NEW YORK Elizabeth Harris Gallery Delightfully bodied and splendidly decked out in glazes of many colors, the 20 new ceramic works in Elisa D’Arrigo’s current exhibition make their presence emphatically felt despite the modesty of their measurements.
Mika Rottenberg
SAN FRANCISCO Contemporary Jewish Museum Captured in one of Rottenberg’s spell-binding loops, as if in a newly created circle of Hell, you return again and again to each of these strange scenes, trying to parse their meaning.
Thomas Müller
LOS ANGELES Patricia Sweetow Gallery The transformation of text from print into scaled-up objects and the use of innocuous fonts combine to create a perception of language’s unstable skin.
Ebony G. Patterson
NEW YORK New York Botanical Garden In the conservatory, discretely placed sculptures disrupt the palm court with evidence of exploitation and concealed secrets, revealing the hidden histories that lie just beneath the botanical garden’s scientific reserve.
Massimo Bartolini
PRATO, ITALY Centro per l’arte contemporanea Luigi Pecci Massimo Bartolini explores sculpture in a field so expanded that he looks beyond form. An alternative point of view to the familiar is typical of his approach, and in the case of sculpture, that alternative is to make an object into an event, a stage where metamorphosis from one state to another is followed and expectations shifted.
Henry Taylor
PHILADELPHIA Fabric Workshop and Museum By stacking, binding, and juxtaposing an assortment of formal elements to configure new images and meanings out of the familiar, Taylor coalesces the seemingly disparate objects making up this installation/exhibition into an itinerary of interrelated allusions.
Pepón Osorio
NEW YORK New Museum Osorio’s politically engaged trompe-l’oeil environments hit the nail squarely on the head. They remind us of the importance of things as vessels for memories, sentiments, and ideals.
Lindsey Mendick
EDINBURGH Jupiter Artland Private nightmares become public in this communal space. It’s not a divine comedy, but a very human one, freed from judgment, a morality nightmare upended.
“This Is Out of Hand”
PORTLAND, MAINE Institute of Contemporary Art at Maine College of Art & Design One particular resonance of carving, which is especially evident in Nash’s project, is that it parallels geologic processes like erosion, by wind and water, on both vast and near-instant timescales.
Bachrun LoMele
EUREKA, CALIFORNIA Morris Graves Museum of Art Burn Pile might function like a compass, redirecting our perception of truth to a sector located elsewhere, where logic does not apply.
