New York: "Doomscrolling," Eug ène Leroy, the Yes Men

New York

January 26, 2022 • View in browser

Paintings that Honor the Privacy of Grief

Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter. | John Yau

SPONSORED

Jane Freilicher and Thomas Nozkowski: True Fictions

Curated by Eric Brown, this exhibition at the Milton Resnick and Pat Passlof Foundation in New York is on view through February 26. Learn more.

A Historical Art of Dissent for the Digital Age

In Doomscrolling, Rob Swainston and Zorawar Sidhu assume the task Walter Benjamin set for the articulation of history — to “seize hold of the past as it flashes up at a moment of danger.” | Faye Hirsch

Something Is Not Right With The World

Alexi Worth’s paintings demand a double-take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at. | John Yau

Saying Maybe to the Yes Men

As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit. | Seph Rodney

The Materiality of Memory in the Paintings of Eugène Leroy

Leroy’s canvases seem to be about age and decay — about the process and limits of recollection made manifest. | Jake Romm

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CLOSING SOON

Norman Lewis, "Eye of the Storm" (1973), oil on canvas, 51 1⁄8 x 87 1⁄2 inches (all images © Estate of Norman Lewis; Courtesy of Michael Rosenfeld Gallery LLC, New York, NY)

Norman Lewis: Shades of Blackness
Bill Hodges Gallery through January 29

Jiha Moon: Stranger Yellow
DerekEllerGallerythroughFebruary5

Chie Fueki: You & I
DC Moore Gallery through February 12