Altar-ed Bodies, Clarity Haynes’s first solo show in New York, introduces the artist as a major feminist presence to watch. Presented by New Discretions at Denny Dimin Gallery, in its attractive new Tribeca space, the show includes work from The Breast Portrait Project, a series of oil-on-linen paintings depicting nude torsos (all 58 inches tall and of varying widths), as well as new paintings of altars and small oil-on-board paintings and graphite drawings.
Scale is a critical aspect of The Breast Portrait Project. Haynes’s beautiful renditions of cis female, trans, and non-binary torsos take up space as a political act. The meticulously painted veins, scars, cellulite, and stretch marks detailed in the portraits evoke the hills and valleys of a landscape. They also represent a powerful network of bodily love, underscored by a lesbian gaze. The bodies become altars through their tattoos (skulls, moons, names) and jewelry (bits of coral, gold, silver); while paintings of actual altars feature bark, necklaces, feathers, shells, and a nipple sticker, a sly reference to censorship.
Haynes’s portrayal of queer, heavy, and disabled bodies — the very bodies Tik Tok admitted to suppressing — rendered in a rainbow of vibrant colors reimagines the white box of the gallery as a communal space that allows for the possibility of healing.
In a culture — which includes the art world — where youth rules, capital is king, and paintings of nude women can sell for $170 million when the subjects are young, thin, and white, Haynes proclaims with her work that her subjects are equally meaningful. The canvases celebrate middle age while muted skin tones and lively accoutrements cry, “Glory be thy crone.”
We can project ourselves, our mothers, our grandmothers, and our great grandmothers onto Haynes’s paintings, transforming them into portals to a meaningful past, present, and future.
Clarity Haynes: Altar-ed Bodies continues at Denny Dimin Gallery (39 Lispenard Street, Manhattan) through January 25.
The gallery will host a poetry reading featuring Omotara James, Mel Elberg, Rahul Mehta, and Shelley Marlow at 6 pm on Friday, January 24.
A chapbook published by New Discretions in conjunction with the exhibition will be available at the reading.
For roughly half an hour, art collectors had to consider a world in which they didn’t get that Alex Katz work.
From art fairs to alternative spaces that may not be on your radar, here’s a run-down of what to see (and eat and sip) in Miami. No NFTs, we promise.
Protests are erupting across the country in response to President Xi Jinping’s strict zero-COVID policy.
What does it mean when the world’s richest person trolls us?
SCAD’s booth at Design Miami/ features glazed tiles by alumi artists Nicolas Barrera, Lauren Clay, Gonzalo Hernandez, Cory Imig, Abel Macias, and Nikita Nagpal.
Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
Suzanne Jackson’s paintings come to life, and find their way home, at the Arts Club of Chicago.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
The exhibition sold the highest number of tickets in its 127-year history.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.