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Most events are fleeting and temporary, but not so are the places where they occur and leave their traces, if only in memory. As a child in the sixties touring Boston’s historical sites, that which left the deepest impression was neither a statue nor a church, but a circle of cobblestones, maybe a dozen feet in diameter, set on a traffic island at a busy downtown intersection.
Drawn from a singular collection, the Rosenberg & Co. exhibition is the first solo presentation of Françoise Gilot’s work in New York since her death in 2023. Her career spanned nearly eight decades bridging the circle of Gertrude Stein, post-war California, and late twentieth-century New York.
There is an age-old notion of the artist’s practice as a solitary one in which creativity is born over the course of long hours in the studio. Barring a nomadic or collaborative practice, there is truth to this romantic vision—artists do often work alone—yet there is a constant companion inherent in the creative process: the studio itself. The International Studio & Curatorial Program (ISCP) has filled this role for over two-thousand artists and curators from more than ninety countries over the last thirty years.
Joy Curtis’s large-scale or wearable sculptures at Klaus von Nichtssagend, all made of fabric and hand-dyed by the artist with natural pigments, begin to suggest answers, moving us progressively farther from the stuff of material reality into abstractions that, presumably, we cannot see.
For her inaugural show at Peter Blum, Martha Tuttle presents an array of paintings in conjunction with the subtle sculptural presence of a variety of rocks and crystals, both within these and distributed discreetly throughout the gallery.