Messy and tender, like a summer fling, Sillman’s drawings embody both the sense of decay and unyielding hunger for life that marks our current times.
Cameron Jamie’s three short films currently on view at Gladstone Gallery blur the boundary between documentation of ritualized performances and something more sinister.
In a small, über-blue chip stretch of 21st Street in Chelsea, three adjacent galleries are concurrently running exhibitions that feature a series of monumental art pieces that move between refined, processed, man-made materiality to earthen structures, and plant life that grows from the soil.
The odd one out in Carroll Dunham’s current exhibition of paintings at Barbara Gladstone is “Culture as a Verb” (2013-2015). It’s the closest thing Dunham, or anyone in my recent memory, has come to painting the feeling of terrified, paranoid sorrow.
‘Tis the season of reduced hours and low-stakes group shows at most Manhattan galleries, but two spaces in Chelsea are bucking the trend with summer exhibitions of large-scale murals.
Peter Buggenhout’s massive stacks of debris hang off the wall or sprawl across the floor in a state of dereliction and collapse, monumental castoffs from a world spinning out of control.
For Chelsea’s season opener, several exhibitions mimic post-disaster accretions including Thomas Hirschhorn’s Concordia, Concordia at Gladstone Gallery, Mr.’s Metamorphosis: Give Me Your Wings at Lehmann Maupin, and Matthew Lusk’s More Broken Glass Than There Was Window at ZieherSmith. In each case, water and human hubris play some role in creating the chaos; our dangerous love affair with stuff — and lots of it — enhances the devastation. While they all required considerable effort, each show offers different levels of insight into the events purportedly explored.
Matthew Barney, “Djed” (2009-2011) (photos by the author) Matthew Barney’s most recent exhibition Djed opened at Gladstone Gallery on September 17. Like everything the artist tends to do, the sculptures on view are of epic proportion. The objects themselves are extremely minimal steel and graphite molded constructions that are half early Richard Serra and half […]
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.
Here are some events you may want to check out this weekend or in the coming week, including a video art festival on Staten Is, unfinished films at Gladstone, Carolee Schneemann bookreading, dance series, Japanese art.