I was curious to see Casteel’s first exhibition since her New Museum show. I was not disappointed.
In Kim’s art, peculiar characters may be skulking out of sight, shrouded in shadow, forever forgotten in bygone dreams, or inscrutable in the recesses of her memory.
Moving beyond the confines of abstract signs, Weiser seems to be seeking social and philosophical meaning.
In his exhibition Reunion, Beasley’s sculptures express reverence for his family’s annual gatherings in Virginia — canceled this year due to the pandemic, like so much else.
From an increasingly diversified roster of galleries to a surprising slew of rock art, the mega-fair is impressively eclectic this year.
Checking out the Chelsea gallery scene last week, my results were surprisingly mixed — from overly offbeat summer shows to nonsensical group exhibitions, the galleries just didn’t seem to have it together. But one thread did emerge in my wanderings. I discovered that Chelsea was having a brief love affair with big abstraction, wall-size pieces that dominated their respective art spaces. Works by Sol Lewitt, Keith Haring, Li Songsong and Garth Weiser all packed a refreshing amount of visual punch, brightening a hazy summer day.
Yesterday afternoon, I ventured out into the bordering on bad weather and braved the gray skies to bring you the latest on Chelsea this November. The gallery district is probably much as you remember it, with high-end galleries showing off their blue chip stables and smaller spaces skipping to keep up. Yet there are still pleasant surprises to be found in the warehouse-strewn streets, from lesser known painters that include (gasp!) a ceramicist to commercial shows that may as well be museum retrospectives. Continue below for the blow-by-blow of my blue-chip Chelsea trip.