Contemporary Art and Culture
Don Voisine doesn’t do studio visits for Instagram. He doesn’t paint to please an algorithm. And he definitely doesn’t care if you call his new show “timely.” For over forty years, he’s explored the same visual territory—taut geometric abstraction with a personal twist—and somehow, he’s still finding fresh ground.
Continue reading “Sensuously Severe: Why Artists Call Don Voisine the Real Deal”
Upon entering this exhibition, I was taken to the wall pieces immediately, especially the use of vibrantly colored embroidery string mimicking paint strokes on the canvas. Art historical references and connections are very prevalent in the works of this exhibit. It was refreshing to see this conversation of the painting canon being brought up in a contemporary light by the use of this novel medium. Amer’s love and interest in the history of painting is apparent, and her works show art historical influences intertwined with intuition and a strong painterly hand that is present despite there being no paint in the show.
Continue reading “Ghada Amer: New Directions and Disobedient Thoughts at Marianne Boesky Gallery”
Immi C. Storrs is obsessed with depth: she manipulates it, refusing to render it as-is. Instead, her adventures in depth-perception range from steeply sloping forests—her favorite subject— to thickly layered glass light-box dioramas, and to truncated and oddly meshed animal forms in bronze. While the animals merge together into multi-legged seemingly mythological beasts, or emerge pseudo-two dimensionally from a bronze cube, it’s less about the creatures themselves—horses, sheep, and oxen, but more of a slow-down lugubrious space in which forms melt together and time becomes unpredictable.
Continue reading “Into the woods – Immi C. Storrs at The Century Association”
When I first heard about the pairing of Jai Hart and Kelly Worman in a two-person show at Freight + Volume, I was puzzled. Their formal vocabularies appeared too distinct, too dissonant. But upon entering the exhibition, my skepticism dissolved. Their differences are not discordant—they are dialectical. Both artists, working through abstraction and form, propose modes of seeing and making that are sensitive, inquisitive, and quietly defiant. While their materials and gestures diverge, Hart and Worman converge in a feminist-postmodern sensibility that challenges the hegemonic logics of painting, and, more subtly, the gendered histories that underpin it.
Continue reading “Cosmic Sentiment and Sculptural Gesture: Jai Hart and Kelly Worman at Freight + Volume”
The grand halls of Milan’s Palazzo Reale currently host a seminal tribute to artistic defiance and fierce individuality. On view from February 26 through June 22, 2025, Io Sono LEONOR FINI (I Am LEONOR FINI) presents one of the most comprehensive retrospectives dedicated to an artist whose untamed, rebellious gaze still challenges and mesmerizes viewers from across the temporal divide.
Continue reading “Io Sono LEONOR FINI – Decoding the Sphinx of Surrealism”
Carole d’Inverno and Susan Rostow live a block apart. Over the past year, they passed sculptures between studios, texted images and material references, built paper maquettes, and revised their work without fixed goals. Fellow Imaginaries, now on view at Atlantic Gallery, result from this sustained exchange. The exhibition includes fully collaborative hybrid sculptures made jointly by d’Inverno and Rostow, alongside individual works by each artist: sculptures by Rostow and both sculptures and paintings by d’Inverno. Though distinct in authorship, all the works were developed in close dialogue. They respond to one another in form and material and in how they occupy space. Walking into the show feels like entering a toy store—joyous, playful, a place of invention. The visitor becomes a child again, wondering how things were made and how they might move.
Continue reading “Fellow Imaginaries: Carole d’Inverno and Susan Rostow at Atlantic Gallery”
Willam Carroll’s newest painting series titled Trees has found a nice place to debut in 57w57arts. Each artist has their own room within the gallery space, the other artists include: Michael Voss, Steph Krawchuk, Seth Dembar, and Christopher Boyne. The rooms are also active office spaces where employees and clientele enjoy the work during appointments. Carroll’s series of seven new paintings on wood panels find themselves in the waiting room, stoically standing alongside a wonderful view of the New York Public library right outside of a nearby office window. Seeing the work within this space, especially it being a waiting room, allows viewers an opportunity for quiet contemplation, a foil to the hustle and bustle of what is right outside. You begin to feel as if you are journeying through the forest on a silent winter day.
Continue reading “William Carroll- Trees at 57w57arts”
In following Martin-Nuss’ work for a few years now, I was always mesmerized by the way they could establish and build a living landscape using both physical spaces and water reflections. A living landscape by means of movement, layers, and currents. This exhibition shows works that each establish their own space and carry with them their own evolutions into an entirely new space the longer you look at them.
Continue reading “Sarah Martin- Nuss: Future Currents- At Rachel Uffner Gallery”
In Scott Sueme’s latest collaboration with Uprise Art, the artist asks, “If you are called to look, what do you see?” In fact, I pose the question to you right now. As you lie in bed reading this when you really should be asleep or as you doomscroll art news to avoid doomscrolling national news, Sueme calls you to look with the consideration of someone devoted to noticing the breath within the breath, the moment within the moment.
Continue reading “Field in The Wind: Scott Sueme at Uprise Art”
Fanny Allié’s exhibition A Longing at Kaliner presents a series of works made from the materials of daily life. Using worn clothing, domestic linens, and fabric remnants from her own surroundings, Allié constructs layered compositions that speak to human connection, memory, and what remains after use. Her figures, built from these fragments, feel both familiar and distant—suspended in stillness, shaped by lived experience.
Continue reading “A Longing at Kaliner: Fanny Allié”