Mark Bradford ’s show “Cerberus” at Hauser & Wirth in London consists of nine paintings and a video. The video is Dancing in the Street, and has Martha and the Vandellas projected, recorded and filmed flickering across city blocks, fences and garages on a drive through Los Angeles. Keep Reading
“Histories,” located just down the hall from a large exhibition of works by another Manitoba painter, and Group of Seven member, Lionel LeMoine FitzGerald, has the air initially of an intervention. Keep Reading
In 1971, John Baldessari sent a letter to NSCAD, instructing students to write the phrase I will not make any more boring art on the walls of the school’s Mezzanine Gallery. Keep Reading
Certainly the most audience- pleasing but also one of the most thematically revealing works in Hajra Waheed’s “Hold Everything Dear” is You Are Everywhere (a variation), 2012–19, an immersive installation inviting audiences to lie on a wooden floor, which is lit to resemble a starry sky. Keep Reading
Accompanied by a small group of drawings, “Mountains 1965–2019” was a show of landscape paintings by Wayne Thiebaud, ranging across the titular span, at Acquavella Galleries in Manhattan, in November and December of 2019.
Gamesmanship—the exploitation of weakness through strategy rather than brute force alone—is older than chess, but the game has its origins in that approach. Initially a prestigious pastime in India during the 6th century, and called the “game of kings” in its origin-variation Chaturanga, by the end of the 10th century chess had spread to Persia and then to Europe.
In Sylvia Matas’s exhibition “Stop the Clock and Open Every Window” (YYZ Artists’ Outlet), the walls of the gallery space divide the work into four neat groups. This distinction appears at first to replicate divisions among media (drawing, photography, text, video, paper cut-out), but each wall elides such neat categorization.In Sylvia Matas’s exhibition “Stop the Clock and Open Every Window” (YYZ Artists’ Outlet), the walls of the gallery space divide the work into four neat groups. This distinction appears at first to replicate divisions among media (drawing, photography, text, video, paper cut-out), but each wall elides such neat categorization.
This welcome and timely gathering of the works of three important American feminist artists who have all engaged in a deep and sustained dialogue with the history of female representation—Cindy Sherman, Laurie Simmons and Rachel Harrison—constitutes a united front against imagistic orthodoxies and stereotypes.
Mona Hatoum’s context is well known: she grew up in Beirut in a Palestinian family who had fled Haifa in the face of Israeli intimidation. In 1975 she visited London, found she could not return to Lebanon due to the outbreak of civil war and has remained in Britain since. Keep Reading
Matthew Wong’s superb exhibition “Blue” opened at both KARMA gallery spaces in New York City in November 2019. The gallery showed framed gouaches on paper in the smaller space and oils on canvas in the larger. Keep Reading
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