Collectively, the artists in Open Call present a series of equally localized and haptic meditations on what it takes to be present in an increasingly globalized world.
Gates joins ideas of labor, function, and property with aesthetic and art historical concerns.
“Generosity and openness are important to me, so that the viewer is not intimidated, threatened, or belittled.”
Western Union: Small Boats provokes our dread and desire.
If white often symbolizes innocence and purity, Dang’s pervasive use of the color gives her tropical tableau a ghostly, washed-out feel.
Manal Shoukair’s installation at Shylo Arts, a transparent scrim stretched across the entire space at about chest level, is an understated but powerful intervention.
Drawing on many genres and styles, Vo meditates on history, freedom, love, faith, and death.
Aaron Asis has strung fuchsia parachute cord through the chapel at Brooklyn’s Green-Wood Cemetery as part of a series of interventions at the burial ground.
CHICAGO — The Sidney R. Yates gallery in the Chicago Cultural Center is a large space on the top floor of a neoclassical-style building on Chicago’s Michigan Avenue.
One of the most remarkable places accessible to the public in New York City is the ruins of the Fort Tilden military base on the Rockaway Peninsula, where huge batteries with now-empty heavy gun turrets open to the beach.
For 10 weeks in a disused church basement somewhere in the Midwest, Julie Schenkelberg built a turbulent installation of broken furniture, found objects, and housing rubble anointed with blue and gold paint.
MADRID — The short but plentiful career of US installation artist Ree Morton, surveyed at the Reina Sofia Museum in Madrid in Ree Morton: Be a Place, Place an Image, Imagine a Poem, reminds us there are still many untold histories of 20th century women artists.