Matt Singer explores the deep inner reaches and outer limits of Sarah Gamble’s highly focused and suggestive paintings, at Fleisher-Ollman Gallery, on view now through March 30, 2019. Ultimately, the works about consciousness and matter matter, says Singer.
Read MoreIlana Napoli visits New Orleans and sees an inspiring exhibition by Brandan “B-Mike” Odums (artist, filmmaker, educator, founder of 2-Cent, a youth arts education initiative for black children in the south). The solo show, called “Studio BE” is an ongoing project that is a tribute to black history/culture and resilience in post-Katrina New Orleans communities, opportunity.
Read MoreSamuel Brown reviews “Knowledge Lost” at Gallery 1201, by the artist collective “Difference Engine,” (John Bezark and Chris Baldys.) Brown says this interactive installation, which prompts you to write a eulogy out of deleted Wikipedia entires on an old computer, is especially impactful when experienced in solitude. The show closes Friday, Mar. 22, so catch it quick before it’s gone.
Read MoreFlora Ward visits BalletX’s Spring Series, reviews the three pieces in the program and articulates the show’s highlights and a few shortcomings with poetic descriptors. She applauds the shadowy finale, which left her speechless. This series ended on March 17th, 2019, so make sure to catch BalletX’s Summer Season, coming up July 10-21.
Read MoreSamuel Brown writes a thoughtful review of Joakim Ojanen’s recent show “Snake Pit” at The Hole NYC! Buy yourself a bus ticket and catch this quirky show– a world building installation filled with odd, anxious, cheeky, and playful characters– before April 14th, 2019!
Read MoreLogan Cryer writes an insightful appreciation of the Women’s Mobile Museum culminating exhibition. The group photography show by — and depicting — women involved in the year-long project at PPAC, has some great self-representation, and Logan concludes that photography is the best medium with which to examine issues of who is normally represented in art works and who is normally excluded. The exhibition is up at PPAC through March 30.
Read MoreIn her review of Cecilia Vicuña exhibition, Andrea Kirsh calls the works — little cobbled-together objects tacked to the walls or arrayed on a low platform on the floor — marvels. But these objects are not nothings to throw away but objects with magical shadows and poetic meanings, and their mystery delights.
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