Contemporary Art and Culture
Aging is a paradox. Wisdom and clarity of purpose increase, while deterioration and physical impairments begin to ravage the body. The exhibition and panel, The Prime of Your Life, at Marc Straus Gallery, exemplifies that dichotomy, bringing to bear aging female artists’ dilemmas while celebrating their enduring passion, talent, and productivity.
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Artists Anna Boothe and Nancy Cohen met more than twenty-five years ago, and that serendipitous meeting grew into a lasting collaboration. Confluence, their current show at UrbanGlass, features their new body of work. It grew out of joint research and material studies they began in 2024 during a Creative Glass Fellowship at WheatonArts in Millville, New Jersey, where they studied the region’s glassmaking history from the 18th century to the present, with emphasis on how the industry affected the local ecology, waterways, and inhabitants. As Dr. Ferris Olin notes in the exhibition essay, glassmakers settled along the Maurice River for the quality of its sand and its route to market. The industry grew alongside Philadelphia’s pharmaceutical companies and their need for glass containers, which helps explain why scientific glass is prominent in this work.
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Is nostalgia really a safe space for us to process the uncertainty of the rapidly changing present? This Candy Has Teeth, curated by Shuhan Zhang, features five Chinese artists, Shengjie Jiang, Weican Wang, Jiaqi Mao, Yukun (Chloe) Ba, and Cindy (Zhaoyue) Chen, who move through childhood, memory, and nostalgia in different ways. Together, their works reflect our current desire for nostalgia, a desire that perhaps reveals just how uncertain the present feels. Yet the more we try to grasp onto the soft, safe, familiar places of the past, the more complicated those memories become. If you really delve back into them, they are also full of discomfort: moments of being forced to accept what happened, and the stiffness of a choke at the throat. As the curatorial text suggests, it is a “sensory misalignment”—an apple is sweet, yet hard to swallow.
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This year’s theme for SPRING/BREAK Art Show was Hide and Seek. The fair was within this new and exciting office space that felt like a labyrinth at first, but then it evolved into a wonderful journey- meeting new artists and old friends. Full of amazing works and installations, the booths caught my attention through either a detail, a connection, or a wonderful conversation. The themes varied, from Peter Gynd’s focus on the joys of the everyday to Juan-Manuel Pinzon and Matthew Logsdon’s connections through material, action, and discovery. David Howe and Jesus Benavente’s team brings urgency and humor, showing how decisions from up high affect our everyday lives. My experience of the fair concluded with the works of Noa Charuvi and Shmuel Charuvi, exploring connections to a sense of place and ways of viewing the world, often influenced by the works of family, while Braden Bandel’s paintings and drawings bring us into another world entirely- allowing us a place to rest and contemplate.
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The abstract paintings in Pentimento, the debut solo exhibition at Wexler Gallery in Philadelphia by New York artist Danny Balgley, live up to their title. Like geological strata, the urban palimpsest of peeling billboards and weathered facades, or memory itself, their layers let traces of earlier marks show through, revealing themselves gradually, the longer we look.
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Rebecca Morgan’s exhibition Painting in the Age of Apocalypse is a bit of a roadmap for viewers. Morgan tackles the question of how to present images in the face of a raging political landscape, how to keep moving forward, and how to maintain oneself and some humor about it all. And most importantly to me, how to open up one’s painting style and allow both the work and the process to support you through this tumultuous and often unbelievable terrain we may find ourselves within. In this exhibition, Morgan engages potent themes from all her eras: sympathy for her rural background, feminist reappraisal of art history, and an unbridled excitement at infusing humor and technical prowess into her critique. Here, Morgan fuses all of these themes well, all the while showing us a fresh, looser style of painting that captures the frenetic energy of the moment.
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Sojourn, a new body of work by Canadian-American painter Tim Kent, opened recently at Hollis Taggart’s Chelsea location runs through October 17. Ask Kent what the show is about. He gives you a clean, simple answer. The main idea is just taking a break from working too hard. It’s the kind of respite that chronically overworked New Yorkers rarely give themselves.
In Kent’s telling, rest isn’t relaxation. It’s rebellion.
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The opening of AMEN : NEMMEN, Vince Briffa’s installation on faith and belief, fell on the first rain of the year, closing out a hundred-and-twenty-day drought and the first completely dry Maltese summer in six years. I had not yet met the island’s infamous heat, and on September 14th, as if the island had been holding its breath, the grip finally let go. The narrow stone bridge into Fort St Elmo and the Chapel of St Anne, the exhibition’s site, act as a conduit through time, folding centuries and space into a single, intimate passage of entry. Fort St Elmo’s honey-hued limestone stood monumental, solemn, and unbothered in the late-summer light, the kind of backdrop that makes an installation about faith feel almost inevitable.
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In Light Lives as an Animal at 1053 Gallery, Melissa Murray dives into the darkness of Catskills nights, bringing the magical, haunting world of raw, gorgeous wilderness to life in her extensive solo exhibition. Drawing from her relocation from Brooklyn to the Catskills years ago, Murray shares her fascination with the immersive, nocturnal world of the forest. Darkness to her is not simply a void or a passive backdrop, but a thick, generative medium through which a landscape reveals its independent interior life.
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The liminal space between abstraction and figuration—between the defined and the loose, the restrained and the free—is the terrain of Laurie Nye’s first solo exhibition at Uffner & Liu in New York. In her new paintings, which range from intimate, jewel-like compositions to modestly monumental canvases, Nye proposes that everything we see can be two things at once: a flower and a portal, a tree and a cosmic axis, a landscape and a state of mind.