#marc straus

[garadinervi]

Marie Watt, Companion Species (Speech bubble), (reclaimed wool blankets, embroidery floss, thread), 2019 [Collection of Crystal Bridges Museum of American Art, Bentonville, AR. Marc Straus, New York, NY. © Marie Watt. Photo: Kevin McConnell]

[longlistshort]

Renée Stout’s exhibition at Marc Straus in NYC, Navigating the Abyss, presents a collection of her recent work in various mediums. From sculpture and painting to photography, her skillful and inventive work draws you in.

From the press release-

Starting out as a photo-realist painter depicting life in everyday urban neighborhoods, Stout soon developed an interest in the mystical and spiritual traditions in African American communities. Fascinated with fortunetelling and the healing power of Hoodoo, Vodou and Santeria still practiced within the African Diaspora in the American Southeast and Caribbean, she delved into ancient spiritual traditions and belief systems. She has drawn inspiration from a wide variety of sources such as current social and political events, Western art history, the culture of African Diaspora, and daily city life. While her artistic practice is rich with references and resonances, her works are eventually unique manifestations of her own imagination, populated by mysterious narratives and imagined characters derived from the artist’s alter ego.

In this exhibition, we encounter a group of portraits depicting Hoodoo Assassins and Agents (#213 and #214) who, in Stout’s imagination, are healers, seers, and empaths from a Parallel Universe in which fairness and balance rules. Erzulie Yeux Rouge (Red Eyes) is a spirit from the Haitian Pantheon of spirits whose empathic nature makes her a fierce guardian or protector of women, children, and betrayed lovers. Ikengas, originating in the Igbo culture of Southeastern Nigeria, are shrine figures that are meant to store the owner’s chi (personal god), his ndichie (ancestors) and his ike (power), and are generally associated with men. Stout’s Ikenga (If You Come for the Queen, You Better Not Miss) is a powerful female figure with her breasts and horns turned into weapons, and she is adorned with jewels and charms to boost her powers. Beyond the playful yet powerful imagination of these female characters are serious undertones of political commentary as Stout ponders the concepts of these deities while witnessing the recent rulings in our society that infringe on women’s rights.

In Escape Plan D (With Hi John Root, Connecting the Dots) Stout maps out her potential escape to the Parallel Universe when the daily news weighs unbearably on her psyche.

Visions of the Fall, in Thumbnails is a series of five small paintings that comments on the current state of our world and its imagined future with the titles as upcoming stages of its evolution.

American Memory Jar is an entirely black sculpture consisting of a glass jar covered with thin-set mortar, plastic and metal toy guns, topped with a doll head and adorned with a bead and rhinestone cross pendant. Memory Jugs are an American folk-art form that memorializes the dead adorned with objects associated with the deceased. Stout’s jar is a bitter but painfully accurate assessment.

While Stout’s work alludes to history, racial stereotyping, societal decay, and a set of alarming tendencies in our socio-political structures and ecosystem, it also reveals possibilities and the promise of healing. Various works reference healing herbs, potions, and dreams. Herb List, Spell Diagram and The Magic I Manifest speak of Stout’s belief in the power of consciousness, in the existence of more solid and fertile grounds, and of individual responsibility.

There is one overarching narrative that clearly emerges from Stout’s work – her personal history and spiritual journey as a woman and as an artist.

This exhibition closes 3/5/23.

