Contemporary Art and Culture
Featured Artist
Elena Chesnykh’s paintings at Space 776 depict women in landscapes—the vitality of the body merges with a dynamic natural world into a sensual dance of color and shape, sometimes in reference to harsh current events such as the war in Ukraine. The show, curated by Dasha Bazanova, will be on view from July 22 to August 17, 2022.
Fluid Matters, Grounded Bodies: Decolonizing Ecological Encounters at the Gallatin Galleries in New York City explores complex questions around impermanence, belonging, transformation, and erasure as they relate to human and non-human lives and the earth itself. The exhibition showcases the work of several contemporary artists, of various backgrounds, who utilize a broad range of media. It includes work by Farah Al Qasimi, Beatriz Cortez, micha cárdenas, Tessa Grundon, Joiri Minaya, Ada M. Patterson, Himali Singh Soin, and Alexis Rider, among others. The show runs from July 22 to August 17, 2022. Co curators Anastasia Amrhein and Patricia Eunji Kim shed some light on this group show.
Heidi Norton’s site-specific installation at Wave Hill examines the intricate links between humans and the natural world. Inspired by Wave Hill’s grounds and the Sun Porch’s architecture. Activated by sunlight, Norton’s installation is made of sculptures and large, vibrant photographic scrolls draping from the ceiling and undulating through the space. Norton says that the configuration of scrolls encompasses landscapes of present and past, incorporating recent photos that the artist took of the gardens, as well as archival images. Norton’s work draws on her rural upbringing by New Age homesteaders. She upcycles discarded plant clippings from Wave Hill’s gardens, repurposes compost and deconstructs past work, incorporating it into new pieces—speaking to sustainability, contemplating how memories are embedded in materials and landscapes, as well as how a sense of place is recorded through time and changes in the land. Heidi Norton with her site specific installation, The Edges of Everything at Wave Hill, July 16th – August 28th, 2022. Meet the Artist recording can be found here.
Zinaida is one of the most important Ukrainian artists working today. Her practice revolves around the study of mythologies, national symbols, archaic imagery, and the role of women as carriers of sacred knowledge, stemming from the Kyiv-based artist’s extensive ethnographic research and close collaboration with indigenous communities in remote areas of her country. Marina Abromović has described Zinaida’s practice as subtly balancing her work “at the juncture of historical symbolism and modernity. She uses traditional imagery, rituals and crafts to convey meanings that are relevant to a vibrant and fluid culture. Zinaida is a rebel. She was in many dangerous zones (on Maidan during the Revolution of Dignity, Chornobyl, in the war zone in the Eastern Ukraine). To me she is like a Ukrainian “Guerilla Girl.” Zinaida’s work is currently on view in Venice and New York.
Zinaida’s solo pavilion Without Women is an official Ukrainian Collateral Event at the Venice Biennale. The exhibition’s curator, Dallas Contemporary Executive Director Peter Doroshenko, introduced Zinaida as “a national cultural figure for Ukraine.” He says that over the last fifteen years, she has “summarized, documented and interpreted contemporary Ukrainian society through her work. Zinaida’s works have become an important and seminal influence for all the contemporary Ukrainian artists.”
In Zachary Keeting’s restless and complex paintings swirls of vivid purples, yellows, and reds float by or contained within geometric shapes of subdued browns and pinkish off-whites. Together they orchestrate distinct rhythms and create a sense of luminosity. Keeting’s alluring colors often generate dynamic pictorial spaces filled with an imaginative array of fragmented forms which remind me of mirror shards prisms against a shifting light, particles in a quantum physics lab, or visual transcriptions of sounds. Although each of these parts, whether biomorphic or geometric, appears to assume a distinct characteristic, the overall sense we get is—what we see now is on the verge of changing within the next second.
Last weekend was the third annual Upstate Art Weekend, a wildly ambitious and fun three-day art fair that winds its way from Westchester to Catskill NY. Founded by impresario Helen Toomer in 2020, Upstate Art Weekend celebrates and promotes visual arts throughout the Hudson Valley. One hundred and forty venues participated this year, and there was everything from art in a big-box truck in Kerhonkson to the gallery/studio campus of Foreland in Catskill. The intense heat of last week made this year’s event a challenge, but totally worth the sweat. Here is a brief travelogue of my schlep around the Hudson Valley:
Each year The Tate Britain commissions a large-scale art installation for the iconic Duveen Galleries at the museum. This is a vast space, an art-filled hall, more than a typical gallery that winds its way down the center of the museum on the first floor. This year they tapped the Guyanese-British artist Hew Locke whose visual musings on migration, history, national identity and ritual are well known in the British art world. Locke has long worked these themes, but never on such a scale. It is a wildly ambitious vision that embraces his interests and presents a fully developed Universe.
The Baroness at Mimosa House in London is a group exhibition dedicated to Dada artist, the Baroness Elsa von Freytag-Loringhoven (1874–1927). The exhibition manifests the ongoing influence of the Baroness on contemporary artists and poets, showcasing artworks and performative contributions created in homage to Elsa von Freytag-Loringhoven or influenced by her radical work and effervescent personality. The show questions the legacy of Dada poetry and performance today, in a feminist and queer dimension in particular. How can artists navigate the art world, politics and society while creating a work which resists and disrupts the conventional canon? Elsa von Freytag-Loringhoven becomes a role model and inspiration for international artists of different generations and media of work.
The Lands of Kats Kill is the second in a series of three interrelated experimental pieces that combine graphics, text, and hyperlinks based on themes coming out of my Crazy River project, for which I gave an interview on this website on May 16th. Crazy River takes a wide-angle view of the climate crisis, ranging from my own climate grief to an in-depth focus on the many causes and effects of rapid environmental changes on the West Branch of the Neversink in Ulster County. In this piece I investigate the idea of the Catskills as a region, and an incongruous bundle of contradictions and coincidences. The Lands of Kats Kill weaves three timelines together: the geologic, the historical, and the personal. This structure repeats throughout my Crazy River project. The previous piece in this series, Invaders, took apart the idea of invasive species. The following will explore the concept of the Golden Spike in stratigraphy as fact and metaphor.
A new show at Night Gallery in L.A. explores feminine conventions in painting. Large cardboard assemblages counter the traditional stretched canvas by repurposing a commonplace consumerist material. The Find is Jodi Hays’s first solo show in L.A. and a poetic contemplation on space, landscape, and material. Working in layered and dyed cardboard, Hays creates subtle landscapes reminiscent of long drives down winding roads. These works are odes to the quotidian, evoking both nostalgia and references to femininity, while straddling the line between painting and assemblage. Contributor Jac Lahav sat down with artist Jodi Hays and Night Gallery to talk about the show.