In Reggie Burrows Hodges’s worlds, everyone is in motion — jumping hurdles, dancing, farming, riding a bike. Still, the paintings inspire a sense of stillness and tranquility. Spread out along the walls at Karma, the artist’s New York debut permits space for quiet reflection.
Within these vibrant portraits, unnamed figures undertake leisurely and arduous tasks in idyllic settings. Faces are blurred and imperceptible, yet somehow evoke a sense of intimacy rather than alienation. Without identifying facial characteristics, we instead focus on the subjects’ actions and surroundings. The figures are rendered with soft edges and glowing colors, inviting viewers into their picturesque scenes.
“Community Concern” (2020) offers a glimpse of a Black woman, exuberantly posed and swinging her arms, dancing. Her peach-colored pants dazzle while her face is an inky black monochrome. This anonymity departs from the notion of a portrait’s subject as an isolated individual and instead moves toward a collective sense of being, to which the title alludes.
Although Hodges was born in densely populated Compton, CA, he currently resides in Lewiston, Maine, a town more sparsely inhabited, where he is attuned to the earthy pastels of quaint rural New England landscapes. Works such as “On the Verge: Green Field” (2020) reflect the gentle tensions that illuminate Hodges’ practice: his impressionistic style dwells somewhere between abstraction and figuration, evoking the history of Western portraiture by foregrounding the figure but depart from tradition by omitting all facial features.
Hodges remains concerned with the human figure although not preoccupied with marked individuality — a formal gesture that echoes the critiques of rugged individualism fundamental to Black resistance historically and today.
Reggie Burrows Hodges continues through March 14 at Karma (188 East 2nd Street and 172 East 2nd Street, East Village, Manhattan, respectively).
The Los Angeles-based photographer offers an updated version of the mythologized American cowboy, calling rodeos “the traditional drag of America.”
At its core Line Berg’s Fra Far manifests the anguish of a family whose loved one is convicted of a serious crime.
The Newark Museum of Art Presents Jazz Greats: Classic Photographs from the Bank of America Collection
Photographers Antony Armstrong Jones, Milt Hinton, Chuck Stewart, Barbara Morgan, and more capture a breadth of legendary and local musicians and performance artists. On view through August 21.
At first, simply watching people read In Search of Lost Time might seem dull; by the end, you’ll be itching to read or reread it yourself.
Duniyana Al-Amour was one of at least 44 Palestinians killed in Israel’s latest attack on Gaza.
Art and photographs, publications from the 19th and 20th centuries, manuscripts, posters and more are set to cross the auction block on August 18.
It is the first national museum in England to agree to restitute looted Benin items, increasing pressure on the British Museum to do the same.
The footprints, discovered on the salt flats of a US Air Force training site, are believed to date back to the last Ice Age.
An extraordinary variety of artists came to Jon Swihart and Kim Merrill’s backyard potlucks, discussing not just their work, but also the events and challenges of their lives.
With A Lion for Every House at the Art Institute of Chicago, Floating Museum riffs wildly on the art rental programs of some museums.
A Thing for the Mind takes Philip Guston’s 1978 painting “Story” as a starting point to examine the myriad ways in which this piece has filtered into the work of other painters.