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Longtime readers of the Brooklyn Rail will remember the insightful critical contributions Sherman Sam regularly made from London—and occasionally from elsewhere: Dublin, Porto, his native Singapore—between 2006 and 2011. But they may not know his remarkable paintings, which have been seen in the US only a handful of times.
Should there ever be the need for an artist who can envision the apocalypse, Mat Collishaw would probably be the right man to call. This thought came up after I saw some of his work in Valencia, in the newly opened Centro de Arte Hortensia Herrero (CAHH), a private collection gone public, with an impressive list of artists, both Spanish and international.
Sarah Rosalena’s exhibition at the Columbus Museum of Art at the Pizzuti, In All Directions, sets out to make and break patterns. Motifs repeat throughout: stars, spirals, fluted horns, hourglasses, rings, and rectangles. These shapes emerge and reemerge across woven textile and coiled clay, glass beads and smoked stoneware.
Of no coincidence, the first series of the show in a mint green room is the “American People” series from early on in Ringgold’s career. Chosen as the exhibition’s namesake, the “American People” series stands out and has many works unique to the Chicago presentation curated by Manilow Senor Curator Jamillah James and Assistant Curator Jack Schneider.
The five large John Hoyland paintings recently on view at Hales Gallery showcase two major moments from the British painter’s early career. Created in the heady years between 1965-1970, the paintings date from a period of cultural cross pollination during which the artist maintained studios in both London and New York City.