[maximiliano-aedo]

What could've been Animaze ..iNC during the 2010s

Talent pool (Note: any voice actor marked with * is union-only):

Steve Blum*

Mary Elizabeth McGlynn*

Crispin Freeman*

Kari Wahlgren*

Johnny Yong Bosch

Yuri Lowenthal*

Dave Wittenberg*

Roger Craig Smith*

Laura Bailey*

Travis Willingham*

Cherami Leigh

J.B. Blanc*

Sam Riegel*

Liam O'Brien*

Amy Kincaid*

Troy Baker*

Matthew Mercer

Joe Romersa*

Fleet Cooper*

Dyanne DiRosario*

Jennifer Love Hewitt*

Brian Hallisay*

Spike Spencer

Amanda Winn Lee*

Jaxon Lee*

Kyle Hebert

Ben Pronsky

Bob Buchholz

Richard Cansino

Murphy Dunne*

Carolyn Hennesy*

Jerry Gelb*

Adam Sholder

Ezra Weisz

Cristina Vee

Bryce Papenbrook

Michael Sorich

Richard Epcar

Ellyn Stern

Tony Oliver

Kirk Thornton

Lexi Ainsworth*

Aria Noelle Curzon

Grace Caroline Currey*

Michael Forest

Erik Davies

Adam Bobrow

Joshua Seth

Junie Hoang*

Kirk Baily*

Tom Fahn

Jonathan Fahn

Dorothy Elias-Fahn

Melissa Fahn

Stephen Apostolina*

René Rivera*

Deborah Sale Butler

Kevin Brief

Michael Gregory*

Riva Spier*

Cassandra Morris

Erica Mendez

Erika Harlacher

Erica Lindbeck

Marieve Herington

Kira Buckland

John Rubinstein*

Kim Matula*

Brittany Lauda

J. Grant Albrecht*

Michael McConnohie

Steve Bulen*

Dan Woren

Derek Stephen Prince

Wendee Lee

Edie Mirman

Jason C. Miller

Taliesin Jaffe*

John Snyder

Robbie Daymond

Ray Chase

Kaiji Tang

David Vincent

Christina Carlisi*

Christopher Corey Smith

Cindy Robinson

Rachel Robinson

Jessica Boone

Lauren Landa

Megan Hollingshead

Jalen K. Cassell

Doug Erholtz

Michelle Ruff

Gregory Cruz*

John Bishop*

Matt Kirkwood*

Lara Jill Miller*

Carol Stanzione

Steve Staley

Dave Mallow

Mona Marshall*

Darrel Guilbeau

Robert Martin Klein

Robert Axelrod

William Frederick Knight

Lex Lang

Sandy Fox

Joey Camen*

Randy McPherson*

Jad Mager

Richard Miro

Milton James

Anthony Pulcini

Douglas Rye

Patrick Seitz

Keith Silverstein

Jamieson Price

Skip Stellrecht*

Stoney Emshwiller*

G.K. Bowes

Alyss Henderson

Patricia Ja Lee

Peggy O'Neal

Carrie Savage

Melodee Spevack

Jennifer Alyx

Julie Ann Taylor

Sherry Lynn

Brad Venable

Christine Marie Cabanos

Greg Chun

LaGloria Scott

Steve Kramer

Melora Harte

Rebecca Forstadt*

Kyle McCarley

Mela Lee

Karen Strassman

Faye Mata

Laura Post

Kayla Carlyle*

Brina Palencia

Connor Gibbs

Brianne Siddall*

Barbara Goodson

Loy Edge

Jay Lerner

Jennie Kwan

Max Mittelman

Jessica Straus*

Alexis Tipton

Fryda Wolff

Michele Specht

J.D. Garfield

Debra Jean Rogers*

Julie Maddalena

Carrie Keranen

Tara Sands

Matthew Hustin

Cody MacKenzie

Bridget Hoffman*

Colleen O'Shaughnessey

Grant George

Jessica Gee

Jeff Nimoy*

Peter Lurie*

Brian Beacock

Paul St. Peter

Chris Jai Alex

Dan Lorge*

Ewan Chung*

Steve Cassling*

Philece Sampler

Stephanie Sheh

Sam Fontana

Ben Diskin

Juliana Donald*

Michael O'Keefe*

Christina Gallegos*

Tara Platt

Keith Anthony*

Beau Billingslea

David Lodge*

Kim Strauss

Eddie Jones*

William Bassett*

Kim Mai Guest*

Caitlin Glass

Hannah Alcorn

Ron Roggé*

Camille Chen*

Ethan Rains*

Yutaka Maseba*

Joe J. Thomas

Michael Sinterniklaas

Erin Fitzgerald

Joe Ochman

Marc Diraison

Xanthe Huynh

Brianna Knickerbocker

Dean Wein*

Michael McCarty*

[artistsonthelam]

Some of my favorites from the VIP Preview and Opening Night of Expo Chicago on Thursday. The art fair is now open to the public!

