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Saturday, July 2, 2022

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Christine Elfman’s anthotypes enter the slippery space between momentary and eternal 

In 'All solid shapes dissolve in light' at EUQINOM, lichen dyes bring forth ethereal lavenders, and month-long exposures demonstrate care

Greta Snider’s experimental films pack a punk punch at the Roxie

16mm autoethnographies, found footage essays, materialist inventions, and recent projects focusing on human rights hit the screen

Review: In ‘Here Be Dragons,’ vibrant windows onto colonial economies

Sula Bermúdez-Silverman embeds indigenous commodities into transparent lunettes at Friends Indeed gallery.

Review: Sydney Cain’s gentle erasures summon omnipotent ancestral lineages

In 'Dust to Dust' at Rena Bransten, charcoal, graphite, and powdered metals evoke Black legacies and genealogical power.

Review: An alchemical conversation of brushstrokes at Cushion Works

Etel Adnan and Lynn Marie Kirby's 'THE WEATHER IS NOWADAYS CRAZY' at Cushion Works

Who says mythology is fiction? Group show explores edge of fantasy

"Can you prove it did not happen?" asks 'Under the Waqwaq Tree' curator Naz Cuguoğlu.

Review: For two days in her home, Susan Nakata’s delicate work shone bright

The Kensington artist hosted 'Notions,' which emphasized the resiliency of artists who maintain a lifelong practice.

Review: Dynamic humor and unsettling magic in Lindsey White’s ‘How to Get on Cable Television’

The artist's latest at Casemore Kirkeby continues her quest to set whimsy alongside criticality.

Review: A fascinating forensic spiral in ‘The Strange Case of Theodule Otis’

Andrew Chapman's latest at Et al. presents a mystery that underscores the slippery textures of truth

Review: Sound and shadow evoke Nasim Moghadam’s Iranian roots, womxn’s solidarity

In 'I Sprout on my Wound' at Aggregate Space, the artist also manipulates her passport photo and cut hair.