Your Concise New York Art Guide for March 2022

by AryanArtnews
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There’s “what if …” energy that inspires some of New York’s most exciting exhibitions this month, and speculative suggestions up to “what if you consider architecture an unstable pastiche?” “What if genre selection can cause replay?”, “What if a distargeted body gains abilities in another world?” “Expression index What if it changes? ”“ What if ”is a vibrant and powerful thing. When attending these shows in the city, immerse yourself in the possibilities of questions.

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Installation drawing Black index Loivesdorf Gallery, Hunter College Art Gallery, 2022. Alicia Henry, “Analogy III” (2020) (Photo courtesy of Stannarten, artist courtesy)

when: Until April 3
where: Bertha & Karl Leubsdorf Gallery (132 East 68th Street, Lenox Hill, Manhattan)

This traveling exhibition, reviewed by Hyperallergic at the University of California, Irvine Iterative Introducing works by six artists across the media, including Titus Kaphar and Kenyatta AC Hinkle. These artists challenge the harmful colonialist and classification practices of black American figures and offer thoughtful alternatives. “Blacks should only exist visually in the context of violence, crime and racial hatred,” said exhibition curator Dr. Bridget R. Cook. Los Angeles Times.. “We exist in other ways, and I know that these artists have other ways to express them to us or to see us to find us in American culture. I’m trying to remind you. ”

Still from Carlos Motta and Tiamat Legion Medusa, “When I Leave This World” (2022) (Artist, PPOW Gallery New York and OCD Chinatown, Courtesy of New York)

when: Until April 10
where: OCD Chinatown (Manhattan, Chinatown, East Broadway 75)

This two-channel video installation is the brainchild of Carlos Motta, a New York-based artist born in Bogotá. Carlos Motta is exploring the future of counter-history and alternatives that have reached their limits in queer or otherwise. / Synonymous with it, I experienced extensive body modification surgery to transform into a dragon, physical protests against humans, and what they represent. Medusa tells his personal history and politics in one video, in which both artists are hung in space by transcendental means (hooks and ties).

Susan Meiselas, “Star Teas, Tambridge, Vermont” (1975) © Susan Meiselas / Magnum Photos (courtesy of artists and higher photography generations)

when: Until April 16th
where: Higher Pictures Generation (16 Main Street, Ground Floor, DUMBO, Brooklyn)

Susan Maizeras may be best known in the record of the Sandinista Revolution in Nicaragua, but her photography career was first. Carnival stripper (1972-75), a visual record of striptease performers, their employers, and their clients at a summer carnival in a small town around the East Coast. Meiselas drew nuanced pictures of the subject, painted performers on and off stage, and through tape interviews and photo consultations to ensure their voice was expressed. Due to the recent discovery of a stored color film roll, the images in the series are being exhibited in vibrant colors for the first time.

Installation drawing Lindon Barois Jr .: Mirage Color Artist Space, 2022 (Photo by Philip Wallack, Courtesy of Artist and Artist Space)

when: Until April 23
where: Artist Space (11 Cortlandt Alley, SoHo, Manhattan)

Cinema has long celebrated the art of fraud. Focusing on Three-card Monte tricks, Pittsburgh-based interdisciplinary artist and writer Lyndon Barrois Jr. is his first solo exhibition at a New York institution, with duplication, double trading, and the sleight of hand. Mining a huge archive of movie depictions. Transforming the images of borrowed films into precisely arranged paintings, drawings, sculptures and installations, the artist explores many flavors of Subterfuge at a formal and narrative level.

Kia LaBeija, “Mourning Sickness” (2014) (courtesy of artist and Fotografiska New York)

when: Until May 8th
where: Fotografiska New York (281 Park Avenue South, Flatiron, Manhattan)

In her first solo exhibition at the museum, artist, performer, and former general mother of Labeija’s iconic house, Chiarabeija (“Kia”) presents gentle autobiographical photographs and self-portraits, along with personal archives and ephemera. I will present it. Through her fragile visuals, Kia, interviewed by Hyperallergic in 2020, opens the window to her experience as a strange HIV-positive colored woman involved in the New York City ballroom scene. Prepare my heart Dedicated to the late mother of the AIDS activist artist Kwan Bennett.

