Jennifer Bartlett

Paula Cooper Gallery
524 W 26th Street
New York
Chelsea
May 6th 2021 — Jun 26th 2021

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In one of two major strains of Jennifer Bartlett’s work on view at Paula Cooper Gallery, jubilant dazzles of dots bubble across irregularly-shaped canvases, such as the mustache-shaped attachment along the bottom of Wedding (2000-2002). If you take a step back and squint at the pointillist and polychrome scene, you can make out a crowd of figures. The exhibition is curated to accompany the irregularity of these paintings, with small works arranged as mutable elements in the composition of wall space.

Bartlett’s other body of work on view is decidedly more cartographic, though locational accuracy seems to take second seat to a free-form exploration of symbol. Tanzania (2003), for example, is shaped like the country, while Serengeti, Tanzania, (2003) is shaped like a football. In abstracting these real places, Bartlett seems to be drawing attention to the arbitrary nature of borders, particularly in disputed territories. In the earth-shaped Reserva de Elefantes e des Bufalos, Mozambique (2003), for instance, the words on the canvas itself are in Portuguese, the official language of Mozambique after a tortured history of colonization, but the title is curiously transliterated in Galician.

Jennifer Bartlett, Republique de Guinée, 2003. Oil on canvas, 36 x 49 x 2 inches. Photo: Steven Probert. © Jennifer Bartlett. Courtesy of Paula Cooper Gallery, New York, Marianne Boesky Gallery, New York and Aspen, and The Jennifer Bartlett 2013 Trust.

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  • Through
    May 29th

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  • Through
    Jun 6th

    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.

  • Through
    May 28th

    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.

  • Through
    Jun 6th

    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.

  • Ongoing

    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.

  • Ongoing

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  • Through
    Jan 2nd 2023

    The sonic encounters provoked by Camille Norment’s elaborate acoustic artworks serve as agents for social consciousness.

  • Through
    May 28th

    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.