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The 2021 New Museum Triennial, Soft Water Hard Stone, the museum's fifth, exhibits works by 40 artists and collectives from around the world including Baltimore's Cynthia Daignault and Kahlil Robert Irving.
Their first goal was to understand just what has been lost: to reconstruct the contours of the expansive collection.
Bill Schmidt and Jan Razauskas’ Spatial Fabrications at MONO Practice, Color and Illusion: The Still Lifes of Juan Gris at the BMA, and Rania Matar’s She at C. Grimaldis Gallery.
Featuring sculptures, installations, videos, and photographs, and juxtaposing pieces from across her career with a host of recent works , "The Weather" is a dazzling display of what the art historian RoseLee Goldberg once called Anderson’s “powerful inventive drive.
The show’s larger focus is material culture, specifically Black material culture featuring objects that contain history and tradition.
This show is richly rewarding, due in large part to a range of rarely seen objects and some truly clever juxtapositions.
There is much to consider about depletion and extraction in a low- or no-budget art space within a gentrifying city.
The figures populating the Mother Paintings live among slabs of heavy, humid air, hypersensitized in their responses to claustrophobic and caustic atmospheres.
The stock icon has yielded to something darker and more ominous.
Some of these records inevitably confront themes that are pertinent to our present circumstances and upheavals, some take the listener to places subterranean or extraterrestrial, and many others pull off an inventive combination of all the above.
Dr. J’s aerial exploits become the associative catalyst for explorations as wide-ranging as pickup-basketball, photography, the slave trade, familial history, and flight of all kinds.
In discussing his work, App likes to allude to his lifelong attempt to find what he calls authentic ways of making a painting.
Both women are primarily known for their work in sculpture, and that tactile sensibility easily translates to these textured two-dimensional pieces.
The exhibition is framed as a “gravitational field” of signs and symbols in which our relationship to the production of meaning is precarious by design.
Viewed as movements, these abstracts are maps that retrace Owens’ process, the steps he took to arrive at the finished series.