1. Declassified CIA documents chronicling US interventions replacing left-wing governments with right-wing regimes, primarily in Latin America. Voluspa Jarpa, Desclasificados (Declassified), NOME.

2. Monica Ikegwu, Jessica and Jazz, Galerie Myrtis.

3. After viewing the above booth, I heard someone shout, "JENNY?!" and it was my friend Krystal Boney, pictured here with Manolo Valdés, Helene I - Gustav Klimt Judith, bogéna galerie. We hadn't seen each other in 5 years! And we ended up walking the entire fair together (even though she'd gotten there earlier and had seen most of it already) and it was so great. <3 Running into friends is always the best part about Expo!

4. Manyaku Mashilo, How About a New Way to Pray, Southern Guild.

5. This painter is always a favorite of mine. Antonio Santín, Alboroto, Marc Straus.

6. Thandiwe Muriu, Camo-Untitled, 193 Gallery.

7. Nir Hod, 100 Years Is Not Enough and Scratches of Butterfly, Michael Kohn Gallery.

8. Selfie by Krystal of us in front of the above. I'm not ducking down; Krystal was amused she could do this.

9. Whitfield Lovell, Wayfarer series, DC Moore Gallery.

10. Jacob Rochester, Residency Art Gallery.11. Mohau Modisakeng, Imvu Nomfula (The Lamb and the River), Martin Art Projects.

12. Stephen Eichhorn, Window to the (Passion Flower), Secrist | Beach.

13. Robert Pruitt, Monster and Lemon Tree, Vielmetter Los Angeles.

14. Anahita Akhavan, Duran | Mashaal.

15. Ian Davenport, Blossom, Kasmin.

16. Olasunkanmi Akomolehin, Kornfeld Galerie Berlin.

17. Kim Piotrowski, Caprice, McCormick Gallery.

18. Zanele Muholi, Galerie Carole Kvasnevski.

19. Bassim Al Shaker, Swarming, Resurrection, and Termination, Rhona Hoffman Gallery.

20. Seba Calfuqueo, Labor.

[Edit: Thank you Carol Fox and Associates for sharing my Instagram post in your stories and thank you Do312 for retweeting my Twitter thread!]

// (c) Jenny Lam 2024

[native-blog-deutsch]

