Page 227 - Rtists News Today

Martina Larsson is opening British artist Emma Biggs’s Peekaboo over Christmas and New Year at 139 Whitfield Street, W1T 5EN. The installation &#

Perhaps you, like me, know Jade Guanaro Kuriki-Olivo better as Puppies Puppies, the pseudonym-cum-persona that the artist crafted in 2010. Puppies Puppies has historically ventriloquized, masked, and absented herself, both in the context of white-cube installations and performances and in the durational performance of being Puppies Puppies.

In the wake of the feminist art movement’s emergence during the 1960s and early 1970s, the Italian-Venezuelan artist Tecla Tofano addressed the uneasy position of women working within—or against—a history that systematically reinforced patriarchal perspectives with La mujer en la historia (Women in History) (1975).

Copy Machine Manifestos: Artists Who Make Zines, a presentation of zines made by North American artists over the past five decades, is an ambitious undertaking. Curated by Branden W. Joseph and Drew Sawyer, the exhibition is necessarily a sampling rather than a survey in light of the sheer volume of zines produced in that period.

When only works on paper are presented, as they are in Joanna Pousette-Dart’s current exhibition at Locks Gallery in Philadelphia, it provides an opportunity to encounter them as ends in themselves. Too often, works on paper are dismissed as merely means to an end, studies for a painting or mural, perhaps. That this is manifestly not the case here, however, does not deny the importance of correspondence, in both senses of the word: likeness and discourse.

Four canvases in acrylic and six in oil at Martos Gallery constitute a mini-survey of the German artist Hans-Jörg Mayer’s work over the past three decades. Conceived with Galerie Nagel Draxler in Berlin where he has had thirteen solo shows, the exhibition represents his first representation in any quantity in New York, and reveals an artist restive in his subject matter and engagingly unruly with his brush.

The title of Henry Taylor’s first major exhibition in France, installed in a neoclassical townhouse near the Champs-Elysées, doesn’t go unnoticed. The expression, which comes from Taylor’s mother’s lexicon, turns heads along with the rich colors of his beautifully rendered, loose paintings on view in the newest outpost of Hauser & Wirth, located in an enclave in the 8th arrondissement that has been historically associated with French luxury but has also a reputation fo...

Too elegant, too tactical, too perfect: such were the characteristics of Anish Kapoor’s hyperreflective sculptures of the unforgettable and exuberant exhibition held at Lisson Gallery in New York some four years ago. With immaculately polished surfaces, those optical devices, whether immense or human in scale, appeared as matchless catalysts for arresting phenomenological inquiries into the parameters of vision and the paradoxes of visual representation.

The Brooklyn Rail is a journal committed to providing an independent forum for visual arts, culture, and politics throughout New York City and beyond.

Kapwani Kiwanga, an internationally recognized Canadian artist based in Paris, is known for her research-driven practice, which delves into marginalized or overlooked historical narratives. As an interdisciplinary artist, Kiwanga employs various mediums including sculpture, installation, photography, video, and performance to explore and convey her findings and ideas.