Exhibition Review – Page 11

September 24, 2024December 22, 2024

Assembled Worlds: Hannah Höch at Lower Belvedere

A room with blue walls and a blue wall

Description automatically generated — Installation view “Hannah Höch, Assembled Worlds”. Photo: kunst-dokumntation.com, Manuel Carreon Lopez, @ Bildrecht, Vienna 2024

“I wish to blur the firm boundaries which we tend to delineate around all we can achieve,” Hannah Höch once said, challenging the rigid limits that society often imposes on creativity, identity, and social roles. This sentiment resonates deeply throughout the Assembled Worlds exhibition at Vienna’s Lower Belvedere, curated by Martin Waldmeier from the Zentrum Paul Klee in Bern. This major showcase of Höch’s work in Austria feels long overdue, bringing together around 80 of her photomontages, alongside paintings, drawings, prints, and archival materials. Together, they offer a vivid glimpse into her groundbreaking contributions to 20th-century art.

September 22, 2024October 6, 2024

Until the Sun Goes Dark: Taylor Davis Decontructs Power

Installation view, photo courtesy of SEPTEMBER

In Until the Sun Goes Dark, Taylor Davis’s second solo show with SEPTEMBER gallery at Kinderhook, NY, the Boston-based artist takes on the question of why we exist in a violent, volatile universe. She offers no answers, but through sculpture, painting, and works on paper, elicits inquiries into the nature of brutality by researching texts ranging from 2000-year-old biblical scriptures (Job 27:13- 23, Ecclesiastics 12: 5-8 and Psalm 57: 4-5) to modern writings by Ethnographer, Edward Linnaeus Keithahn and literature by William Gass, In The Heart of the Heart of the Country. Davis does not merely execute a plan to create work but relies on systems of chance and logic. She does not force her materials to bend to her intent but defers to the inherent nature of the materials she is using. Working in a similar manner to a call-and-response practice, her final pieces sometimes challenge the viewers’ initial comprehension of what they are actually seeing.

September 16, 2024December 22, 2024

Splendor and Misery at Leopold: New Objectivity in Germany

A room with art on the walls

Description automatically generated — EXHIBITION VIEWS “SPLENDOR AND MISERY” © Leopold Museum, Vienna, Photo: Lisa Rastl

”BRUTALITY!

CLARITY THAT HURTS […]

BRUSH AS FAST AS YOU CAN –

TRY TO CAPTURE RACING TIME“

—–George Grosz

Nearly a century after the Weimar Republic’s brief, chaotic existence, curator Hans-Peter Wipplinger presents Splendor and Misery: New Objectivity in Germany at Vienna’s Leopold Museum. This comprehensive exhibition, the first of its kind in Austria, brings together around 150 works—100 paintings, 40 works on paper, photographs, and archival materials—from international museums and private collections. Born from the ashes of World War I, Neue Sachlichkeit offered a stark, unsentimental portrayal of reality, capturing both the hardships and the hopes of the “Golden Twenties.” The show features a lineup of key figures of modernism, such as Max Beckmann, Otto Dix, George Grosz, and Christian Schad, alongside lesser-known artists such as Heinrich Maria Davringhausen, Karl Hubbuch, Grethe Jürgens, Lotte Laserstein, Felix Nussbaum, Gerta Overbeck, Rudolf Schlichter, and others, who each captured the era’s spirit with an unflinching eye.

August 12, 2024August 8, 2024

Paula Modersohn-Becker: Ich bin Ich / I am Me at the Neue Gallerie

A room with art on the wall

Description automatically generated — Installation views of “Paula Modersohn-Becker: Ich bin Ich / I Am Me” at Neue Galerie New York. Photography by Annie Schlechter, courtesy Neue Galerie New York

German painter Paula Modersohn-Becker, born in 1876, is relatively unknown in the United States. This is quite surprising, considering she painted the first nude self-portraits known to have been made by a woman. Many of these audacious portraits capture her own pregnancy—another first among Western women artists, paving the way for later figures like Alice Neel. Modersohn-Becker’s portraits of women spanning all ages—bold in their composition, subtle in their detail, and utterly present—strike a powerful note throughout the first major retrospective of her art in the United States, curated by Jill Lloyd at the Neue Galerie New York, and fittingly titled Ich bin Ich / I Am Me.

