Page 48 - Rt Critic News Today

Henry Mandell knows the subsurface teems with vitality. In his debut exhibition at Anita Rogers Gallery, the painter draws upon the interconnected qualities of mycelium as a grounding agent for a remarkable body of work.

“I should make sure it doesn’t come across as another of the Chelsea show of paintings or ‘about painting,’” [sic] reads a note from the journal of Enrique Martínez Celaya. Pages from this journal, painted in reproduction on the wall of Miles McEnery Gallery on West 21st St., flank the threshold of the exhibition. “The goal of this passage is to deny the show but without over-explanation,” we read. “The writing should help to clarify it is not a &#1...

For me, Wolfgang Tillmans’s 2022 MoMA retrospective Wolfgang Tillmans: To look without fear was unexpectedly profound, not only in the return of the post-pandemic museum extravaganza but in the palpable sense of loss that threaded through MoMA’s sixth floor.

(pray), nicHi douglas’s religious choreopoem, also empowers those who may be forgotten and subverts norms while plunging the well of faith. In (pray)’s many vibrant hymns, common reverent words get a matrilineal makeover—“amen” turns into “again,” and “father” becomes “freedom”—bringing focus less to Jesus and more to the community church enables.

Shaunté Gates’s new series of paintings In light of the Hunt is Rubenesque. Gates’s stories are told at the intersection of the mythological and the political with dizzying composition and at the point of maximum energy: immersive and baroque works. Like Rubens, Gates plucks real-world figures, in this case his own circle of friends and acquaintances, and dresses them in a fanciful couture residing somewhere between armor and sportsgear.

The current Hans Josephsohn exhibition at Skarstedt uptown through October 28 is a grab bag. One is glad to see it but reminded that a gallery is an art store, with a stock. It happens not to include any of the artist’s reliefs, which are the inmost core of his art and very likely great.

Wavelengths at TIFF returned close to its pre-2020 sample of selections after bite-size viewings during the ongoing pandemic.

How do you feel about pretty pictures? The question is unavoidable when one enters Virtual Paradigms, Peter Zimmermann’s show of abstract epoxy resin paintings on view through November 4 at Nunu Fine Art on Manhattan’s Lower East Side. Sparsely and dramatically spaced on the walls hang sixteen large- and medium-sized canvases that feature slick surfaces, broad gooey shapes, and candy-sweet colors. At the entrance, adjoining a composition of wavey green, orange, and blue stripes, a wall...

The sex shops and porn theaters that pervaded the 42nd Street area in the 1970s and ’80s have long since yielded to the Disneyfication of Times Square. For Jane Dickson, however, images of these seedy places have continued to provide a potent source of visual stimulation as well as conceptual aspiration in an ongoing series that constitutes a penetrating critique of American values and social strata.

The UN Secretary-General announced through a press briefing on September 6, 2023 that “climate breakdown has begun. Our climate is imploding faster than we can cope with extreme weather events hitting every corner of the planet.” Later in the month, Poster House opened We Tried to Warn You! Environmental Crisis Posters 1970–2020. The show introduces the history of our national environmental efforts but also goes beyond them to present international posters.