Despite all we know about the environment and what we are doing to it, Kim arrives at another, less palatable realization: As much as we call the Earth our home, we are strangers here.
Perhaps these paintings are what it feels like for the artist to be in a state of not being harried, anxious or in deep existentialist dread.
Andy Goldsworthy’s installation seeks to signal anti-imperialism at a notoriously capitalist site.
At the Aldrich Contemporary Art Museum, artworks confront their own untimeliness through appeals to a deeper, more cosmic, sense of space and time.
Byron Kim’s diaristic texts offer a bird’s-eye view of his life — the youth soccer games, the dinner parties, the glum and the optimistic moods, the children going away to college.
The exhibition at Invisible Exports, Cheap Suitcase, reflects on how the body is a record of a singular life, but also a random palimpsest of whatever genetic heritage one has.
In his new series at James Cohan Gallery, Mud Root Ochre Leaf Star, Byron Kim paints bruises that radiate tenderness and hurt.