Cathy Wilkes (Installation View), via Ortuzar Projects

On this month at Ortuzar Projects in New York, artist Cathy Wilkes has orchestrated a subtle, yet incisive series of paintings, sculptures and readymades that continue her work in establishing tenuous and compelling narratives through delicate spatial arrangements. Marking her first show in New York since her her acclaimed solo exhibition at MoMA PS1 in 2017, this new installation combines subtle paintings, objects, and Wilkes’ characteristic papier-maÌ‚ché figures. Visions of landscapes and interiors from her childhood are often recognizable in the work, collapsing and reforming time and space repeatedly. Employing what the artist has called “hypostatic abstraction and intense social realism,” the exhibition conveys themes of separation, suffering, infancy, and fragility. Read More »

Lucy Bull, 17:50 (2022), via David Kordansky

On view this month at David Kordansky Gallery New York and artist Lucy Bull present Piper, her first solo exhibition in New York, featuring new paintings that underscore her use of resonant color, intensively worked vocabularies, and disorienting spatial experimentation. While Bull’s vision of abstraction takes shape on the canvas with abundant force, her approach is also notable for its insistent openness, which favors the creation of associative and narrative possibilities rather than the execution of pre-determined ideas regarding composition or any of the other constituent parts of painting.

Lucy Bull, Piper (Installation View), via David Kordansky

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Madsaki, Untitled (2022), via Perrotin

Over the course of the past decade, artist MADSAKI has achieved success as a painter exploring and undermining dichotomies between high and low art, good and bad taste, and the nature of both skill and precision in the act of painting. Drawing on visual resources that range from the classics throughout art history to newspaper images and pop culture icons, often embellished with spray paint applied with lose splatters and pools of color, the artist’s work often pulls at threads around the notion of painting as an “elevated” art form, instead using it as a jumping off point for broader conversations of image culture and production. For the artist’s most recent show at Galerie Perrotin in Shanghai, the artist takes a new approach, exploring landscape painting as a new mode of practice.  Read More »

Zoe Leonard, Untitled (2020/2022), via Hauser & Wirth

This fall in New York, Hauser & Wirth plays home to a selection of images culled from artist Zoe Leonard’s latest work Al río / To the River (2016 – 2022), a six-year undertaking in which the artist photographed the 1,200-mile stretch along the Rio Grande / Río Bravo that runs between Mexico and the United States and is used to demarcate the border. Using geographical landmarks and the political connotations drawn from them, the work is a subtle, yet commanding meditation on borders, landscapes, and the politics that develop from them. The full work, ‘Al río / To the River,’ encompassing hundreds of photographs, debuted at MUDAM, Luxembourg, in February, and will travel to the Musée d’Art Moderne, Paris this fall. Hauser & Wirth’s exhibition presents excerpts from this epic project for the first time in the United States. Read More »

Dan Colen, Woodworker (Violin) (2022), via Art Observed

On view this month at Gagosian Gallery, artist Dan Colen returns with a new body of paintings that continue, and complete, a series of Disney-inspired pieces that he first began in 2003, as well as pair of sculptures by the artist’s father, Sy. Titled Lover, Lover, Lover, the show draws on the aesthetics of classic animation stills to reflect on the presence and absence of the many “lovers” that come and go over the course of one’s life. The show, conceived of during another pivotal moment in the artist’s life, explores this perception in concert with ideas of tradition, influence, and the always-fraught American dream. Read More »

Mario Ayala, Truck Stop (Installation View), via Jeffrey Deitch

On view this month at Jeffrey Deitch Gallery in New York, artist Mario Ayala brings Southern California’s Inland Empire to bear on the East Coast, ruminating and celebrating the landscape of California with a series of paintings and sculptures, including a truck stop chapel, tire shop and roadside billboard installed in the gallery to create the context for his new work. Ayala’s meticulously crafted paintings extend the American Pop tradition into the present, drawing on a unique combination of art historical and vernacular influences shaped through his own life experience. Read More »

Jill Mulleady, The Remedy (2022), via Gladstone

Continuing a body of work that mines peculiar tensions and surreal moments, artist Jill Mulleady presents a series of new works at Gladstone Gallery in New York this month. The artist, whose work fuses together memory and the imaginary in a range of permutations and versions, here exhibits an impressive selection of pieces that span her own aesthetic capacities as much as they do subject matter.  Read More »

Christina Quarles, Try n’ Pull tha Rains in on Me (2022), via Hauser & Wirth

Hauser & Wirth presents its first solo exhibition with Christina Quarles this fall at its New York exhibition space, bringing together a body of new works that continue the artist’s own investigations into the human form, human identity, and their constructions amidst the art historical and within the modern discourse of American and world culture. Read More »

Renee Cox, Springs WinterWonderland (2021), Image courtesy of Superposition Gallery

On view at Eastville Museum (Eastville Community Historical Society) is a group exhibition titled “Resilience,” honoring the Eastville Museum in Sag Harbor—an institution founded in the 1980s to preserve the history of Black and Indigenous people in the community. Curated by Storm Ascher, the exhibit brings together 21 contemporary artists who have been called to respond visually to the curatorial theme of resilience. The Eastville Museum is situated within the Sag Harbor Hills, Azurest, and Nineveh Subdivisions, (a.k.a SANS) region of Sag Harbor, one of the oldest Black communities of the Hamptons, established in the 1940s. The tight-knit coastline community of SANS, written about at length in Pulitzer Prize winning author Colson Whitehead’s autobiographical novel, Sag Harbor, was officially added to the National Register of Historic Places in 2019.
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Marco Pariani, ABANDONED TREE (2022), via Cheim & Read

This month, Cheim & Read presents Marco Pariani: Trees and Traditions, an exhibition of new paintings and drawings by the Brooklyn-based, Italian-born artist that marks his second show with the gallery. Citing Christmas trees and decorations as a secondhand reference point here, the show casts an ironic eye on the stress, materialism, and forced good cheer endemic to the holiday season, with Pariani focusing in particular on the inflatable decorations that bloom across suburban lawns and town squares as the holiday approaches. Read More »