But some point out that the seemingly zeitgeisty shift to LA is nothing new in the art world.
Sargent’s Daughters
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Victoria Dugger Materializes the Frictions of Accessible Space
For Dugger, who is disabled, bodies are mutable and prone to rupture, yet they remain expansive, even cosmic.
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Through Video and Collage, Abbey Williams Inverts the Paradigm of White Hegemony
In Vignette, Abbey Williams explores how Black affective space persists within and outside the constricted frame of the white gaze.
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Paintings of Bodily Residue and Extra-Long Tongues
In Emily Furr’s paintings, objects penetrate the openings of other objects, but the body is nowhere to be seen.
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Seeking Escape in Paintings of a Childhood Home
In her exhibition at Sargent’s Daughters, Brandi Twilley depicts windows as portals beyond the bleak circumstances of her family’s house.
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A Painter’s Dreams Go Up in Smoke
Brandi Twilley’s paintings of her childhood bedroom before it was destroyed by a fire are devoid of sentimentality, nostalgia, and even sympathy.
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Indelible Stains
If you should not judge a book by its cover? What about the living room you grew up in? What do its contents say about you? Does its décor reflect who you are?
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Two Very Different Artists Grapple with the Legacy of Colonialism
The combination makes for a compelling if slightly uneven pairing.
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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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The Violent History of Kent Monkman
In Kent Monkman’s first New York solo show, which closes this weekend at Sargent’s Daughters, art history commingles with cultural mythology in a passion play about masculinity and belonging.
