City Guides - Art in America Guide
City Guide


through March 31, 2018

To make his “Quilt Paintings” in 2007 and 2008, New York–based artist Mike Cloud sewed constellations of new children’s clothes (sometimes with the tags still attached) to canvas, then added painted words and images. Stuffed with foam or stretched over starbursts of stretcher bars, these exuberant works combine bold T-shirt graphics with brushy renderings of rabbits and snowmen, and cheerful colors with ambiguous connotations.

Image: Mike Cloud, Snow Man Quilt, 2008, oil and clothes on canvas, 52 x 42 x 4 inches. Courtesy of the artist and Thomas Erben Gallery.
New York

“Ellen Gallagher: Accidental Records”

through January 28, 2018

According to the International Organization for Migration, nearly 3,000 people perished in 2017 trying to cross the Mediterranean from Africa to Europe. In far different circumstances, at least two million African captives died during the Middle Passage, between the 15th and 19th centuries, some of them thrown living into the Atlantic. The terrific new paintings at the center of Ellen Gallagher’s first solo exhibition in Los Angeles continue her exploration of the history of that earlier tragedy and of the ocean as both graveyard and birthplace. In them, fragmented brown faces drift against sea-green backgrounds, conjuring the Afrofuturist myth—invented by the electronic music duo Drexciya—of an underwater realm inhabited by the unborn progeny of drowned pregnant African women.

Image: Ellen Gallagher, Aquajujidsu, 2017, oil, ink and paper on canvas, 74 x 79 1/2 inches. Copyright © Ellen Gallagher. Courtesy of the artist and Hauser & Wirth. Photo: Ernst Moritz.
Los Angeles

“Monochrome: Painting in Black and White”

through February 18, 2018

This exhibition explores its subject from the Middle Ages through the present day. Comprising a selection of around sixty painted objects in a wide variety of materials (canvas, wood, glass, vellum, ceramics, silk, and more), the show includes work by masters of the Northern Renaissance, such as Jan van Eyck and Albrecht Dürer, as well as major modern and contemporary figures like Jackson Pollock and 
Gerhard Richter.

Image: Gerhard Richter, Helga Matura with her Fiancé, 1966, oil on canvas, 78 3/4 × 39 1/2 inches. Museum Kunstpalast Düsseldorf. Copyright © Gerhard Richter 2017. Photo: Museum Kunstpalast – ARTOTHEK.

“John Russell: Gold”

through February 10, 2018

British artist John Russell argues for hybridity’s subversive potential in his new sculptures and mixed-medium paintings. Plastic flamingos perched atop thin metal rods sprout extra heads; paintings executed on translucent vinyl panels and lit from behind function simultaneously as silhouettes, transparencies, and paint-, gem-, and feather-encrusted collages. Meanwhile, a large photograph of a bird’s foot, digitally retouched to look like it’s growing a ghostly magenta paw, hints at a post-species future.

Image: John Russell, Silhouette, 2017, acrylic, inkjet and pigment on vinyl, plastic, acrylic iridescent gem, wood, steel, LED light, 37 x 26.9 x 8.2 inches. Copyright © John Russell. Courtesy of the artist, High Art, Paris, and Bridget Donahue, New York.


Art in America talks to artists, curators, and other leading figures about their favorite current exhibitions.

Curator Dan Nadel on five shows in New York

“The pictures are funny and cutting and hilariously weird.”

Image: Laurie Simmons, Café of the Inner Mind: Men’s Room, 1994, cibachrome print, 41 x 58 inches. Courtesy of Mary Boone Gallery, and Salon 94, New York.
New York

Philippe Verne recommends three shows in Los Angeles

“I love it when I go to an exhibition and see art I don’t know and maybe don’t even understand.”

Image: Aria Dean, Two Cotton Bales Bound Together At 250lbs Each, 2018, raw cotton, ratchet e-strap system, 53 x 44 x 22 inches. Courtesy of the artist and Ghebaly Gallery. Photo: Brica Wilcox.
Los Angeles

Showroom director Emily Pethick on four shows in London

“It’s an important moment when such an institution acknowledges work that’s been gestating in the spaces of universities or smaller arts organizations.”

Image: Forensic Architecture, Torture in Saydnaya Prison, animation still, 2016. Witnesses were asked to describe architectural details, such as dimensions and textures, and these recollections elicited further memories of the prison and experiences therein. Commissioned by Amnesty International. Copyright © Forensic Architecture.

Collector Elisabeth van der Does-Szantyr on two Sheila Hicks shows in Paris

“The Hicks survey at the Centre Pompidou is extremely well done, her beautiful fiber pieces triumphing over the Pompidou’s rather difficult street-level space.”

Image: Installation view of “Sheila Hicks: Life Lines,” February 7-April 30, 2018, at the Centre Pompidou, Paris. Copyright © Centre Pompidou/Philippe Migeat.


NeoRealismo: The New Image in Italy, 1932–1960

September 6, 2018–December 8, 2018

New York

Scenes from the Collection (650 works from antiquities to contemporary art highlighting the collection)


New York

Icons of Style: A Century of Fashion Photography, 1911–2011

June 26, 2018–October 21, 2018

Los Angeles

Beyond the Nile: Egypt and the Classical World

March 27, 2018–September 9, 2018

Los Angeles

Joan Jonas

March 14, 2018–August 5, 2018


Picasso 1932—Love, Fame, Tragedy

March 8, 2018–September 9, 2018


Delacroix (1798–1863)

March 29, 2018–July 23, 2018



March 19-May 14, 2017
by Ciara Moloney

Jacqueline de Jong is perhaps best known for her affiliation with the leftist Situationist International, for which she edited the Situationist Times between 1962 and ’67, giving particular attention to the wildly spontaneous work of CoBrA.

Los Angeles
February 9-May 29, 2017
by Gabriel Coxhead

David Hockney is one of the most popular and widely-recognized artists of our time,” states the introductory wall text in Tate Britain’s retrospective––though actually that’s putting it mildly.

March 2-August 5, 2017
by Federico Florian

A quiet, placid atmosphere filled the rooms of the group show “All Watched Over by Machines of Loving Grace.” The sculptures, installations, and video projections on view evoked a present tense where technology has imbued every aspect of human life, and therefore reshaped the mechanisms of our affections.