From depictions of his mother to his closest friends, Niles’s canvases illustrate a willful vulnerability to ruminate on the profound relationships in his life.
Otero’s images of water and disaster mirror the wreckage of Hurricane Maria as well as the devastation of COVID-19.
In The Fortune of Having Been There, Otero’s paintings seduce us with the whole as well as their individual parts.
Wings of Change, the forthcoming New York debut of Billie Zangewa, will bring together a selection of the artist’s tender silk collages, which revel in Black domestic intimacy.
Bona Yoo’s former employer says she “surreptitiously copied valuable trade secrets” and “malicious corrupted” or deleted important information before leaving the gallery for a sales director position at Lévy Gorvy.
What’s stranger is that the two artists are both represented by Lehmann Maupin and listed side-by-side on the gallery’s online roster.
Wurm’s latest series of one minute sculptures, incorporating mid-century modern furniture and presented alongside five new cast bronze sculptures at Lehmann Maupin, evidences that, even as he plays with variations on familiar themes, his work remains relevant and fresh.
The best horror movie in New York City right now is Alex Prager’s La Grande Sortie, a 10-minute film playing on continuous loop at the Chrystie Street branch of Lehmann Maupin Gallery.
Aloof, gay waifs appear as persistently in Hernan Bas’s paintings as saints in a cathedral.
Brooklyn-based artist Teresita Fernández is well known for using unconventional materials and creating large-scale sculptures and installations that draw our attention to visual perception.
There may never have been a better month to see Brazilian art in New York. Last weekend, Frieze brought a taste of São Paulo art galleries Casa Triângulo, Fortes Vilaça, Mendes Wood, Vermelho, and Jaqueline Martins, as well as Rio de Janeiro’s A Gentil Carioca, to Manhattan.