ROCKLAND, MAINE Center for Maine Contemporary Art The exhibition title, “Nature Cult,” lays out the immense challenge that Moffett has set himself—the development of a new kind of visual language to deal specifically with the issue of climate catastrophe.
George Wyllie
GREENOCK, SCOTLAND The Wyllieum Wyllie described himself as a “scul?tor”—he had a thing about question marks—and believed that asking awkward questions about the world we live in was the artist’s role.
Boundary Crossing: A Conversation with Yinka Shonibare
“Suspended States,” Yinka Shonibare’s current show at the Serpentine and first solo exhibition in London in over 20 years, acts as a potent reminder of the legacies of colonial power, conflict, and displacement.
Cathy Wilkes
GLASGOW Hunterian Art Gallery Wilkes’s work looks beyond official validations of war, beyond the monumental and heroic. Instead, she scrutinizes the painful effects of sustained disorder and violent terror on ordinary, everyday lives.
Nick Dong
SAN FRANCISCO Yerba Buena Center for the Arts Yet Dong makes it clear from the outset that a set of guiding principles is meant to enrich the experience of the 11 works in the exhibition, creating an intersection between the spiritual and the corporeal—between what we come to know through our minds and what we absorb through our senses.
Mutaciones: Una Conversación con Ailén Ibarra
Profesora en Artes Plásticas y Licenciada en Artes Plásticas con especialización en Cerámica y Escultura (ambas carreras desarrolladas en la Universidad Nacional de La Plata), la joven artista visual Ailén Ibarra, transita una prometedora carrera, indagando en el campo de la escultura, las instalaciones y la video performance.
Jodie Carey
LONDON Edel Assanti In the site-specific installation Guard, Carey occupies the space with a surprising lightness of touch. Jesmonite sculptures mounted on steel supports, 150 of them, stretch across both ground-floor galleries, and it requires considerable care to walk among them.
Becky Evans and Lori Goodman
EUREKA, CALIFORNIA Barn Gallery The artists conjure big effects from modest means, fixing textured masses of excelsior—also known as wood wool—to the gallery walls. Thousands of coiled shavings mass together into a tangled pelt that rambles like kudzu, blurring the room’s edges.
In the Same Boat: A Conversation with Romuald Hazoumè
A master of appropriation and transformation, Romuald Hazoumè uses found materials from his native Benin and beyond, with particular emphasis on plastic gasoline containers. In his sculptures and installations, these ordinary objects become pointed indictments of what he has called “Coca Cola culture,” a global plague of exploitation, division, corruption, desire, and conflict.
Christina A. West
LEXINGTON, KENTUCKY University of Kentucky Art Museum It is a concentrated, but quietly diverse, look at the male form, conveying, as West says, “vulnerability with strength and beauty with awkwardness.”
