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.
“Ellen Gallagher: Accidental Records”
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.
“Monochrome: Painting in Black and White”
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.
“John Russell: Gold”
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.
Curator Dan Nadel on five shows in New York
“The pictures are funny and cutting and hilariously weird.”
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.”
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.”
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.”
NeoRealismo: The New Image in Italy, 1932–1960
Scenes from the Collection (650 works from antiquities to contemporary art highlighting the collection)
David Wojnarowicz: History Keeps Me Awake at Night
Landscapes After Ruskin: Redefining the Sublime
Enduring Ideals: Rockwell, Roosevelt & the Four Freedoms
Transformer: Native Art in Light and Sound
Not an Ostrich: And Other Images from America’s Library
In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art
Made in LA 2018
In Focus: Expressions
Icons of Style: A Century of Fashion Photography, 1911–2011
Rembrandt and the Inspiration of India
Beyond the Nile: Egypt and the Classical World
Sadie Benning: Sleep Rock
Picasso 1932—Love, Fame, Tragedy
Inaugural exhibition Museum Yves Saint Laurent Paris
Among the fascinating aspects of Teresita Fernández’s probing, landscape-themed exhibition, titled “Fire (America),” was her use of natural materials: clay, fire, charcoal, and paper.
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.
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.
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.