Support Hyperallergic’s independent arts journalism.
Out of Body, Victoria Dugger’s debut solo show at Sargent’s Daughters, is a deft exploration of the tension between interiors and exteriors. Internal tubing bursts from the knotted kneecaps of soft sculptures; organs stretch outside of their corporeal confines and out of frame in mixed-media paintings. For Dugger, who is disabled, bodies are mutable and prone to rupture, yet they remain expansive — cosmic even — twisting and unfurling in a way that feels potentially liberatory.
Elsewhere in the show, Dugger explores the friction between a claustrophobic indoors and an unreachable outdoors. In paintings like “Some-timey” (2021) and “Blood Harmony” (2021), natural landscapes bleed into otherwise hermetic rooms, or extend as idyllic and impossible backgrounds. Here again is a rupture, one that questions the limits placed on our conception of “accessible” space. This is ultimately when Out of Body is at its strongest: when Dugger’s formal and conceptual concerns work in tandem to probe at this bodily and societal surface tension, depicting how both pain and revolution can be possible when the inside bursts, inevitably, out.
Victoria Dugger: Out of Body continues through July 24 at Sargent’s Daughters (179 East Broadway, Lower East Side, Manhattan).
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.
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.
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.
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.