Viewing articles tagged with 'New York'
The Kitchen, 512 W 19th St, New York, NY 10011, USA
Initially I see and hear numerous bodies on screen; speaking, gesturing, rolling, walking, running, returning and repeating. But the space I inhabit, is absent of any consciously performing bodies. This exhibition is not ‘of’ performance, rather it invites thought on how performance and the performer can be positioned to challenge current inequality, oppression and false-truths. Cicely Farrer reviews
Whitney Museum of American Art, 99 Gansevoort Street, New York, NY 10014
The 78th instalment of the Whitney Biennial for 2017 - which always aims for the zeitgeist and the seminal - opens at a time of crisis not only in the United States, but around the world. Review by Arthur Ivan Bravo
Bodega, 167 Rivington Street, Lower Level East, New York
Today there are many critical voices calling for America to look carefully at the political landscape of Europe in the interwar years. Hannah Black’s second solo exhibition in America, ‘Soc or Barb,’ uses an abridged citation of the communist philosopher and activist Rosa Luxemburg to remind her audience of a previous political precipice, the failed 1918 German Revolution. Review by Alexandra Symons Sutcliffe.
The Jewish Museum, 1109 5th Ave at 92nd St, New York
‘Take Me (I’m Yours),’ the star-studded group show currently on view at The Jewish Museum in New York, is the third iteration of an exhibition held at London’s Serpentine Galleries in 1995. Review by Arthur Ivan Bravo.
New Museum 235 BOWERY NEW YORK NY 10002 US
Over the past thirty years, Rist (b. 1962) has achieved international renown as a pioneer of video art and multimedia installations. Her mesmerizing works envelop viewers in sensual, vibrantly colored kaleidoscopic projections that fuse the natural world with the technological sublime.
bitforms gallery, 131 Allen Street, New York
The Choice Is Yours consists of a series of mechanical voting machines from the forties, fifties, and sixties. Repurposing and building upon these machines, R. Luke DuBois questions individual agency, from the choices we make in our daily lives to those that constitute the “world’s greatest democracy.”
Bortolami, 520 W 20th Street New York, NY 10011
Caitlin Keogh's first solo exhibition ‘Loose Ankles’ at Bortolami, readily displays the ongoing inspiration she continues to find in the themes of femininity, anxiety, minimalism and juxtaposition, the bodily form as subject, fashion and advertising literature, and the historical juncture between textiles and design. Review by Arthur Bravo
SculptureCenter, 44-19 Purves St, Long Island City, NY 11101
Leslie Hewitt’s new exhibition at the SculptureCenter in Queens, New York, is surprising for its spartan modesty, a quietude that highlights both the riveting intellect and powerful emotional current of her work. Review by Liam Hess
247365 , 57 Stanton Street, NY, NY, 10002
Jon Pilkington employs failure as a strategy for success, routinely revisiting early motifs until any suggestion of clear hierarchy can reasonably be questioned. These repeated moves promise to remain un-finished, following a trajectory that picks up new traditions along the way and adding to an ever growing ancestry of the artist’s vocabulary.
Johannes Vogt Gallery, 55 Chrystie Street Suite 202, New York, NY 10002
Mark Horowitz approaches painting from a cinematographic standpoint, similar to the process of video making — from creative writing and mood boards, to casting, location scouting, propping, dialogue adaptation, establishing mise-en-scène, improvisation and editing — he chooses characters and backgrounds of display that fluctuate between landscapes, interiors and still lifes while enacting personas that could range from anywhere between Greek goddesses to the weather man.
New Museum, 235 Bowery, New York, NY 10002
Participants are required to imagine their own reasons for the objects being chosen for the show rather than it being made clear why they were included. 'A Pot for a Latch' is an Internet of 'things' predicated upon community and storytelling instead of explicit information. Review by Dylan Schenker