NEW YORK Marc Straus Gallery The drawings clearly swayed the production of the sculptures, which are pervaded by the same underlying sense of disquiet. Pulsating with subdued energy, each work features two or more figures and has its own presence and implied narrative.
Torkwase Dyson
NEW YORK Pace For Dyson, the intervention of her touch on industrial materials produces “discursive refusals” that leads to new world building.
Theaster Gates
NEW YORK New Museum Gates’s highly individual clay forms—some spiked and tall, some squat and shiny, bulbous, cylindrical, or drawn upward as narrow tubes—are an assembly of voices, each with its own sensual concentration of material density and un-mattered spirit.
William Corwin
MILLERTON, NEW YORK Geary Contemporary Boats are a staple of legend, both the tether binding us to a primordial aquatic ancestry and the ultimate peripatetic instrument.
Em Kettner
NEW YORK Chapter NY The women in Kettner’s images may or may not need assistance, medical or otherwise; they are nevertheless subjected to an audience of goggling eyes and pointing fingers.
Mary Ann Unger
WILLIAMSTOWN, MASSACHUSETTS Williams College Museum of Art Unger’s intertwined roles as mother, activist, and curator, as well as artist, foreshadowed those of today’s cultural workers, who often juggle organizing, administration, and educational work in addition to art-making.
Kim Morgan
HALIFAX, NOVA SCOTIA Dalhousie Art Gallery The body evoked in Morgan’s work is porous and ephemeral, dispersed and unbounded. It’s a way of seeing ourselves that was impossible for most of human history, needing a specific set of scientific and technological lenses.
Rashaad Newsome
NEW YORK Park Avenue Armory Questioning Modernism as a Eurocentric appropriation of African culture, Newsome presents an alternative formation in which the expressive dynamic of ballroom vogue and Black femme/trans performance serves as both a model and critique.
Cathy Lu
SAN FRANCISCO Chinese Culture Center The poetic and powerful stories conveyed in each of these spaces bring us face to face with the disjunction between the American Dream and the experience, both physical and psychological, of immigration to a land where one is forever regarded as “other.”
Olivia Bernard
GREENFIELD, MASSACHUSETTS Geissler Gallery at Stoneleigh-Burnham School Working by hand with alchemical processes and simple tools, Bernard submits her materials to the bidding of her unconscious and the force of gravity.