Marie Watt - Seneca Nation

ABOUT

Marie Watt ist eine interdisziplinäre Künstlerin, deren Arbeiten Textilien, Skulpturen, Drucke und ortsspezifische Installationen umfassen, die alle tief in der Zusammenarbeit mit der Gemeinschaft verwurzelt sind. Ihr interdisziplinäres Werk schöpft aus der Geschichte, der Biografie, dem Proto-Feminismus der Irokesen und den Lehren der Eingeborenen; darin erforscht sie die Überschneidung von Geschichte, Gemeinschaft und Geschichtenerzählen. Durch kollaborative Aktionen regt sie generations- und disziplinübergreifende Gespräche an, die einen Blickwinkel und ein Gespräch für das Verständnis der Verbundenheit mit dem Ort, den Mitmenschen und dem Universum schaffen können. Watt hat einen MFA in Malerei und Druckgrafik von der Yale University und verfügt über Abschlüsse der Willamette University und des Institute of American Indian Arts. Im Jahr 2016 wurde ihr die Ehrendoktorwürde der Willamette University verliehen. Sie war Stipendiatin an der Skowhegan School of Painting and Sculpture und am Vermont Studio Center und erhielt zahlreiche Stipendien und Auszeichnungen von Institutionen wie Anonymous Was a Woman, der Joan Mitchell Foundation, der Harpo Foundation und der Ford Family Foundation. Ihre Arbeiten sind in Museumssammlungen in den gesamten Vereinigten Staaten zu finden, und sie wird von PDX Contemporary Art in Portland, Oregon, der Catharine Clark Gallery in San Francisco, Kalifornien, und der Marc Straus Gallery in New York City, New York, vertreten. Wenn man TURTLE ISLAND sagt, selbst wenn man nicht weiß, was es bedeutet, bestätigt es eine wichtige Geschichte - es verändert die Art und Weise, wie wir gehen, wandern, schwimmen und Unterstände bauen. Die Anerkennung eines Ortsnamens, der den kolonialen Namen vorausgeht, ist ein Schritt zur Anerkennung des historischen Traumas und des Vermächtnisses von Ausbeutung und Vertreibung."

PROJECT

Marie Watts SHIFT Project, Chords to Other Chords ist eine Serie von drei ortsbezogenen Neonskulpturen, die darauf abzielen, Geschichten und Gespräche über Land, Haushalterschaft und Ort zu verstärken. Der Schriftzug "TURTLE ISLAND" wird in Licht "genäht" und in öffentlichen Einrichtungen in und um die Heimat von Watts Vorfahren in New York platziert. In Zusammenarbeit mit dem federführenden Forge Project finden Veranstaltungen mit Dichtern, Künstlern, Wissenschaftlern und anderen Vordenkern statt, die sich mit den Themen von Turtle Island auseinandersetzen.

PARTNERORGANISATION

Forge Project ist eine von Eingeborenen geführte Organisation, deren Aufgabe es ist, die Führungsrolle der Eingeborenen in Kunst und Kultur zu pflegen und zu fördern. Forge befindet sich auf dem angestammten Land der Moh-He-Con-Nuck und ist in zwei Gebäuden untergebracht, die von dem bekannten Künstler und Aktivisten Ai Weiwei auf einem 38 Hektar großen Campus im Mahicannituck-Tal (Hudson River) entworfen wurden. Das Forge-Projekt ist ein Modell für die kulturelle Selbstbestimmung und Führungsrolle der Ureinwohner, das traditionelles und zeitgenössisches Wissen und Praktiken miteinander verbindet, um Gemeinschaft, öffentliche Bildung und kollektives Handeln zu fördern. Originalartikel Das könnte Sie auch interessieren Read the full article

[nassimkhalidsblog]

Check out Jessica Alazraki, Hammock (2022), From Marc Straus

[marciamattos]

Max Ernst 'C'est le chapeau qui fait l'homme' , 1920

Max Ernst, né le 2 avril 1891 à Brühl et mort le 1er avril 1976 à Paris, est un peintre et sculpteur allemand, dont l'œuvre se rattache aux mouvements dadaïste et surréaliste.

Max Ernst est le fils du peintre Philipp Ernst et de Louise Kopp.

En 1910, il commence à étudier la philosophie à l'université de Bonn mais il abandonne rapidement les cours pour se consacrer à l'art. Il rencontre les membres du groupe Blaue Reiter en 1911 avec qui il expose à Berlin, en 1913. La même année, il fait la connaissance de Guillaume Apollinaire et Robert Delaunay, part pour Paris et s'installe dans le quartier du Montparnasse.

En 1918, il épouse Louise Straus, historienne d'art. Leur relation tumultueuse ne tiendra pas. L'année suivante, il rend visite à Paul Klee et crée ses premières peintures, impressions à la main et collages ; il expérimente différents supports et matériaux.

