous group exhibitions nationally and internationally including Pictures Girls Make: Portraitures, curated by Alison Gingeras, Blum & Poe, Los Angeles, CA; In New York, Thinking of You (Part I), Flag Art Foundation, New York, NY; I’m Not Your Mother, P·P·O·W, New York, NY; Fire Figure Fantasy, ICA Miami, Miami, FL; Present Generations, Columbus Museum of Art, Columbus, OH; XENIA: Crossroads in Portrait Painting, Marianne Boesky Gallery, New York, NY; Nicolas Party: Pastel, Flag Art Foundation, New York, NY; SEED, curated by Yvonne Force, Paul Kasmin Gallery, New York, NY. Their work is in the permanent collections of the Brooklyn Museum, Brooklyn, NY; Collection Majudia, Montreal, Canada; the Columbus Museum of Art, Columbus, OH; the Institute of Contemporary Art, Miami, FL; and X Museum, Beijing, China; among others.

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Japan In/Out Brazil, Nara Roesler New York, New York

Wed 4 Sep 2024 to Sat 5 Oct 2024

511 W 21st Street, NY 10011

Tue-Sat 10am-6pm

Nara Roesler New York presents Japan In/Out Brazil, a group exhibition that brings together the work of three artists from different generations who share Japanese origins and were born in, or have close ties to Brazil: Tomie Ohtake (1913-2015), Lydia Okumura (1948) and Asuka Anastacia Ogawa (1988). Although they are all of Japanese origin and belong to its diaspora in Brazil, these three artists belong to different generations. While Tomie Ohtake was born at the beginning of the 20th century and began her production in the 1950s, Okumura gave impetus to her poetics in the 1970s, a time of great effervescence in conceptual art, and Asuka Anastacia Ogawa is from a new generation of contemporary painters.

Tomie Ohtake is an emblematic example of the Japanese diaspora in Brazilian art, above all because of her pioneering spirit. With work that was initially figurative, the artist quickly moved towards abstraction, in which she combined gestural elements with a formal rigor characteristic of geometric abstraction. From the 1970s onwards, she began to work with large areas of color and frames that suggest the continuation of a composition beyond the space of the canvas. With the use of acrylic paint from the mid-1980s onwards, she began to create tonalities and made the overlapping chromatic layers visible, creating an abstraction with a cosmic aspect. She also developed a body of sculptural work, which is represented in the exhibition by a work from the Tubulares series, developed in the 1990s. Its tubular shape and sinuous aspects, similar to a pictorial gesture, conveys lightness in opposition to the nature of the material it is made of (carbon steel).

Lydia Okumura, on the other hand, is an important representative of Brazilian conceptual art, a trend that gained strength in the country towards the end of the 1960s. Unlike her contemporaries, who gradually shifted their productions towards something more experimental, Okumura’s early creations already demonstrated a high degree of innovation, since she conceived her works not as finished artistic objects, but as visual situations that directly impacted the viewer's perception. Through drawings and interventions in space, the artist created installations and site-specific works that played with the public’s sensoriality, inviting them to interact and be part of the work. From the 1980s onwards, Okumura brought these optical experiments to painting, creating compositions that explored geometric elements and the ambiguity between two and three dimensions.

The relationship between Japanese and Brazilian cultural elements is very visible in the work of Asuka Anastacia Ogawa, a young painter who was born in Japan but spent part of her childhood and adolescence in Brazil, before moving to Europe and the United States, where she completed her training. In her pictorial work, the artist depicts androgynous, childlike characters with large eyes and black skin. The backgrounds are neutral and saturated colors, sometimes intensely luminous. The frontal representation of these characters, as well as the somewhat abstract background, suggests that they carry a strong spiritual content. The titles of the paintings refer both to Ogawa's ancestors and to ancestral elements from the cultures of Japan and Brazil.

The exhibition thus brings together different contributions by three artists from different generations who were part of the Japanese diaspora in Brazil, showing that this diaspora not only played a major role in the history of art in the country, but that it continues to provide avenues for thinking about contemporary production.

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