‘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.
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.
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.”
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
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
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.
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.
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
Rebecca Travis speaks with Ben Vickers - Curator of Digital at Serpentine Galleries, and New York-based artist Ian Cheng about 'Bad Corgi', Cheng’s newly released app artwork and the second Serpentine Digital Commission.
The Third Policeman presents its inaugural exhibition: 'The Place Where He Is Meant To Be Lost'. The show takes its title from a quote from 'Town Of Cats', a short story by Japanese novelist Haruki Murakami, using his ideas as a springboard to open up a space for artworks that inhabit a solidly contemporary, Murakami-esque zone between the real and the magical, the prosaic and the dreamlike, the deeply personal and the political.
Matias Faldbakken’s current solo exhibition at Paula Cooper Gallery, titled ‘EUROPE IS BALDING,’ finds him persistently unearthing and baring the raw, liminal spaces of meaning as aggressively as ever. Review by Arthur Bravo
Skarstedt is known for presenting wide-ranging exhibitions that often develop discussion between different generations of prominent American artists, and the distinctly rich display of late Twentieth-Century works recently shown at their Upper East Side space was no exception. Review by Phoebe V. Bradford