A traveling exhibition of 69 oil paintings, watercolors and works on paper aims to chart Milton Avery’s trajectory and contextualize his work for a new generation.
An economical survey of Jonas Mekas, “The Camera Was Always Running” serves as a touching introduction to the Lithuanian filmmaker and champion of avant-garde cinema.
The work in Valentina Vaccarella’s “Bless this Life” rests on a simple irony: monogrammed, embroidered French bridal linens pulled taut across stretcher bars and besmirched by rough images of modern madams.
Daniel Lie’s “Unnamed Entities” at the New Museum challenges the antiseptic aim of curation and conservation by imagining a different kind of organic art that needs to be nurtured rather than preserved.
Dia’s recent acquisition of works by Charles Gaines forms the basis of this survey, which includes the artist’s first forays into mathematics-based grid drawings and other early experiments in medium and form.
The words masterful and mastery assert themselves the instant one encounters the works in “My Body,” both for Nancy Grossman’s command of a wide range of skills and her active state of dominance, identity and selfhood.