Dallas Dallas Contemporary “Warnings & Instructions,” James Gilbert’s mammoth show at the newly relocated Dallas Contemporary, addressed airport safety fanaticism and the loss of individual privacy. The nose, butt, and fuselage of a disarticulated pink airplane sprawled across the cavernous space, together with three pink and orange rafts (two rigged with sails and one with
Justin Peyser
Venice Ca’ Zenobio Last year, visitors entering the Hall of Mirrors at the Ca’ Zenobio encountered 10 strange, larger-than-life objects and figures, all made of metal sheets stitched together, When I visited, even before passing the two stately columns leading into the hall, I was wondering, “How can metal float?”
Keith Benjamin
Cincinnati U-turn Art Space Keith Benjamin, a sculptor whose raw materials often come out of the waste can, is moving cautiously toward a more conventional material (walnut), and from it, he makes shit—or suggests it. The first three pieces in his recent exhibition, “Unemployed Title,” play with variations on the theme and combine suggestive-looking carved
Lucy Hodgson
New York SoHo20 Gallery As a young artist, Lucy Hodgson began by finding her forms in the natural world, exploring old tree roots and using rhododendrons, kudzu, and cane to produce shapes at once lightweight and physically imposing.
Emilie Brzezinski
Chicago 1112 Gallery for the Arts Emilie Brzezinski’s enveloping and engrossing Family Trees, A Sculptural Installation filled the 1212 Gallery’s huge open space with a forest of photographically enhanced tree trunks. She cut 17 found trees in half and, after carving out their interiors, covered the resulting space with photographic images (mostly of trees, leaves,
Mia Feuer
Washington, DC, and Arlington, Virginia Transformer Gallery andArlington Arts Center Two recent installations in the Washington area, Suspended Landscape at the Transformer Gallery and Evacuation Route with Rubies at the Arlington Arts Center, showcased Mia Feuer’s bold, chaotic work.
Elke Soloman
New York ALR. Gallery A Tavola is a command and a call to arms, summoning us to the table and the concomitant onslaught of memory—personal, emotional, social, communal, graphic, and visceral— prompted by food. As it calls us to the table, it also warns us of the abundance awaiting to seduce us to excess, Fittingly,
Jeremy Dean
New York {CTS} creative thriftshop Jeremy Dean’s CEO Stagecoach (2010), which presents a satirical proposition about the future of the automobile and the planet, is part of “Back to the Futurama,” a project that focuses on the rise and fall of the automobile industry as a symbol of the vulnerability wrought by turbo-capitalism.
Ginger Wolfe-Suarez
San Francisco Silverman Gallery It is tempting to read Ginger Wolfe-Suarez’s Theory of a family as a type of formal rebus. Inside the space of the installation, two large black volumes balanced precariously on a ledge above the entrance wall, set directly over twin plywood boxes emoting a soft pink light.
Gyun Hur
Atlanta Gyun Hur Get This! Gallery Gyun Hur’s installation, Repose, constructed a delicate visual space engaging the fragility of memory, rupture of loss, and violence that can accompany mourning. Across the floor, and on a transparent acrylic shelf lining two walls of the space, Hur carefully arranged colorful stripes of finely shredded silk cemetery flowers
