Nick Cave’s recent work is forging new directions, merging art, nature, and self into vehicles for loving, meaningful connections. “Amalgams and Graphts,” his current exhibition at Jack Shainman Gallery’s new Tribeca location, debuts two bodies of work that challenge viewers to open themselves to love, emotion, and connection.
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Hugh Hayden
DALLAS Nasher Sculpture Center Hayden’s use of wood is nostalgic, since such workmanship on an object of public utility has largely been replaced with metal and plastic. It is also a testament to his craftsmanship and skill.
Charisse Pearlina Weston: Interior Life
I spend a lot of time walking through New York and often find myself in front of condo construction sites, gawking at high-end living exemplified by floor-to-ceiling expanses of glass.
Whitfield Lovell
SAN ANTONIO McNay Art Museum This is a large suite of gallery spaces, and Lovell fills it comfortably with fastidiously rendered drawings that push out into three dimensions. His work is at once visual, auditory, and even olfactory.
Kapwani Kiwanga: Material Equivalence and Exchange
Kapwani Kiwanga’s research-driven sculptures, installations, videos, and performances tie together objects from particular locales, evidence of economic and political power, the global African diaspora, and the history of colonialism to idiosyncratically reread established histories, often focusing on disruptions centered around belief, mythology, and impermanence.
Solid Memories: A Conversation with Dominique White
In “Deadweight” (currently on view at London’s Whitechapel Gallery), Dominique White uses fugitive materials to imagine an abstract future.
Gary Simmons
MIAMI Peréz Art Museum The artist’s questioning of how our shared past is remembered and which histories we’ve been taught to forget—why and by whom, and what is at stake—was especially timely in its presentation in a state whose governor and extremists have been leading the charge for the destruction of education and a war on truth through censorship, book banning, and whitewashing how American history is taught.
Kehinde Wiley
HOUSTON Museum of Fine Arts Nearly all of the figures in the exhibition are deceased, wounded, or in repose, in striking contrast to Wiley’s previous works in which his subjects are (almost) invariably dynamic, assertive, and commanding.
Melvin Edwards: “You don’t play around with that power”
Recipient of the 2024 Lifetime Achievement in Contemporary Sculpture Award Melvin Edwards began his now mythical “Lynch Fragments” in Los Angeles in 1963, when he was 26, and he has continued welding and forging them in New York, New Jersey, Senegal, Zimbabwe, Brazil, and elsewhere.
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.
