SEATTLE Henry Art Gallery, University of Washington Fired into inertia, despite their malleable clay origins, the sculptures have a static, rigid quality, reinforced by the bronze and glass casts. In this sense, they are more ecological memorials than myths of origins.
Jeneen Frei Njootli
VANCOUVER Macaulay + Co. Deftly combining sculpture, photography, performance, and poetry, Frei Njootli’s meditations on Indigenous sovereignty, decolonization, and the body read like a nuanced, multifaceted story that takes off from and remains grounded in place, time, and memory.
“Forest of Dreams: Contemporary Tree Sculpture”
GRAND RAPIDS, MICHIGAN Frederik Meijer Gardens & Sculpture Park Rather than a strict arrangement or an all-out sprawl, the show unfolded in four porous sections that encouraged cross-referencing.
Thomas Hirschhorn
NEW YORK Gladstone Gallery The cardboard suggested—symbolically—that we’ve mastered the art of packaging and marketing our wars, and that the lives of others come cheap.
Jessica Jackson Hutchins
SEATTLE Frye Art Museum Beyond the art historical references, Hutchins’s work involves so many Americana-related themes—building, sewing, lounging, eating, trashing—that it’s hard to keep track of where and how she has traveled.
Michael Rakowitz
GATESHEAD, U.K. Baltic Centre for Contemporary Art Tended largely by community members who have experienced forced displacement and are seeking refuge in the area, this is a garden among the ruins. Like all of Rakowitz’s works, it bears witness, serving as a metaphor for the overlapping histories of war, oppression, migration, trauma, and adaptation that affect cultural objects and plant life, as well as people.
Katie Cuddon
NEWCASTLE UPON TYNE, U.K. Hatton Gallery “A is for Alma” reveals Cuddon’s progressive experience of rediscovering her individuality as the infant grows into newfound independence and reliance on communication through the body gives way to the acquisition of language.
Margery Amdur
CAMDEN, NEW JERSEY Stedman Gallery, Rutgers University-Camden Presented as a living work, the exhibition has been continually unfolding and morphing throughout its three-month run, merging old works with new and much in between.
Gillian Lowndes
BATH, U.K. The Holburne Museum Lowndes, who died in 2010, trained in ceramics, attending the Central School of Arts and Crafts in London from 1955 to 1958, at a time when experimentation was at a peak. Both teachers and students were at the heart of that movement for change, and the Central School was a crucible for the new, the inventive, and the downright strange.