La période dadaïste et surréaliste

Durant la Première Guerre mondiale, il sert dans l'armée allemande. Après celle-ci, rempli de nouvelles idées, il fonde avec Jean Arp et l'activiste social Johannes Theodor Baargeld le groupe dada de Cologne mais deux ans plus tard, en 1922, il retourne à la communauté d'artistes de Montparnasse à Paris où il vit chez le couple Éluard.

En 1925, Max Ernst invente le frottage : il laisse courir une mine de crayon à papier sur une feuille posée sur une surface quelconque (parquet ou autre texture). Cette technique fait apparaître des figures plus ou moins imaginaires. Elle s'apparente à l'écriture automatique des écrivains surréalistes qu'il côtoyait comme Paul Éluard et André Breton.

L'année suivante, il collabore avec le peintre Joan Miró pour la création de décors pour les spectacles chorégraphiques de Sergei Diaghilev. Avec l'aide de Miró, Max Ernst se lance dans l'élaboration d'une nouvelle technique, le grattage du pigment directement sur la toile.

En 1933, Max Ernst part en Italie.C'est ici qu'il compose en trois semaines 182 collages à partir d'ouvrages français illustrés en noir et blanc de la fin du xixe siècle. De retour à Paris, il les publie dans un ouvrage en cinq volumes appelé Une semaine de bonté ou les sept éléments capitaux, chacun de couleur différente d'avril à septembre 1934 aux éditions de la galerie Jeanne Bucher.

En 1934, fréquentant Alberto Giacometti, il commence à sculpter. En 1937, il rencontre Leonora Carrington avec qui il part vivre à Saint-Martin-d'Ardèche. En 1938, l'héritière américaine Peggy Guggenheim achète un bon nombre d'œuvres de Max Ernst qu'elle expose dans son nouveau musée à Londres.

La période américaine

Dès le déclenchement de la Seconde Guerre mondiale, en septembre 1939, Max Ernst est arrêté comme « étranger ennemi » et interné dans le camp des Milles près d'Aix-en-Provence. Avec l'aide du journaliste américain Varian Fry, fondateur du Comité américain de secours à Marseille en août 1940, il réussit à quitter le pays en compagnie de Peggy Guggenheim. Ils arrivent aux États-Unis en 1941 et se marient l'année suivante. Max Ernst vit à New York où, à côté des peintres Marcel Duchamp et Marc Chagall, il aide au développement de l'expressionnisme abstrait parmi les peintres américains comme Jackson Pollock.

Son mariage avec Peggy Guggenheim est un échec. En octobre 1946, il épouse Dorothea Tanning à Beverly Hills, (Californie). Max Ernst s'installe à Sedona, (Arizona). En 1948, il écrit le traité « Beyond Painting » puis part voyager en Europe en 1950. En 1952, il devient Satrape du Collège de ’Pataphysique.

Max Ernst 'C'est le chapeau qui fait l'homme' , 1920

À partir de 1953, il s'installe à Paris et l'année suivante reçoit le Grand prix de la biennale de Venise, ce qui lui vaut l'exclusion du mouvement surréaliste.

De 1955 à 1963, il réside à Huismes (Indre-et-Loire) où il réalise des œuvres marquées par la Touraine : Le Jardin de la France, Hommage à Léonard ou La Tourangelle.

En 1963, il déménage avec sa femme dans une petite ville du sud de la France, Seillans (Var), où il continue à travailler. Il crée les décors d'un théâtre et une fontaine dans la ville d'Amboise (Indre-et-Loire). En 1966, il réalise un jeu d'échecs en verre sur un échiquier géant de cinq mètres de côté, qu'il baptise Immortel.

En 1975, une rétrospective a lieu au Musée Solomon R. Guggenheim à New York et les Galeries Nationales du Grand Palais de Paris publient un catalogue complet de ses œuvres.

Max Ernst deviendra un ami du grand industriel Jean Riboud.

