Samuelle Green. By Day: By Night. 2025. (variable size) Installation View — Honesdale, PA. steel, reflective material. photo credit: Samuelle Green Studio
In Samuelle Green’s previous installations such as The Paper Caves and Polypore, viewers encountered forms that were wildly organic in appearance. They were comprised of somewhat amorphous essentialized forms in nature that exist on the micro and macro levels, executed on an immersive human scale, enabling viewers to make a variety of associations with the natural world — pollen grains, clouds, or coral reefs. The new work, By Day: By Night, 2025, is much more specific in its references and seeks to speak a different visual language almost entirely.
Guy Nelson, The Road Not Taken, North Dakota Museum of Art
The North Dakota Museum of Art’s latest exhibition, Guy Nelson: Tales from the Understory, is a multidisciplinary solo show focused on the woodlands and prairies of the upper Midwest. Featuring sculpture, painting and video, the exhibition will be on display through July 20, 2025. This exhibition marks the tenth in the Museum’s Art Makers Series, an annual award for artists with connections to the region, which is underwritten by Dr. William F. Wosick of Fargo.
L.W.D. sees himself as an observer of modern society—a world that has, in many ways, passed him by over the last three decades. L.W.D.’s work is rooted in the assertion of his personal identity within the fractured American society. His art reflects the painful shift from childhood to adulthood, a transformation that feels almost brutal, marked by the loss of innocence in the face of America’s historical realities. His perspective of the American way of life, capturing both the disappointments and fleeting joys, recalls the social commentary of Philip Guston—particularly in the simplicity of his cityscapes, yet with a distinctive handwriting, palette, and choice of subjects. L.W.D.’s visual language fuses the emotional character originating from blues lyrics and the iconic symbolism of Roy Lichtenstein’s pop art. Working within the tradition of the naive picturesque narrative, L.W.D. incorporates the humor of a comic book while maintaining his focus on the historical and the social.
In Demons and Fields, Shay Arick’s solo show in Tel Aviv Artists’ Studios Gallery, most sculptures are made of dried Ficus leaves he collected near his home. The vertical constructions are like linear drawings of delicate figures—they sway gently with the air or rotate in place through an automated mechanism. Each has its rhythm and character, evoking wonder and awareness of life’s fragility. Arranged along an extended white platform reminiscent of a road, these characters appear as if caught in a paused procession—some still move but remain anchored as part of a collective entity, an undefined network, or an intricate matrix. It is a nuanced and powerful metaphor for life’s transience in a complex reality. It is the second exhibition by Shay Arick since his return from New York City to Israel a year and a half prior. The show, curated by Eitan Bognim, opened on October 6th but was closed the next day on October 7th, due to the devastating Hamas attack on southern Israel and the subsequent ongoing war. The conversation with Shay Arick focuses on his art and his process.
Local Artists and Cultural Organizations in Each Borough to Host Outdoor, Socially Distanced Press Conferences with Performances March 18-19
FreeDa Banana leading an outdoor dance class during LEIMAY Block Party. Image courtesy LEIMAY. Image Credit: Shige Moriya
One year after New York City’s arts and cultural sector suddenly shut down over the period of one week in response to the COVID-19 pandemic, events in each borough will mark the somber anniversary. Comprised of speeches by local elected/cultural leaders and performances by New York artists, this day of programming memorializes the shut down while looking forward to the needs of a resilient NY artistic community. The events are united by the dual themes of #CultureRemembers and #CultureForward, and will take place on Thursday, March 18, and Friday, March 19. Local leaders and artists will participate in all of them.
Mémoire de l’Avenir in Image, Exposition Kind Of Magic 1, 2019
Arts and Society launches a call for contributions for HAS, the new digital magazine in English and French for the Humanities and Arts in Society, to be published in Spring 2020. Arts and Society is a project launched on the initiative of UNESCO-MOST, the International Council for Philosophy and Human Sciences (CIPSH), Mémoire de l’Avenir (MDA), in partnership with the Global Chinese Arts and Culture Society (GCACS). Arts and Society is a global movement of artists and projects reflecting on the impact of creativity in society, using the arts and cultures as fundamental tools for improvement, innovation and transformation. The goal of this new publication is to analyse current challenges through the lenses of the humanities and the arts. Created for a wide audience, HAS offers a space of expression for the most innovative, enlightening, imaginative, creative and relevant initiatives around the world.
Jessica Segall, (un)common intimacy, 2018, video still
Throughout her highly imaginative multidisciplinary projects, Jessica Segall has been engaging with a wide range of fragile ecological sites, frequently with animals as her collaborators – for instance, swimming with tigers and sculpting with live bees. Jessica Segall shares with Art Spiel some of her work and thought process, as well as her upcoming projects. You can meet her and hear more about her work during the 2019 Dumbo Open Studios weekend.
Wonderfully striking in bright luminosities, diagonal analogousness, situational room-to-room parallels, transporting suggestiveness and subtly warmed circumstantial frigidities are the two installations ‘contained,’ in a way, by “A Continuous Stream of Occurrence,” an exhibition that opened a few weeks ago at Maspeth gem The Knockdown Center .
At top is Luba Drozd‘s room. It both looks and sounds like a veritable spatial knot of brilliantly site-specific polyphonia involving significant degrees of multidisciplinarity, multimateriality and strata within circumstantial strata of shadow-play. It’s a tough but fun knot to look at and into, and listen closely to, to begin to untie just how it works with totality and relative simplicity, though not in ways simplistic in the least.
Rather than necessarily site-specific or sonic, the active state of William Lamsom‘s installation in the adjacent gallery is like that of a shimmering, gradually phase-changing antechamber to Drozd’s comparative cavern; they scan instantly as visually coherent in many satisfying and still individualizable ways. Entering Lamsom’s room alone is like stumbling into an abandoned research lab in a yearless future. Seeing the rooms in tandem is like being dropped in some nicely mysterious nook on Krypton and having no idea why.
Great installations, great show. Curated by a duo going by the ‘name’ XP (@xaviacarin & @parkcmyers).
