BOSTON Piano Craft Gallery The works in these two exhibitions are formidable—the result of long experience and dedication to process.
A Heart Trying To Break Free: A Conversation with Kendell Geers
Kendell Geers has spent years examining his personal experience, crisscrossing between life and art in order to create provocative and confrontational forms that challenge us to look closely and think deeply.
A.A. Murakami
LONDON Superblue Silent Fall is the sort of installation that engulfs and dislodges the sense of self, which is appropriate considering that it draws on Adam and Eve’s expulsion from the Garden of Eden, offering a contemporary take on the Fall as we teeter on the brink of environmental catastrophe.
Firelei Báez
BOSTON ICA Watershed Firelei Báez, the third artist invited to create a site-specific work for the ICA’s East Boston annex, was the first to use the space successfully, taking the history of the location as a pivotal point of reference.
Sonia Gomes: Radical Intimacy
Sonia Gomes has been making radically intimate, fabric-based sculpture for three decades, in defiance of racism, ageism, and misogyny. Her story is the stuff of which art world myths are made, a story in which, against all odds, rags turn to riches, obscurity to worldwide recognition.
Ashley Bickerton
NEW YORK Lehmann Maupin The works in “Seascapes at the End of History” do not so much commune with nature as represent vignettes of a life lived in concert with it.
“Ceramics in the Expanded Field”
NORTH ADAMS, MASSACHUSETTS MASS MoCA “Ceramics in the Expanded Field,” organized by MASS MoCA senior curator Susan Cross, presents work by eight, multi-generational artists from diverse backgrounds who are furthering clay’s move out of isolation to play with other media in dynamic ways.
Sheila Hicks: The Irrepressible Trajectory of Lines and Color
Recipient of the 2022 Lifetime Achievement in Contemporary Sculpture Award The investigation of line, color, and fiber has been Sheila Hicks’s lifelong pursuit. She ignores borders, learns languages, and discovers materials as she migrates from painting to weaving to sculpture.
Object Lessons: Jeffrey Gibson
I’ve been working with fringe as a main element of the work for at least 10 years. Fringe was seen as an accessory, found on fancy dance shawls in powwow dances, and initially I was thinking of it in that context, using it on punching bags and wall hangings.
Lina Puerta
NEW YORK Hunter East Harlem Gallery Puerta’s marvelously varied and often highly ornamented constructions translate traditional imagery and values into a contemporary language steeped in environmental concerns.
