The quick month of February nonetheless packs a variety of artwork in New York Metropolis, from a survey of the influential Godzilla Asian American Arts Community to Apollinaria Broche’s whimsical ceramics and Aki Sasamoto’s experimentations with snail shells and Magic Erasers in her solo present on the Queens Museum. This month, we may even publish a second checklist of artwork exhibitions to see in the course of February, as many reveals open previous our publication time.
One such exhibition was Julie Torres and Ellen Letcher’s joint show at Pocket Utopia final month, which we weren’t capable of checklist, and one other was Joyce Kozloff’s Collateral Damage at DC Moore, which opened on January 6 and closed on February 3. The latter was a wonderful exhibition that embodied portray as a web site of energy and battle. A veteran of the Sample & Ornament motion, Kozloff turned world maps into wealthy surfaces teeming with hazard, cultural reminiscence, and prospects. She demonstrates, but once more, that portray continues to be some extent of battle — not solely in artwork however in the way in which we see the world, or, extra appropriately, the way in which we refuse to look away. — Hrag Vartanian
U + ME: Milton Resnick and Matthew Wong
That is your final probability to catch this sleeper of an exhibition that brings the work of two painters, Milton Resnick and Matthew Wong, in dialogue and it’s surprisingly efficient. Each artists died by suicide: Wong on the age of 35, whereas Resnick took his personal life on the age of 87. That’s not the one parallel of their lives and careers, and it’s typically laborious to discern between their works, which highlights the virtually unnerving overlap of fashion and method. Figures have a gestalt high quality evoking mythic imagery on muddy planes, puncturing illusionism in favor of an idealized scene that feels without end haunted by a darkish cloud overhead. Poetry and phrases by each artists are interspersed all through, which underlines the poetic high quality of the artwork. An added bonus is John Yau’s essay for the present, curated by Alex Paul Chapin. —HV
Milton Resnick and Pat Passlof Basis (resnickpasslof.org)
87 Eldridge Avenue, Decrease East Facet, Manhattan
By February 10
Kurt Lightner: Spark
This small exhibition on West twenty second Avenue is jammed with vibrant artworks which might be, based on the artist, constructed by way of improvisation — although that’s laborious to discern as a viewer. Targeted on forest flooring and their layers of vegetation, Kurt Lightner renders the plant world in a kaleidoscope of shade. Lightner’s eager means to seize every department, leaf, and plant in a means that maintains its elegant individuality with out succumbing to the chaos throughout is visually spectacular. Life and dying intermingle freely (although there aren’t any indicators of animal life from what I may see) and the outcomes are these dense, virtually clear surfaces that decision consideration to the ignored and ask us to search out the vibrancy beneath our toes. —HV
Harper’s Gallery (harpersgallery.com)
534 West twenty second Avenue, Chelsea, Manhattan
By February 17
Apollinaria Broche: Within the distance there was a glimpse
An enthralling show of ceramic and bronze sculptures that really feel as whimsical as a drawing, however as complicated as a vivid dream. The artworks sprout from the gallery’s polished concrete flooring, accompanied by an eerie soundtrack of pop songs about flowers warped into one thing extra bewildering. There’s a deeply romantic dimension to Broche’s imaginative and prescient on show and the wistful figures don’t really feel up to date, however as an alternative like historic or fictional spirits conjured up earlier than us, even when solely momentarily. The title for the present is taken from Frances Hodgson Burnett’s 1911 youngsters’s guide The Secret Backyard, and that sense of wonderment, tinged with fragility, is laid naked on this scene, which seems to be on the breaking point. —HV
Marianne Boesky Gallery (marianneboeskygallery.com)
507 West twenty fourth Avenue, Chelsea, Manhattan
By February 24
Shary Boyle: Outdoors the Palace of Me
Canadian artist Shary Boyle has created a splendidly theatrical show on two flooring of the Museum of Arts and Design, exploring her fascination with theatricality and remark. Her work with clay is actually impressed, whereas most of the objects right here appear to be rejects from a really cutting-edge porcelain manufacturing facility filled with staff who learn essential concept. The matters of gender, whiteness, and mortality determine all through, and the video work she made for the Kaunas Biennial in Lithuania, “The Trampled Satan” (2021), is a intelligent quick movie that breathes new life into a fraction from the world’s largest assortment of people artwork depicting the satan. The actual thrills on show are the ten “intimate dramas” that replicate on the historical past of ceramics with a self-consciousness that attracts you into their psychological scenes of self-creation. —HV
Museum of Arts and Design (madmuseum.org)
2 Columbus Circle, Higher West Facet, Manhattan
By February 25
Tammie Rubin: Factors of Origin
Tammie Rubin’s All the time & Eternally (without end, ever) collection is on full show at this one-person exhibition in Chelsea that pushes the varieties that evoke family objects along with KKK hoods, dunce caps, spiritual costumes, funnels, and different associations. The varieties Rubin provides to the surfaces can denote maps, insignias, and numerous summary patterns. The eyes in her funnels add to the thriller and convey a way that the work is standing witness to one thing simply past our gaze, or altogether invisible to us. The fan objects and drawings add to the bigger imaginative and prescient right here, and my solely want was to see a couple of bigger objects that will anchor the gallery, however perhaps I’m simply desperate to see extra from Rubin. —HV
C24 Gallery (c24gallery.com)
560 West twenty fourth Avenue, Chelsea, Manhattan
By March 8
GODZILLA: Echoes of the Nineteen Nineties Asian American Arts Community
In 1990, artists Bing Lee and Ken Chu and artwork historian Margo Machida fashioned the Godzilla Asian American Arts Community as a group of assist within the artwork world. Unfold throughout Eric Firestone Gallery’s two areas in Soho (4 Nice Jones and 40 Nice Jones), Godzilla: Echoes from the Nineteen Nineties Asian American Arts Community gathers work from artists within the group, together with Hung Liu’s “Cookie Queen” (1994) a portray of a girl with fortune cookies, and Ik-Joong Kang’s “Pleased World” (2011–14), with a decaying gold Buddha backdropped by tchotchkes and mini work. The present additionally options archives of the unique Godzilla e-newsletter, together with their historic letter protesting the shortage of illustration within the 1991 Whitney Biennial. —AX Mina
Eric Firestone Gallery (ericfirestonegallery.com)
40 and 4 Nice Jones Avenue, Soho, Manhattan
By March 16
Aki Sasamoto: Level Reflection
I’ve all the time been a fan of Mr. Clear’s Magic Eraser. There’s just about no blotch or blemish this mysterious sponge can’t undo. In Aki Sasamoto’s solo exhibition, partially primarily based on her set up on the 2022 Venice Biennale, you’ll encounter a playful assortment of Magic Erasers, snail shells, water bottle caps, kitchen reducing boards, and different objects performing a dance over industrial sinks. By this quirky ensemble, Sasamoto displays on our fragile existence on this mad world, and her little place in it. The exhibition and an accompanying collection of performances by the artist will put a smile in your face, however don’t be stunned if a contemplative temper slowly units in, making you want a Magic Eraser existed for previous errors and poor decisions. —Hakim Bishara
Queens Museum (queensmuseum.org)
Grand Central Parkway and Van Wyck Expressway, Flushing Meadows–Corona Park, Queens
By April 7