NEW YORK Brooklyn Bridge Park Versed in popular culture and Black history and speaking to the intersecting narratives of migration and the immigrant experience, the works in “Black Atlantic” educate and enrich.
Sound and visual artist, musician, teacher, and curator, Juan Sorrentino seeks “to transmit the sensory through the corporeal.” His installations incorporate the viewer by appealing to multiple senses, motivating, as he says, “inquisitive interactions with objects and materials through sound, seduced by the phenomenology of the discovery.”
CATSKILL, NEW YORK, AND NORTH ADAMS, MASSACHUSETTS Thomas Cole National Historic Site and MASS MoCA Marc Swanson’s “A Memorial to Ice at the Dead Deer Disco” offers a queer elegy for our collective climate futures. The two-venue exhibition tackles a huge set of parameters, including climate change, the AIDS crisis and the friends he’s lost to it, the Industrial Revolution, the Hudson River School, sublime forests, and backyard gardens.
BUFFALO, NEW YORK Buffalo Arts Studio Indeed, the warmth has been leeched from every surface in “Homing,” not because the artists lack humanity, but because of all the damning evidence they have accrued while desperately mining the souls of our technologies and illuminating their injustices.
NEW YORK Luhring Augustine Though LeWitt’s use of commercial materials and repetitive shapes would seem to emphasize the minimal and quotidian, the cumulative effect resulted in a constantly changing field of immersive wonder.
Recipient of the 2022 Lifetime Achievement Award In 1973, Deborah Butterfield received her MFA from the University of California, Davis, where the faculty included Robert Arneson, Roy De Forest, Manuel Neri, William T. Wiley, and Wayne Thiebaud, artists committed to a hands-on approach, who combined the traditional and experimental in their work.
Nacido en Buenos Aires, el artista visual Paulo Riccobene, formado en la carrera de Edición y Diseño de Imagen y Sonido en la Universidad de Buenos Aires, se siente, según sus palabras, “convocado al mundo de la creación, en todas sus formas, de manera temprana.”
Joan Hall’s layered, monumental sculptures address how the climate crisis affects human bodies and bodies of water. Her processes and forms start with handmade paper and evolve organically. Part of the mystique in Hall’s work stems from the fact that she uses dry pigments and paper to create water-like surfaces.
Agustina Woodgate, who divides her time between Buenos Aires, Miami, and Amsterdam, sees the human landscape—its spaces, systems, and representation of values—as a conceptual geography open to questioning and improvement.
Masaomi Yasunaga pursues “fundamental beauty.” A student of Satoru Hoshino, Yasunaga continues the experimental ethos of Sodeisha, or “crawling through the mud association,” a postwar Japanese art movement (1948–98) that explored the sculptural possibilities of ceramics.