installation art – Page 11

November 13, 2024December 10, 2024, by Bat-Ami Rivlin

Erica Stoller: Find and Form

in dialogue

Outcropping, Erica Stoller’s recent solo show at A.I.R. Gallery, which ran through November 10th, utilized cardboard cuttings, formerly boxes, and packaging, as its exclusive material. When walking through the gallery, one noticed the show has three sections– a corner piece that covers two walls, floor to ceiling, a grid of individual cardboard compositions hung on the wall and a third “sandwiches” station that allowed viewers to pick up layered cardboard batches. Proceeds from the sale of the “sandwiches” go to Feeding America. An interesting survey of installation art—a site-specific installation, painting-like works on a wall, and an interactive piece. Stoller often works with space in curious ways. In Item # 25-033, her 2022 solo show at A.I.R. Gallery, she created a single wall-to-wall installation using Manilla rope and elastic bands. The rope cut through the gallery space, creating framed planes between ceiling pipes, wall hooks, and the floor.

November 12, 2024November 12, 2024, by Etty Yaniv

Running Line: Noga Yudkovik Etzioni at FORMah Gallery

A group of wooden objects on a white floor

Description automatically generated — Noga Yudkovik-Etzioni, Running Line, detail

In Running Line, on view at FORMah gallery, objects stripped of function take on new roles: charged, amorphous, and poetic. Israeli artist Noga Yudkovik-Etzioni creates a space where memory, material, and form converge through elongated installations on the floor and a series of small wall-mounted paper-based reliefs

November 11, 2024November 12, 2024, by Andrew Fish

Art Spiel Picks: Boston Exhibitions in November 2024

Highlights

Hugh Hayden: Home Work at Rose Art Museum, Waltham, MA.

In the aftermath of the Presidential election, I feel inspired to visit galleries and museums more than ever. Not only am I feeling a conviction to support these now-endangered organizations, but I am finding respite in their halls and holdings. Regardless of your political leanings, this is a tender time for artists and art institutions, as well as for the curators and Directors who organize exhibitions. Obviously, what’s on view this month was curated before Election Day, but now that we’re in a new world, all of it seems singed by the results and potently relevant for the time. Hugh Hayden’s exploration of public education reminds us that the Department of Education may be gutted, and J Rowen O’Dwyer’s portraits of Trans people show us a vulnerable population that’s now even more susceptible to the threats of an angry and fearful nation. It’s a sobering time, but one that calls for art and artists to persevere.

November 5, 2024November 5, 2024, by Art Spiel

Devon Gordon: OBSESSED at Zepster

featured project

Installation shot: Paul-Sebastian Japaz, Inés Maestre, Lanyi Gao. Photo courtesy of Tyler Ward.

OBSESSED, the group exhibition Shelby Nelson Ward curated at Zepster in Bushwick, Brooklyn, is inspired by Mariah Carey’s hit song Obsessed and the developmental impact of social media on the millennial generation. This exhibition explores how contemporary culture influences our understanding of self-worth and authenticity. Devon Gordon, the gallery founder gives us an insight into the venue and the current show, which runs through November 17th, 2024.

October 30, 2024November 19, 2024, by Eva Zanardi

All you need is JUST LOVE: Michela Martello at Pen + Brush

*JUST LOVE*, (Mimi), 2024, Acrylic, pigments, ink, pastel on interfacing, Installation view

In the heart of Manhattan’s Flatiron district, Pen + Brush, a 130-year-old nonprofit dedicated to championing women in the arts, proudly presents JUST LOVE, an immersive, large-scale installation and exhibition by Italian-born Brooklynite Michela Martello. Drawing inspiration from the renowned Japanese writer Haruki Murakami, Martello’s 360-degree visual experience invites viewers to embark on an introspective and exhilarating journey, exploring the blurred boundaries between reality and the imagined. The narrative woven throughout the exhibition transports viewers into mythical domains, where the sacred and the fantastical coalesce seamlessly.

October 28, 2024November 19, 2024, by Yasmeen Abdallah

Art Spiel Picks: New York City Exhibitions in October, 2024

HIGHLIGHTS

The *Object Library*, photo courtesy of Yasmeen Abdallah

Mementos abound all around us in our day-to-day activities. Often, they hold dear memories: some we wish to keep, and some we wish to release so that we can move on to new experiences. Be it a trinket that houses memories of better days, a gift from someone we cherish, or a serendipitous discovery that found its way into our orbit, we become fused in inexplicable ways. What happens then, when we are asked or forced to part with such gifts? It can be freeing to release ourselves from materialism, but it can also be devastating, depending on the circumstances.

October 21, 2024December 6, 2024, by Etty Yaniv

kith and kin – the Australian Pavillion at La Biennale di Venezia

Photo Story

**Photo by Matteo de Mayda. Courtesy: La Biennale di Venezia**

Archie Moore’s monumental installation, kith and kin, for the Australian pavilion at this year’s Venice Art Biennale, has been awarded the Golden Lion for Best National Participation. It is a recognition well-earned. This multi-layered, profound installation more than fulfills the 60th Venice Art Biennale theme of “Foreigners Everywhere.” It does so with a poignancy, depth, and nuance that are increasingly rare in contemporary mega installations engaging with heavily charged subject matter, such as the history of Australian First Nations. kith and Kin confronts colonial legacies head-on while embracing humanity’s shared lineage. It serves as both a memorial to pain and loss and an understated reminder of our common ancestry.

October 17, 2024October 17, 2024, by Andrew Fish

Art Spiel Picks: Boston Exhibitions in October 2024

Highlights

Signal to Signal by Crystalle Lacouture at Trustman Gallery, Simmons College in Boston, MA.

As Boston’s fall season unfolds, the city comes alive with a vibrant tapestry of exhibitions, from the creative heart of the SoWA Arts District to the bustling streets of Back Bay. University galleries join the celebration, offering a rich array of materials and themes that captivate and inspire. While the leaves change color and the evenings grow cooler, the art scene radiates warmth, keeping the city’s creative pulse strong and steady. Here are some standouts this month.

October 14, 2024December 7, 2024, by A.E. Chapman

A Leg to Stand On—Melissa Stern at DIMIN

*Melissa Stern: A Leg to Stand On*, installation view

In Melissa Stern: A Leg to Stand On, the domestic meets the fantastic in the aptly named The Living Room, the front room exhibition space at DIMIN complete with a cozy two-seater sofa. Featuring her drawings and sculptures, Stern’s trademark humor and sense of play persists while the underlying thread of darkness that pervades her oeuvre feels especially heightened in this presentation. Deeply shaken by a fall during a winter walk in 2021, the artist’s works in the exhibition explore the precarious and fragile construction of the human body. Cobbling together disparate elements such as vintage shoes, wooden branches, scrap pieces of bannister railings, a doll’s lost arm, linoleum, wallpaper, resin, clay, paint cans, bolts, and screws, Stern balances absurdity with familiarity.

October 13, 2024October 13, 2024, by Jac Lahav

The Art of Being Watched: Julia Weist and Surveillance Culture

All persons to whom license certificates have been issued shall not lend or allow any other person to have, hold or display such certificate; and any person so parting with a license certificate or displaying the same without authority shall be guilty of a misdemeanor *Image courtesy the Artist and* *Moskowitz Bayse*

Julia Weist’s new exhibition Private Eye, currently on view at Moskowitz Bayse in LA, blends artistic practice with journalistic research to investigate how big data operates in America. In 2021, companies in the United States spent over $110 billion on big data. Weist’s work taps directly into this massive industry, which buys and sells our personal information without consent.