The work of Teresita Fernandez and Nari Ward presents two contradictory views of the United States — one of the most hopeful, and one of the least.
Lehmann Maupin Gallery
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Nari Ward Spotlights the Gap Between Poverty and Privilege
Nari Ward’s exhibition TILL, LIT at Lehmann Maupin gallery alludes to and signifies those key systems of social organization that we can’t seem to escape: race and class.
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Our Political Furor Rendered in Ceramic and Fire
Here’s a story: Once upon a time there was a nation. Then it caught on fire. The end.
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Cannibalizing the Culture of Colonizers and Other Artistic Strategies
Someone once said to me that for him, one of the famous modernists, I think it was Paul Klee, represented the values of serious play. That idea lingered in cobwebbed corners of my mind until I walked into the Lehmann Maupin’s downtown gallery to see Adriana Varejão’s Kindred Spirits when it flashed into relevance again.
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Best of 2014: Our Top 20 NYC Art Shows That Weren’t in Brooklyn
Let’s face it: there’s Brooklyn, and then there’s the rest of New York City. (Sorry, rest of New York City!)
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Gilbert & George’s Sculptural Life on Film
“Art for All” is at the core of artist duo Gilbert & George’s work, a slogan they champion in aiming to break from the trappings of an art scene they find elitist.
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Living or Being Seen in Alex Prager’s Sun-Soaked Psyche
The sentiments of Bethany Cosentino from the band Best Coast float through my head whenever I view the artwork of Los Angeles–based photographer and filmmaker Alex Prager.
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Single Point Perspective: Entropy Now
Last week, as I was clicking through the various gallery listings and websites for something to catch my eye, I chanced upon a summer group exhibition at Lehmann Maupin’s Chrystie Street venue. One of the installation shots showed a flat, white marble relief sculpture by Maya Lin; I made a mental note of it and kept going.
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The Financial Crisis and Other Natural Disasters, A Tour in Three Parts
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.
