March/April 2019

Dispatch: Keith Sonnier

Parrish Art Museum, Dan Flavin Art Institute, and Tripoli Gallery Although celebrated in Europe, Sonnier has not had a major American museum exhibition before last year’s “Until Today” at the Parrish Art Museum in Water Mill, New York. This retrospective, organized by Terrie Sultan, director of the Parrish, and guest curator Jeffrey Grove, showcased 39 pieces from 1967 through the present, providing a broad context for works displayed concurrently at the Dan Flavin Art Institute in Bridgehampton and Southhampton’s Tripoli Gallery.

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Fawn Krieger

NEW YORK Assembly Room Fawn Krieger’s “Soft Power” inaugurated the new Assembly Room, a gallery run by curators Natasha Becker, Paola Gallio, and Yulia Topchiy with the mission to celebrate and empower independent women curators. “Soft power” typically describes a technique of using cultural and economic persuasion, rather than military coercion, to achieve political ends.

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Magali Hébert-Huot

WASHINGTON, DC Hamiltonian Gallery Isolation and estrangement, tinged with a dark humor, haunt a long, narrow gallery where sculptures lie about like remnants of a forgotten journey or stage props awaiting human agents. Magali Hébert-Huot has cloaked them in white for the most part, pops of acid green and pink disrupting the palette of oblivion and challenging gender conventions.

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Rachel Rotenberg: Muscular Movements

“Sanity,” a title shared by Rachel Rotenberg’s recent exhibitions at Goucher College in Towson, Maryland, and at Gershman Gallery in Philadelphia, not only suggests the role that making art plays for her, but also argues for the necessity of art in a world where countless forces, from technology to climate change to war, threaten to overwhelm us.

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Natalie Moore: Metaphor in Action

Natalie Moore, a longtime resident of Brooklyn’s Williamsburg and Greenpoint (she has a studio in Greenpoint), originally hails from California. In the mid-1980s, she attended the University of California, Santa Cruz, which is known for its experimental interests, particularly in the arts and humanities.

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Douglas Coupland

VANCOUVER Vancouver Aquarium Composed of debris retrieved from the once pristine shores of British Columbia’s Haida Gwaii, “Vortex” tackles the complex contextualizing of the nebulous Pacific Garbage Patch, the largest of several floating plastic garbage gyres around the world and a sprawling, slimy mass of filth.

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Bruce Edelstein

ROCHESTER, VERMONT Big Town Gallery A child of two West Coast artists, Bruce Edelstein grew up with a pencil in his hand, and his facility for imaginative form animates the clay sculptures shown in his recent exhibition “Oaxaca.”

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