July 31, 2024July 31, 2024

Erika Ranee: Feelings at Duck Creek

Erika Ranee, Sunset Beach, 2024, ink, shellac and oil pastel on canvas, 10 x 8 inches

I’ve been following Erika Ranee’s work since the mid-90s after I saw a handful of her works in person throughout a collector’s home. I recall a few key elements from that earlier work: medium to large scale, painted using a poured technique, and figurative or rather stenciled elements like references of figures and faces. Early on, Ranee’s work recalled a similarity to Donald Baechler’s. Think of a series of expressively painted applications layered upon one another and then codifying with a silhouette or stenciled image atop the coated process. I lost track of Ranee’s work for over a decade, then I came across it when she had a studio at The Marie Walsh Sharpe Art Foundation Program in 2011. I’ve been following her work and have had the pleasure of seeing it evolve steadily. Since my first encounter with the work, she has done away with a direct reference to figuration and seems to use titles to locate outside influences. Her work has grown, and her career is blossoming.

July 12, 2024July 12, 2024

Justin Natividad: Sweet Heat

A painting of a person's torso

Description automatically generated — Justin Natividad, *Match Point*, 2024

In Justin Natividad’s current exhibition Sweet Heat, carefully cropped studies of the male form serve as a pretext for the artist’s meticulous observations of light and shadow. More specifically, how they play across the delicate, vulnerable corners of the body in the peak of summer. Observed through a nostalgic lens for the golden hours of summer, sunlight bounces off the smooth surfaces of a pectoral muscle, a protruding rib, a collarbone, and ricochets across the figure towards the viewer.

July 10, 2024July 10, 2024

Snubbing the Earth: Matías Duville’s Vertices of Time at Barro Gallery New York.

*Caída del peñón, 2024, Acrylic and polyurethane on wood, 15 67/100 × 20 7/25 in*

In a recent conversation at Barro Gallery in New York, the Sue and Eugene Mercy assistant curator Ana Torok (MoMA, prints and drawings), likened Matías Duville’s artistic process to “throwing a lance” at the canvas. Indeed, Duville is not kind to his materials. His artistic oeuvre is replete with scratched metal and burned wood. For his paper works, charcoal is inflicted, not applied. When I had the good fortune to speak with the artist about his current exhibition at Barro Gallery, Vertices of Time, I asked what kinds of materials he had used for his paintings. One material stuck out as particularly harsh: “heat gun.”

July 6, 2024July 7, 2024

Hesse Flatow East- Reverse Cascade

Reverse Cascade, Hesse Flatow, Installation View- Curated by Kirsten Deirup

As the season of exhibitions at commercial galleries winds down, the need for enriching visual engagement becomes more demanding over the thick heat of the summer months. Out of the way for viewers and gallery dwellers, there are some noteworthy exhibitions that take place outside the boroughs of New York City that are worth noting and can easily be missed if you were not looking or aware. A good point of example is Hesse Flatow East. Karen Hess-Flatow has launched a unique exhibition at their Amagansett space, nestled on the east end of Long Island in the Hamptons, a location that adds to its allure.

June 20, 2024June 19, 2024

Nexus, Echoes, and Connections – Stefano Caimi, Rachel Frank, Gayoung Jun, Kirstin Lamb at SARAHCROWN Gallery

Nexus, Echoes, and Connections, Installation Shot 2, Courtesy SARAHCROWN NY

The second-floor Sarah Crown Gallery in Tribeca features a group exhibition with work by Stefano Caimi, Rachel Frank, Gayoung Jun, and Kirstin Lamb. The show immediately draws viewers in as 3 drawings by Gayoung Jun grasp the eye with striking blue tones and dual circular shapes that seem to be moving in the optical illusion. The work is only made more impressive upon closer inspection as the eye reveals the minor flaws of the hand.

June 11, 2024June 9, 2024

Jiwon Rhie: Suddenly, Images Explain Everything at La Mama Galleria

Jiwon Rhie often explores moments of deep personal depression, social misanthropy, and cultural alienation in her work. You would never know it, though, from first viewing. Walking into La Mama Galleria in the East Village, NY, visitors are greeted by the playful whirring sound of over a dozen mechanical toy dogs, each covered in exploding layers of colorful, fake flowers. The dogs walk across a blue moving pad, bumping into walls, each other, or the artificial boundaries Rhie erected. In the center of the moving pad, two quarter candy vending dispensers shake with the motion of encased and enflowered toys, which act, of course, unperturbed by their enclosures. Viewers are invited to borrow quarters from the gallery to dispense pods filled with custom keychains and temporary tattoos from the candy machines. Though only a corner of a room within a larger exhibition, Rhie’s Flower Dogs make it impossible to enter the gallery without stopping to smile, take a photo or video, and procure ones own custom keychain art.