Max Ernst a été incinéré à Paris au cimetière du Père-Lachaise

[skowhegan]

Omar Rodriguez-Graham (A '13)

MARC STRAUS GALLERY 299 GRAND STREET, NEW YORK October 20—December 18 Opening Reception: Thursday, October 20th, 4 – 8pm

[newyorkarttours]

Omar Rodriguez-Graham at Marc Straus Gallery

Shape and color appear to explode from Omar Rodriguez-Graham’s paintings, once again on view at newly reopened Marc Straus Gallery on the Lower East Side. Based on Renaissance or Baroque paintings by artists from Tiepolo to Ricci which the artist turns into digital abstract compositions then paints on canvas attached to shaped supports, the artist marries historical work with a distinctly contemporary sense of energy and movement. (On view through July 31st). Omar Rodriguez-Graham, La Anciana de las 3 Navajas, oil and acrylic on linen mounted on panel, 78.7 x 72.8 inches, 2020.

[rbolick]

Books On Books Collection - Antoine Lefebvre

Books On Books Collection – Antoine Lefebvre

I Can’t Breathe (2015)

I Can’t Breathe (2015) Antoine Lefebvre Saddle-stitched with staples. Digital print. 16 pages. H218 x W178 mm. Edition of 100 copies. Acquired from the artist, 29 August 2020.

I Can’t Breathe is the first publication made under Lefebvre’s imprint. He labels it a “zine” and calls it a “gut reaction” to the murder of Eric Garner. Lefebvre is one of several book artistswh…

[thebowerypresents]

King Princess – Terminal 5 – November 1, 2019

Brooklyn singer-songwriter, producer and multi-instrumentalist King Princess is getting lots of love, from fans and critics alike, for her debut album, Cheap Queen, out two Fridays ago on Mark Ronson’s label. NME called her “a pop great in the making,” and it’s safe to say that everyone at a sold-out Terminal 5 on Friday night agreed.

Photos courtesy of Marc Millman | www.marcmillmanphotos.com/music

[garadinervi]

Jeffrey Gibson, Trade, (acrylic on recycled and collaged painting, glass beads, steel), 2011 [Marc Straus, New York, NY. © Jeffrey Gibson]

[longlistshort]

Currently at Marc Straus is Marie Watt’s impressive exhibition, Singing Everything.

From the press release-

A member of the Seneca Nation, Watt also has German-Scott ancestry. Her layered and complex influences include Indigenous knowledge and Iroquois proto-feminism, the matriarchal structures of certain Native American nations, the rise of social activism throughout the 20th century, and the anti-war and anti-hate content of the 1960s and 1970s music scene.

Central to the exhibition are three Sewing Circle pieces that were initiated at communal gatherings at the Whitney Museum of American Art in 2022. Watt’s sewing circles are cross generational, multicultural gatherings that she has been organizing for over a decade. Inspired by poet laurate Joy Harjo’s (Mvskoke/Creek) poem Singing Everything, Watt collects words from the participants of her sewing circles with the prompt, “what do you want to sing a song for in this moment?” The submitted words are then embroidered or sewn onto patches of fabric during the sewing circle. For the Whitney Sewing Circle, with over 300 participants, Watt, for the first time, used all the submitted words. Each panel is patterned in a way that stays true to the original hand. She thinks of ones handwriting as an extension of the cadence of one’s voice and in this project, it becomes part of a larger chorus. By composing large-scale wall works from these pieces of fabric, Watt creates collaborative artworks that interweave many individual handwritings, touches, and the stories that were exchanged in a shared space.

When entering the gallery, the visitor is greeted by a sweeping, 24-foot-long neon sign spelling out the words “deer, skywalker, heron, bass, great lake, woodland, beaver, turtle, wolf, lowly, muskrat, rat” in various hues that evoke the sky on the horizon during sunset and sunrise. While the piece represents a new direction in Watt’s work, she views neon as an extension of beadwork. The glass itself is at once thread and bead, and both neon and beads have a relationship to trade. They both envelop light, color, and sound, embodying sunrises and sunsets on the horizon.