Charles Ray, “Pantomime” (2014), Fine Arts Museum Basel (Photo by Josh White © Charles Ray, courtesy of Matthew Marks Gallery)

when: Until June 5th
where: Metropolitan Museum of Art (Manhattan, Upper East Side, 1000 Fifth Avenue)

Quality outweighs quantity in this preliminary presentation of three photographs and sixteen sculptures over 50 years by Los Angeles-based artist Charles Ray. Charles Ray has produced a total of about 100 works throughout his career. The subject of exhibitions at Glenstone, Pompidou Center and Bruce de Commerce. Mark Twain’s from an open aluminum box riffing a minimalist cube, spaced by the echo of the artist’s dictation that “the universe is the main medium of the sculptor” Hackleberry finA complex and problematic American cultural touchstone.

Kay WalkingStick, “San Francisco Mountains as Seen from the Point Imperiale” (2021) (Images from JSP Art Photography, courtesy of artists and Hales, London, New York)

when: March 4th to April 16th
where: Hales Gallery (547 West 20th Street, Chelsea, Manhattan)

We may tend to (naturally) associate paintings of spectacular North American landscapes with the apparent violence of fateful acquisition, but the artist Kay WalkingStick, a descendant of Cherokee and Anglo, Instead, he painted landscapes throughout her 60-year career to explore and respect the indigenous and natural relationship. All of the multi-panel oil paintings on display were created over the last decade and have been scrutinized for indigenous peoples who once lived or now live in the region with views of North America. Patterns and designs are layered.

Tenet, “Frame 2 (Hot Pipe / Transition Strip)” (2021) (courtesy of artists and CUE Art Foundation)

when: March 5th-April 2nd
where: CUE Art Foundation (137 West 25th Street, Chelsea, Manhattan)

Focusing on 19th-century Nagaya built with working classes, immigrants, and non-white residents in mind, Tenet, or New York City co-duo Julia Eshaghpour and Kevin Hollidge, is a layered path to New York City’s architectural style. Consider a pastiche. Social, material, and aesthetic history are awkwardly adjacent to each other. Droll architectural sculptures and crowds — pillars are mysteriously made of fruit, and pipes are snakes like creatures — emphasizing the strange animacy of the building.

Dewey Crumpler, “Sundown” (2020) (courtesy of artist and Derek Error Gallery)

when: March 17-April 23
where: Derekuela Gallery (300 Broome Street, Lower East Side, Manhattan)

Since the 1990s, Bay Area artist Dewey Crumpler has portrayed Parker, an anthropomorphic sweatshirt that acts as a bodyless proxy for black subjects, perhaps above all black boys and adolescents. .. Run through outer space with a skittles-colored car, or use your smartphone to shoot Pablo Picasso’s “Les Demoiselles d’Avignon” (1907) and Faith Ringgold’s “American Series # 20: Die” (1967) with MoMA. The Hoodies, who swear or protest with homemade signs that say “The Thang” and “Being Non Being,” are unparalleled.

Installation drawing Hassan Sharif: I’m a single work artistMalmö Konsthall, Sweden, 2020 (Photo courtesy of Helene Toresdotter, courtesy of Alexander Gray Associates)

when: March 17-April 23
where: Alexander Gray Associates (510 West 26 Street, Chelsea, Manhattan)

Emirati’s conceptual artist Hassan Sharif (1951-2016), who was active throughout the media, was most closely associated with his sculptural garbage installation and was recognized in his caricatures and cartoons in the 1970s. Was done. Late paintings influenced by expressionism, emphasizing that important figures continue to be an important thread in Sharif’s mature work, look crazy or empty at the press conference. It depicts a distorted politician who is out of context, raising his hand with a public gesture.

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