Upon entering the exhibition at Latitude Gallery, you are greeted with a poem as a silent welcome, the cadence of the poem setting both the scene and the pace of the exhibition, titled A Room Rehearses its Own. In this exhibition, the paintings of Xiangjie Rebecca Wu piece together place, memory, and silence, with an impactful portrayal through both presence and absence.
It had just rained in New York City when the smell of wet grass and pine in Central Park transported me somewhere else entirely: back in my hometown, a place I hadn’t lived in for a decade. I could’ve sworn I heard the same birds I woke up to every morning. The reminiscence was completely involuntary, but for a few seconds, I found myself caught inside an instant that felt like a different lifetime. This is the feeling that Episodes, Cathleen Clarke’s new exhibitionat Margot Samel, creates. There is no nostalgia or comfort, but instead, the disorienting realization that the past has intruded on the present uninvited.
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.
Jesus Benavente, Quede Huella (Let There Be No Trace), 2022, Neon video, 49.5 x 29 x 8 inches. Photo courtesy the artist.
At 291 Grand Street, a bright red glow radiates from Home Gallery, a storefront window exhibition space in the Lower East Side. The light comes from large, fluorescent neon letters that spell out “Que no Quede Huella,” which are layered over a flat screen TV playing a rotating series of videos. The installation is the latest iteration of multimedia artist Jesus Benavente’s neon video sculptures, displayed in the exhibition Que no Quede Huella (Let There Be No Trace), curated by Elisa Gutiérrez Eriksen.
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Bill Travis, self portrait as a young man
Bill Travis is a photo-based artist, working in alternative techniques around such themes as desire, nostalgia, and impossible worlds that exist only in the imagination. He earned a Ph.D. in art history and was a tenured professor before turning full-time to creating art. He has had over sixty shows in museums, galleries, universities, and public institutions from New York City (where he lives) to San Francisco, Paris, Berlin, Rome, Madrid, Buenos Aires, and others. His work was featured in two monographs published in Italy and he recently co-curated an exhibition on Photography After Stonewall for Soho Photo Gallery in New York. He has lectured on his photography at Columbia University and was interviewed on Italian television. His work has been collected by the Bibliothèque Nationale de France, The Kinsey Institute, Yale and Harvard Universities, Lincoln Center for the Performing Arts, The New York Public Library, and national collections of photography in Russia, Japan, Portugal, and Hungary.