Two blanket towers, her signature sculptural works, appear in the show but now with tin bells or jingles added to the reclaimed wool blankets. This choice of added material felt like a natural extension to Watt. She writes: “Blankets are danced and so are jingles, there is something healing about them both. They are objects of comfort” – by way of touch or sound. “Jingles acknowledge the Jingle Dress Dance which began as a healing ritual in the Ojibwe tribe in the 1910s during the influenza pandemic. The Jingle Dress Dance was also a radical act. In 1883, the United States banned Indigenous ceremonial gatherings. Though the ban was repealed in 1978 with the American Indian Religious Freedom Act, during its century-long prohibition the Jingle Dress Dance was shared with other tribal communities. Today it is a pow-wow dance and continues to be associated with healing. The relevance of this dance extends beyond pandemics.” By including jingles Watt brings the potential of sound into her work, adding to their visual and tactile aspects.

While drawing from long craft traditions such as textile or glass work, Watt is expanding her work by including contemporary stories and both individual and collective experiences. Her primary interest is to think about art as more experiential, rather than only visual, a direction she plans to explore further.

This exhibition closes 5/20/23.

[blakegopnik]

AT MARC STRAUS, OTIS JONES CASTS A SIDE-EYE AT PAINTING

THE DAILY PIC presents two views of a painting aptly titled “Tan with Four Dirty Circles,” from Otis Jones’s recent solo at Marc Straus gallery in New York.

Jones isn’t the first artist to care about the sides of a painting, and how it exists as an object: Kenneth Noland and Robert Ryman certainly mined that territory. But it’s rare to find a painting whose sides seem to have even more action going on than its front.

It’s as though Jones has taken it to heart that a painting only really has a front at all thanks to the sides where that front ends; in the end, those sides, however self-effacing, are responsible for the frontal predicament that every painter has had to face. Jones makes those sides take their turn on stage, then seeks revenge with his staple gun.

For a full survey of past Pics visit blakegopnik.com/archive.

[artistsonthelam]

Some of my favorites from the Opening Preview and Vernissage of Expo Chicago last night. (And, as always, the best part was running into old art friends! Since I mask up, folks recognized me via my eyes, hair, and shoes. 😅) The art fair opens to the public today!

Alfred Conteh (@aaconteh​), Loretta (Ms. T) (2022), acrylic and urethane plastic on canvas, Kavi Gupta.

Aaron Curry, Phantom (2010), painted wood, Michael Werner Gallery + Andrea Galvani, Instruments for Inquiring into the Wind and the Shaking Earth (2023), hand-blown white Murano glass mounted on artisanal metal structures, Galería Curro.

Ebony G. Patterson, ...pink...red...striped..carnations... (2021-2), collage on canvas, moniquemeloche.

Alia Ali, Foto Relevance.

Melissa Leandro, Andrew Rafacz Gallery.

Antonio Santín, Saudade (2022), oil on canvas, Marc Straus.

Mary Reid Kelley & Patrick Kelley, Night Kitchen (2021), plaster, wood, metal pipe, paint, LED screens, Fredericks & Freiser.

Edra Soto in front of her Graft Stars (2023), carved MDF, latex paint, mirrors, viewfinders, inkjet prints + Graft MDB (2020-3), sintra, aluminum, viewfinders, inkjet prints, latex paint, Luis de Jesus.

Shawn Huckins, Duran|Mashaal.

Lily Scout Kwong, Motherfire (2023), 55 shou sugi ban posts and saplings, Art at a Time Like This, Natural Resources Defence Council.

More of my highlights on Facebook & Instagram.

(c) Jenny Lam 2023

[existo-ray]

Liliane Tomasko (via Liliane Tomasko at MARC STRAUS | Artwell Guide)