#exhibition review – Page 2

February 5, 2025February 5, 2025, by john ros

Emergent Strategies: In Defense of Weeds at Stand4 Gallery

hot air

Kariann Fuqua, *Emergent Strategies: In Defense of Weeds*, 2025. installation shot: front gallery. Image credit, Brad Farwell

In her latest exhibition, Emergent Strategies: In Defense of Weeds, Kariann Fuqua invites viewers to reconsider their relationship with the natural world—specifically the wild plants we so often dismiss as nuisances. Through a collection of drawings, photographs and found objects gathered from her acre of land in Mississippi, Fuqua examines the ecological and cultural narratives tied to “weeds,” challenging the capitalist obsession with control that underpins the American lawn.

December 11, 2024December 10, 2024, by Andrew Fish

Art Spiel Picks: Boston Exhibitions in December 2024

Highlights

*Georgia O’Keeffe and Henry Moore* at Museum of Fine Arts, Bosto

It’s the end of 2024 and a new year is upon us. As we go into the holiday season to celebrate, reflect, and make resolutions for a new year, let’s also remember to take time to see all the amazing art on view. In Boston, there are several knockout shows to catch while you’re out and about. Whether you’re gathering with friends or going to your favorite gallery’s holiday party, you’ll be spending time with family – chosen and inherited – to feel centered, grounded, and a sense of belonging. Family can be wondrously complicated and beautifully complex in its array of characters.

October 25, 2024November 2, 2024, by Anna Shukeylo

Bill Scott: Two Decades at Hollis Taggart

Installation view at Hollis Taggart Gallery

Bill Scott’s solo show Two Decades at Hollis Taggart Gallery’ celebrates this painter’s long career of collaboration with this renowned New York City gallery. Bill, a fairly reserved individual, often clad in neutral colors at gallery openings, produces profoundly beautiful works bursting with color. I recently had the opportunity to sit down with Bill, a friend and mentor for more than 15 years, dating back to my days as an undergraduate at the Pennsylvania Academy of Fine Arts in Philadelphia.

October 11, 2024October 10, 2024, by Riad Miah

Gary Petersen: The Shape of Walking at McKenzie Fine Art

*Garden of Music (after Bob Thompson),* 2024, acrylic and oil on canvas, 54” x 94”

For artists working within the realm of geometric abstraction, understanding the weight of art history is vital. The hard-edge lines, a keen understanding of color theory, and structured patterns—all form part of a visual language that has evolved over a century. Artists today, when approaching geometric abstraction, face a unique tension. On the one hand, they inherit the legacy of giants such as Piet Mondrian, Wassily Kandinsky, Josef Albers, and Kazimir Malevich, whose works laid the foundation for what we understand as “geometric art.” On the other hand, the question looms large: How does one continue to make geometric abstraction in 2024?

September 30, 2024October 6, 2024, by Anna Shukeylo

Art Spiel Picks: Chelsea Exhibitions in October 2024

HIGHLIGHTS

Tim Kent, Edges Off a Model, Courtesy of Hollis Taggart Gallery

The fall season opened strong with some very exciting painting shows in Chelsea and its outskirts. The not to be missed stand alone Monya Rowe Gallery is featuring work by two innovative female painters, while in the heart of Chelsea, Hollis Taggart is featuring Tim Kent’s captivating works in his second solo show with the gallery. Right across the street, Fergus McCaffrey Gallery is showcasing fresh work by a seasoned German painter Reinhard Pods.

September 24, 2024December 22, 2024, by Etty Yaniv

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, by Sara Farrell Okamura

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 19, 2024September 18, 2024, by Claire Haik

Art Spiel Picks: Philly Exhibitions in September 2024

HIGHLIGHTS

Rebecca Rutstein at Bridgette Mayer Gallery, Photograph courtesy of the artist

As the Philadelphia gallery season ramps up, we explore unseen worlds in three very distinct shows. If you are a science or color enthusiast, be sure to see Rebecca Rutstein’s large abstract paintings at Bridgette Mayer Gallery. She uses bold designs and bright colors to tap into the sublime, examining hidden ecosystems fundamental to life on Earth. Delving into the veiled depths of the subconscious, Elena Drozdova’s Riding Fear at PII Galley presents dream-like paintings with powerful symbolic imagery. Across town at InLiquid Gallery, Brotherly Lens: A Portrait of Philadelphia places three exceptional photographers in conversation, inspiring introspection and creating a striking narrative of Philadelphia’s unknown history and communities.

April 9, 2024April 9, 2024, by Etty Yaniv

Mind Leaves Body at Westbeth

A large room with art on display

Description automatically generated — Gallery partial view, main entrance

When Elisabeth Condon noticed an Open Call for a show at Westbeth, she immediately thought of artists Alyse Rosner and Susan Luss, whose process-oriented approach perfectly matched her vision for a collaborative project. They all agreed to come together, planning to let the installation unfold over four days, allowing their work to merge and shape the exhibition dynamics. Their setup process—discussing, reshaping, and improvising in the gallery—revealed more profound interconnections. The trio’s improvisational method produced an exciting viewing experience analogous to a live jazz ensemble with distinct leitmotifs.

October 26, 2023October 26, 2023, by Etty Yaniv

John Avelluto: Impasta Handbags at Stand4 Gallery

Photo Story

A plate of food on a white surface

Description automatically generated — *Cannoli Ultrasound* | Acrylic paint on panel | 9” x12” | 2023

The details in John Avelluto’s delightful paintings—thin strands of hair, tiny droplets of perspiration, chunky gold chains, or hyperreal food items—are uncanny in their realism. Avulluto is a trickster. Through all the paintings featured in his third solo show at Stand4 Gallery he convinces us that we are looking at the “real” thing, but in fact, each piece in Impasta Handbags is made solely of acrylic paint. Curator Paul D’Agostino says in his essay that “no matter what viewers think they’re looking at in Impasta Handbags—marble, paper, wood, or gold; skin, hair, sweat, or jewelry; cookies, cakes, fritters, cannoli, or sprinkles; ravioli, penne, ziti, parsley, pizza, pomodorini, mozzarella, mortadella, salsiccia, soppressata–what they’re actually looking at is paint. In turn, since the objects at hand, however sculptural, are crafted from paint, then all these things viewers are looking at are, simply put, paintings.”