Page 7 - Rt Books News Today

Most events are fleeting and temporary, but not so are the places where they occur and leave their traces, if only in memory. As a child in the sixties touring Boston’s historical sites, that which left the deepest impression was neither a statue nor a church, but a circle of cobblestones, maybe a dozen feet in diameter, set on a traffic island at a busy downtown intersection.

Drawn from a singular collection, the Rosenberg & Co. exhibition is the first solo presentation of Françoise Gilot’s work in New York since her death in 2023. Her career spanned nearly eight decades bridging the circle of Gertrude Stein, post-war California, and late twentieth-century New York.

There is an age-old notion of the artist’s practice as a solitary one in which creativity is born over the course of long hours in the studio. Barring a nomadic or collaborative practice, there is truth to this romantic vision—artists do often work alone—yet there is a constant companion inherent in the creative process: the studio itself. The International Studio & Curatorial Program (ISCP) has filled this role for over two-thousand artists and curators from more than ninety coun...

Joy Curtis’s large-scale or wearable sculptures at Klaus von Nichtssagend, all made of fabric and hand-dyed by the artist with natural pigments, begin to suggest answers, moving us progressively farther from the stuff of material reality into abstractions that, presumably, we cannot see.

For her inaugural show at Peter Blum, Martha Tuttle presents an array of paintings in conjunction with the subtle sculptural presence of a variety of rocks and crystals, both within these and distributed discreetly throughout the gallery.

“What can I do to make that stone Buddha be seen as a venerable presence that feels more solemn and yet also captivates people’s hearts?” When Yukio Takahashi of the Makomanai Takino Cemetery (Honorary Chairman of the public interest incorporated association Furusato Koen) approached me for advice, sights of the cave temples that I saw on my trips to Ajanta, India, and Dunhuang, China, immediately came to mind. The caves were created artificially by carving out the hard earth. Whe...

Ward, who left the Caribbean for Harlem with his family at the age of twelve, has crafted poignant works that pose additional questions such as: What do found items say about humanity? From identity and social justice to consumerism, what narratives do they weave—and what forgotten stories do objects like baby strollers, shoelaces, and glass bottles tell?

In Carol Wainio’s pictorial realm the fabled creatures of Jean de La Fontaine and Aesop, haberdashery-clad rabbits, and children plucked from Victorian illustrated postcards dwell in forests that are part Gustave Doré, part Jean-Antoine Watteau, and are expressionistically rendered.

Far from a neo-noir, the clash between Indigenous culture and oppressive colonial presence in Limbo suggests that the film is closer to a South Australian gothic.

Dance Theatre of Harlem, under new Artistic Director Robert Garland, is definitely looking toward the future. The question, though, is how does it remain connected to twentieth-century icons such as George Balanchine while moving forward?