JAIPUR Jawaharlal Kala Kendra Set in the gloriously restored Jawaharlal Kala Kendra (JKK) arts center in Jaipur, the first Indian Ceramics Triennale (ICT) kicked off
Charles Ray
NEW YORK Matthew Marks Gallery Charles Ray has produced some of the most consequential sculpture of the past 30 years.
Giuseppe Penone
WEST BRETTON, WAKEFIELD, UK Yorkshire Sculpture Park “A Tree in the Wood,” a beguiling exhibition spanning five decades, makes clear Giuseppe Penone’s lifelong obsession with the symbiotic relationship between trees and humans.
Futurefarmers
SAN FRANCISCO Yerba Buena Center for the Arts “Out of Place, in Place,” Futurefarmers’s recent retrospective, offered members of the collective a chance to think about the concerns that have driven their work since 1995.
Julia Phillips
NEW YORK MoMA PS1 Julia Phillips’s minimally expressed and disturbing works suggest isolated body parts placed in conjunction with elements that evoke instruments of torture or at least cold mechanics.
David Nash
LONDON Annely Juda Fine Art David Nash’s recent exhibition “Wood, Metal, Pigment” featured a range of large- and small-scale sculptures in wood, bronze, and iron, as well as a selection of pigment studies. The works were drawn from a period of almost 30 years, with the majority recent or newly conceived.
Analia Segal
Ridgefield, Connecticut Aldrich Contemporary Art Museum Analia Segal, now living and working in New York City, grew up in Buenos Aires during the Dirty War waged by the ruling civic-military dictatorship, when thousands of citizens were disappeared—picked up at night, never to be seen again (a small number have been discovered in mass graves).
Tanya Aguiñiga
New York Museum of Arts and Design “Have you been part of a political party or social group? Has anyone in your family been convicted of a crime? What is the purpose of your trip?” These and similar questions, printed on the steps of two flights of stairs, served as the thematic entry point to
Gregg Louis
New York Nohra Haime Gallery Hair is a loaded subject. Tied to gender, ethnicity, class, age, and health, it reveals identity. If we care enough about our hair—and provided that we have enough to make it signal all that we want it to—it can say a lot about who we are, where we come from,
Liz Glynn
North Adams, Massachusetts MASS MoCA “The Archaeology of Another Possible Future,” the title of Liz Glynn’s monumental show, is enigmatic only until you see the reality, which lays out her view of a pressing question: “What happens to stuff, and the people who make stuff, in the age of an increasingly virtual, dematerialized economy?”
