Exhibits to See within the US this October

Exhibits to See within the US this October

Rose B. Simpson
Institute of Modern Artwork, Boston
11 August 2022  29 January 2023

Exhibits to See within the US this October
‘Rose B. Simpson: Legacies’, 2022, set up view. Courtesy: the artist and ICA/Boston; {photograph}: Mel Taing

A darkened ambiance pervades Rose B. Simpson’s solo exhibition ‘Legacies’ at ICA/Boston, like a cloudy sky calling for rain. Figurative clay sculptures seem on raised platforms within the open gallery. Their resemblances disclose familial relations amongst these within the room and, because the title of the exhibition suggests, to family past. Simpson herself comes from a protracted line of achieved ceramicists from Santa Clara Pueblo in New Mexico, together with her mom, Roxanne Swentzell, her late grandmother, Rina Swentzell and her late great-grandmother, Rose Naranjo. Though Simpson’s sculptures are private, reflective of her expertise each as a mother or father and a Tewa girl, they’re with out particular autobiographical or religious references. The markings that run up and down the figures are deliberately inscrutable, forming a part of the artist’s distinctive symbology. Regardless of these guarded signifiers, Simpson’s work is forthright in her critique of ongoing settler colonialism. –Caitlin Chaisson

‘52 Artists: A Feminist Milestone’ 
Aldrich Modern Artwork Museum
6 July 2022  8 January 2023

On the left side of the frame, a window into the outside, where a globular silver sculpture sits on the grass; inside, a fireplace-like brown sculpture and a bronze-appearing sculpture with rocks around
‘52 Artists: A Feminist Milestone’, set up view. {Photograph}: Jason Mandella

Although groundbreaking in its time, Lucy Lippard’s 1971 exhibition on the Aldrich Modern Artwork Museum, ‘Twenty Six Modern Ladies Artists’, inadvertently symbolized the exclusionary circumstances of second-wave feminism by way of a predominance of white American members. Against this, ‘52 Artists: A Feminist Milestone’ brings collectively female-identifying and nonbinary rising artists from 11 birthplaces and heritages, with works from the unique exhibition positioned in dialog with these by 26 rising artists who haven’t but had a serious solo museum present. To that finish, ‘52 Artists: A Feminist Milestone’, which spans all the museum, not solely pays homage to the unique exhibition, but in addition charts the evolution of feminist artwork by way of a broader lens. –Erica N. Cardwell

Cathy Lu
Chinese language Tradition Heart of San Francisco
20 January  17 December 2022

A yellow segmented snake-like ceramic build hanging from the ceiling, bookended by hands with coiling nails
Cathy Lu, Nüwa’s Palms, 2022, ceramic, gold luster, metal cable, 256 × 25 × 213 cm. Courtesy: the Chinese language Tradition Heart of San Francisco

The odd location of the scrappy Chinese language Tradition Heart – on the third ground of the skyscraping, four-star Hilton Resort in San Francisco’s Chinatown, as if caught between worlds – resulted from fervent negotiations between actual property builders and neighborhood activists. On this contested house marked by distinction and impressed by the current international upsurge in anti-Asian hate crimes and white supremacist rhetoric, Cathy Lu’s solo exhibition, ‘Inside Backyard’, phases 4 ceramic installations that discover the surrealistic, humorous and grotesque truths behind the so-called ‘American Dream’ that guarantees a linear path to success for all who work for it. What magnificence, and what horror, propels the expansion of this backyard? –Vivienne Liu

‘The Double: Identification and Distinction in Artwork since 1900’
Nationwide Gallery of Artwork
10 July  31 October 2022

A backwards lit up neon word 'America', and reflected below that the same word upside down and backward
Glenn Ligon, Double America, 2012, neon and paint, 91 × 305 cm. Courtesy: the artist and Nationwide Gallery of Artwork

‘Hallelujah! The blind can see once more’, John Cage wrote about Robert Rauschenberg’s Factum I and Factum II (each 1957) (‘On Robert Rauschenberg’, 1961). It is true – seen collectively on this exhibition, the options of each works, practically similar, are sharpened, offset: the best way white paint drips over a crimson ‘T’, the best way layered yellow and blue pigment leans kind of inexperienced. ‘The Double: Identification and Distinction in Artwork since 1900’ on the Nationwide Gallery of Artwork is the primary main museum present devoted to exploring how doubling and its extensive internet of associations – copies, duplicates, doppelgängers – have gripped artists because the onset of modernity. Organized into 4 curatorial themes, the exhibition spans formalist experimentations in reproducing the identical motif a number of occasions to the philosophical dilemma of the double bind. 

Major picture: ‘52 Artists: A Feminist Milestone’, set up view. {Photograph}: Jason Mandella