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.
Diane Simpson
NEW YORK James Cohan Essentially collagraph plates that were too large for the printing press, the “Constructed Paintings” are axonometric renderings that embrace the idea of depth without illusion.
Gianni Caravaggio
TURIN, ITALY Galleria Civica d’Arte Moderna e Contemporanea di Torino “Seed,” as image and word, is just one metaphor in a show where metaphors proliferate. In this way, Caravaggio addresses complex phenomenological, cognitive, and artistic concepts with paradoxical lightness and simplicity.
El Anatsui
LONDON Tate Modern Long before being commissioned for Turbine Hall, El Anatsui knew the Tate name. When he was growing up in Ghana (formerly known as Gold Coast, a British Crown colony until 1957), the only cube sugar available was supplied by the London-based conglomerate, Tate and Lyle.
Madeline Hollander
NEW YORK Bortolami Rather than trading on Deleuzian idioms and hackneyed “rhizomatic” platitudes—which, even if applicable, merely describe the ubiquity of synthetic processes, having little to do with sculpture’s necessary domain of optical perception—Hollander’s work homes in on the relations of linked relata.
Nicolò Masiero Sgrinzatto
COMO, ITALY Galleria Ramo A generous maker, Sgrinzatto allows the viewer’s imagination to move ahead of his personal intentions. It is, for instance, unlikely that he ever planned to destroy his creations. Instead, he appears to stress the latency of transformation, so that the speculative dimension contributes narrative tension to overt formality.
Erwin Wurm
WEST BRETTON, WAKEFIELD, U.K. Yorkshire Sculpture Park In Wurm’s practice, the distortion and disruption of familiar objects can be seen to alter orthodox notions of reality, offering alternative readings with regard to the material objects and spaces that define humankind.
