Cameron Welch’s mosaics at Yossi Milo Gallery pack a punch with their energetic collage-like mix of contemporary and historic imagery. Here, Orpheus, the hero of Greek mythology who unsuccessfully descended into the underworld to bring back his wife Eurydice, holds the musical instrument with which he could charm both living and dead. Crafted in ceramic, glass, marble and stone and enhanced with oil and acrylic paint, the artwork not only rethinks a mythological figure but melds ancient and contemporary material tradition. (On view in Chelsea through Nov 9th).
Cameron Welch, Orpheus in the Garden, marble, glass, ceramic, stone, spray enamel, oil and acrylic on panel, 96 ¾ x 80 5/8 inches, 2024.
In an interview accompanying her recent show at the Smithsonian American Art Museum, iconic photographer and artist Carrie Mae Weems said, “I know that I will be living with injustice for the rest of my life,” before going on to express her determination to advocate for change as it is currently needed. Her 7-part video ‘Cyclorama: The Shape of Things,’ now on view at Gladstone Gallery after several museum appearances, combines vintage film of circus acts, footage from Amy Cooper’s notorious 2020 Central Park phone call, and scenes from the January 6th insurrection with shots of methodically moving contemporary dancers and more in a collage of imagery that ranges from beautiful to horrifying. Projected on a circular screen like a 19th century narrative painting accompanied by changing lights and sound, Weems immerses us in the present moment, amplifying and clarifying the conversations and conflicts of the day. (On view at Gladstone Gallery through Nov 9th).
Carrie Mae Weems, installation view of Cyclorama: The Shape of Things, A Video in 7 Parts, 2021, 7 parts, duration: 40 min, Barbara Gladstone Gallery, September 2024.
To appreciate Pieter Schoolwerth’s paintings in his current solo exhibition at Petzel Gallery, it’s advisable to first check out ‘Supporting Actor,’ the CG animation he made with artist Phil Vanderhyden. While the priority given to computer-generated content might be a surprising move for most painters, that’s not the case for Schoolwerth, who has long been interested in how the digital world has impacted the space and time of painting. Starring a digital avatar of musician Aaron Dilloway, who created the piece’s soundtrack, the animation starts with Dilloway’s transportation from art gallery (pictured here) to a bathroom to a bizarre nightclub of gyrating alien-figures. In the gallery’s main space, paintings inspired by the animation combine inkjet-printed paintings with real paint in an ever more complicated consideration of where the ‘real’ lies and which medium plays the role of ‘supporting actor’. (On view in Chelsea through Oct 26th).
Pieter Schoolwerth, still from Supporting Actor, 4K video with sound by Aaron Dilloway, 2024, installed at Petzel Gallery, Sept 2024.
Expanding concentric circles of flamenco dresses surround a soft sculpture of a Spanish ship in an eye-catching installation in Margarita Cabrera’s current solo show at Jane Lombard Gallery. The abundant dynamic ruffles of the dress material suggest that though small, the ship is making its presence felt from Spanish arrival in the Americas to the present day. Crafted from material used for US/Mexico border patrol uniforms, the ship and the show’s other engaging sculptures invite discussion of migration past and present. (On view through Oct 26th).
Margarita Cabrera, installation view of El Vaiven del Mar, Flamenco dresses, uniform fabric, 120 x 168 x 36 inches, 2024.
It’s carnival season in Jamaica-born, Brooklyn based multi-media artist Paul Anthony Smith’s latest body of work now on view at Jack Shainman Gallery in Chelsea. Starting with photos he took during celebrations in Trinidad and Tobago, Smith manipulates the images, prints them, adds paint and employs his signature picotage technique by which he creates patterns of tiny tears in the surface of the painted photographs. Here, as in many pieces, the tear patterns take the form of fences or walls constructed of patterned concrete blocks. Placed between viewers and the celebrants, the barriers allow looking but give viewers pause to question what kind of access we have to the places and cultures pictured. (On view through Oct 26th).
Paul Anthony Smith, To be titled, unique picotage and spray paint on inkjet, print mounted on Dibond, acrylic paint, 51 ¼ x 81 x 2 ¼ inches, 2024.
