Page 34 - Rt Critic News Today

Featured in 27 movies and 1,200 musical recordings, this Egyptian singer-actress becomes one of her country’s greatest and highest-paid stars. In her late 20s, shortly after marrying an Egyptian Muslim, she converts to Islam from the Judaism of her birth. A few years later she is named the official singer of the Egyptian Revolution, but infighting among Revolutionary leaders leads to her marginalization.

It poured in Brooklyn Bridge Park the morning I visited Nicholas Galanin’s (Lingít and Unangax̂) temporary installation, In every language there is Land / En cada lengua hay una Tierra (2023), the sky almost the same translucent gray as the adjacent East River. Maybe it was the weather that made the monumental capital letters spelling out “LAND” appear particularly foreboding that day.

While you embrace Osaretin Ugiagbe’s fascinating paintings at Slag & RX Galleries, it is worth keeping in mind the necessary slippage between the signifier and the signified. In the case of proper names, for example, the sign is a mark of identity: there can only be one Osaretin Ugiagbe, but who he is for himself and who he is for others is a matter of perception. The same can easily be said of his paintings, and it is the idea of such misperceptions and lost meanings that should guide us t...

A renowned German artist of the New Leipzig School, Weischer is in top form in Sequence, only his second US solo exhibition. The show features nineteen oil or egg tempera on canvas paintings of interior scenes—rather like expansive, uncanny living rooms—and a group of seven so-called iPad drawings, actually C-print photos of relatively tame still lifes. Each of these arcane images—at once nostalgic and faintly futuristic—conveys a rarified, almost pungent atmosphere that is a...

Just when we thought we knew the landscape of French art in the first quarter of the 20th century, Marie Laurencin: Sapphic Paris, co-curated by Simonetta Fraquelli and Cindy Kang, shakes up the narrative with a fresh exhibition of a major Parisian painter largely neglected by art history. A bisexual woman (already two reasons for her prior invisibility in that now dated story), Laurencin (1883–1956) carefully crafted a “feminine” aesthetic into a significant body of work that wa...

Gail Thacker’s photographs have been soaking up the scars of time for several decades, as the current solo exhibition Midnight Call at Candice Madey Gallery reveals.

To puzzle over Cildo Meireles’s exhibition One and Some Chairs/Camouflages is simultaneously dumbfounding and appealing. There’s a new playfulness in his work that makes us ponder the what and why of perception, the way we understand what we see, and how the object depends on how we see it. We expect austerity in this conceptualist’s creations, which are familiarly recognized as elegant and monotone, and often installed with expanses of sand spread across a gallery’s floor m...

David Kettner’s retrospective exhibition is a lost opportunity to present a remarkable body of work for lack of a meaningful edit. It is claimed in the accompanying literature that Kettner made more than two-thousand collages since 2013. The best are those in which there is a standoff taking place between the found images from coloring books crayoned by children and the artist’s cutting and affixing.

As early as 1981, when Benjamin Buchloh published “Figures of Authority, Ciphers of Regression” in October, Neo-Expressionism and the concomitant resurgence of texture and pathos within painting was met with almost unanimous critical rejection.

Cross’s glowing, sandy paintings are partially inspired by the Mesozoic Era fossils darting the English Jurassic Coast, where the artist stayed in early 2023 as part of his term at the Hogchester Arts Residency.