LONDON Thomas Dane Gallery There is an immediate and captivating tension at play in Adams’s use of sophisticated technology to provide the foundation for his densely worked and extensively layered handmade pieces.
BHM
Controlled Explosions: A Conversation with Leonardo Drew
Leonardo Drew’s massive wall-bound tableaux, objects, and installations engage the cyclical nature of existence. Made to resemble the detritus of everyday life, his abstract, emotionally charged compositions possess a metaphorical weight, transcending time and place to approach the infinite through the discarded and finite.
Ebony G. Patterson
NEW YORK New York Botanical Garden In the conservatory, discretely placed sculptures disrupt the palm court with evidence of exploitation and concealed secrets, revealing the hidden histories that lie just beneath the botanical garden’s scientific reserve.
Henry Taylor
PHILADELPHIA Fabric Workshop and Museum By stacking, binding, and juxtaposing an assortment of formal elements to configure new images and meanings out of the familiar, Taylor coalesces the seemingly disparate objects making up this installation/exhibition into an itinerary of interrelated allusions.
William Edmondson and Brendan Fernandes
PHILADELPHIA Barnes Foundation Brendan Fernandes’s Returning to Before, commissioned by the Barnes Foundation in response to the exhibition “William Edmondson: A Monumental Vision,” proposes that gesture can reach back through time and connect us with the past.
Krista Clark: Change of Plans
In Krista Clark’s deft hands, the languages of architecture and sculpture collide, with line, composition,color, volume, and space all coming into play. Her works are crafted from materials typically associated with the building process, but their engagement of space and their relationship to the human body propel them into a deeper conversation.
Object Lessons: Trenton Doyle Hancock
When people come in, they expect certain things out of a basketball court, and they’re confronted with these lines that don’t quite line up with what they’re used to. My design means that people almost have to find new play patterns within it, until they can acclimate to the space and the work.
Simone Leigh
BOSTON Institute of Contemporary Art Simone Leigh’s first-ever museum retrospective demonstrates her abiding use of clay (and nascent use of bronze) as a material and conceptual means to amplify Black female experiences and the spaces created by Black feminists.
Felt History: A Conversation with Abigail DeVille
Abigail DeVille lets objects reveal America’s invisible histories. Her recent solo shows in New York—“Bronx Heavens” (Bronx Museum of the Arts, 2022–23), “Original Night” (Eric Firestone Gallery, 2022), and “In the fullness of time, the heart speaks truths too deep for utterance, but a star remembers.”
