VENICE Chiesa di Santa Maria della Visitazione The installation’s aesthetic appeal resonates universally with its emphasis on beauty and absence. For those familiar with Byars’s work, it furthers his legacy of conceptual vigor, exploring the unknown and unknowable.
CLINTON, NEW YORK Ruth and Elmer Wellin Museum of Art at Hamilton College A series of helmets—arguably even more extravagantly decked out—similarly conjure references across cultures and chronologies, threading together the politics, economics, and socio-religious rituals of dress, adornment, pattern, and decoration. They, and the other works in “This Is the Day” (from a Biblical psalm, hymn, and synth-pop song), activate and amplify its jurisdiction and readings.
LONDON London Mithraeum Bloomberg SPACE Materials and epochs collide and dissolve in “Shift,” which places the Modernist-inspired forms of Berlin-based Claudia Wieser in dialogue with ancient artifacts excavated from the ruins of a Roman temple from the third century AD.
RIVERSIDE, ILLINOIS Riverside Arts Center An accomplished paper sculptor, the Chicago-based Park crafted each pillow in “Passing hours, space in between: I am breathing your air” from delicate white paper, seamed and sewed precisely; inside each is a hidden mechanism inducing the slightest movement in the center of the pillows, mimicking the rise and fall of a sleeping person’s torso.
NEW YORK Park Avenue Armory The Head & The Load, an installation and collaborative performance piece involving almost three dozen musicians, dancers, vocalists, and spoken word performers, along with processions and projections of Kentridge’s drawings and sculptures, is set during World War I. Like all of Kentridge’s work, however, it resonates with contemporary meaning.
SOUTH HADLEY, MASSACHUSETTS Mount Holyoke College Art Museum “Promise of the Infinite,” a mini-retrospective on view through June 16, focuses on one salient theme running from Jonas’s earliest performances (captured on 16mm film) to recent installations—the mirror as metaphor and object.
NEW YORK Leo Castelli Gallery Morris’s final exhibition, “Banners and Curses,” his 40th at the Leo Castelli Gallery, opened in late October, just weeks before his death, at age 87, from pneumonia. This final gesture, an urgent wake-up call, aligns Morris’s darkly expansive vision with a contemporary moment commensurate with its prophetic and sublime cynicism.
PITTSBURGH, PENNSYLVANIA The Mattress Factory Relationships across body, space, and time unite these new works by William Earl Kofmehl III, Laleh Mehran, OSGEMEOS (Gustavo and Otavio Pandolfo), Karina Smigla-Bobinski, and Christina A. West.