Page 92 - Rtists News Today

In this exhibition, superbly curated by Molly Warnock, the paintings of Simon Hantaï are presented in New York, a city that has been very slow to appreciate and acknowledge the importance of this Hungarian French artist.

In Maria Hummel’s new novel, two women (Edith and Lacey) form a friendship as children that lasts into adulthood, but at the start of the novel, they’ve been estranged for more than forty years. Chapters shift across time, the novel focusing mostly on the privileged Lacey Crane.

This is a love story: During the spring of 2008, long before they produced evidence of humanity’s first recorded kiss, Sophie Lund Rasmussen and

This is no trickery: the pleasure of an optical illusion is in illumination, proliferation. In these dexterous (at times, ambidextrous) poems, fog is not disorientation, for the book’s title is subject-predicate more than adjective-noun: fog notes, draws attention, sketches—mementos to the self, tasting notes, half-caught snatches of music.

Astrid Klein’s “photoworks,” on display in New York for the first time at Sprüth Magers, operate on several levels. The eight photographs of collages, printed at movie-poster scale using a photographic enlarger, depict female film stars of the 1960s and ’70s.

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At the close of an organ concert this month, Kali Malone, performing at Kaiser Wilhelm Memorial Church in Berlin, did something unusual: She turned of

Monster Mourning is a delightfully unhinged-in-the-best-way evening of movement, music, and storytelling created by Workum and Weena Pauly.

Brought together again after five decades, a series of landscapes by the Scots-Irish artist William Crozier (1930-2011) will be displayed at a href=

Leaving Earth, Mary Lucier’s immersive video installation at Cristin Tierney, tests the limits of attention with its Whitmanesque expanse. Nine screens, set on individual poles around the room, like a grove of monitors, feature unsynchronized video loops, some with sounds.