Support Hyperallergic’s independent arts journalism.
I’m as big of a Chris Martin fan as vlogger and writer James Kalm (aka painter Loren Munk), so the video he just uploaded on YouTube of Martin’s new solo museum show — his first — at the Corcoran Gallery of Art in Washington, DC, is a treat.
The specially commissioned (and ginormous) paintings in the museum’s atrium look impressive and it’s great to see the artist get some recognition in his hometown — though the museum says they were unaware he was a DC native when they made the decision. The exhibition is part of the institution’s NOW, which is a series of exhibitions that present new and site-specific work by emerging and mid-career artists — I think Martin falls into the latter category.
A major presence in Brooklyn’s painting scene, Martin’s work draws from all types of folk traditions (from American hot dogs to South Asian decorative patterns) to breathe new life into abstract painting at every turn.
As an added treat, the Corcoran has created a whole series of videos to accompany this show, including a wonderful short behind-the-scene’s video documenting the atrium installation — it also has a nice ambient soundtrack by DC collective Bluebrain.
Here is the exhibition trailer:
Chris Martin: Painting Big continues until October 23 at the Corcoran Gallery of Art (500 Seventeenth Street NW, Washington, DC).
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.