Making the peculiar inexplicable, portray landscapes of the psyche, and creating layers that shouldn’t exist. These descriptions correspond to Catherine Murphy, Dorothy Hood, and David Kennedy Cutler, three of the artists we’re taking a look at this week. We’re additionally fairly enthusiastic concerning the Asia Society’s pairing of assortment gadgets with works by invited modern artists. And personally, I may spend hours taking place the rabbit gap of Basel Abbas and Ruanne Abou-Rahme’s on-line exhibition for the Dia Artwork Basis. —Natalie Haddad, Evaluations Editor
David Kennedy Cutler: Second Nature
Derek Eller Gallery, 38 Walker Avenue, Tribeca ManhattanThrough April 12
David Kennedy Cutler, “Stoppage” (2025), inkjet switch, acrylic and clear coat on canvas, armature wire (photograph by Adam Reich, courtesy the artist and Derek Eller Gallery, New York)
“Cutler’s inkjet transfer and acrylic works, poised mid-transformation from painting into sculpture, capture everyday objects from this disorientingly kaleidoscopic perspective.” —Lisa Yin Zhang
Learn the complete assessment right here.
Dorothy Hood: Keep in mind One thing Out of Time
Hollis Taggart, 521 West twenty sixth Avenue, Chelsea, ManhattanThrough April 12
Dorothy Hood, “The Face in the Sea” (c. Seventies), oil on canvas (picture courtesy Hollis Taggart gallery)
“Chilean poet Pablo Neruda describes [Dorothy Hood’s] art as driven by inbuilt contradictions, tracing in it both a ‘savage silence’ and a ‘desperate interrogation.’” —Tim Keane
Learn the complete assessment right here.
Catherine Murphy: Current Work
Peter Freeman, Inc., 140 Grand Avenue, Decrease East Aspect, ManhattanThrough April 19
Catherine Murphy, “Under the Table” (2022), oil on canvas (picture courtesy Peter Freeman, Inc.)
“[Murphy’s] formal mastery is devoted to making the ordinary inexplicable, causing us to look inward and reflect upon what we are seeing.” —John Yau
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(Re)Generations: Rina Banerjee, Byron Kim, and Howardena Pindell amid the Mr. and Mrs. John D. Rockefeller third Assortment
Asia Society and Museum, 725 Park Avenue, Higher East Aspect, ManhattanThrough August 10
Element of Rina Banerjee, “Not like Superman, a superwoman, unlike kryptonite, like a Native of your country’s forrest, it’s soil is what you are and you trust, coined as home is, a currency weighted down in stones” (2018), ink and acrylic on two picket panels (photograph Lakshmi Rivera Amin/Hyperallergic)
“How do you claim your place in an artistic lineage without distorting or romanticizing it? Is that even possible?” —Lakshmi Rivera Amin
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Could amnesia by no means kiss us on the mouth
Dia Artwork Basis, onlineOngoing
Basel Abbas and Ruanne Abou-Rahme, Could amnesia by no means kiss us on the mouth (2020) (© Basel Abbas and Ruanne Abou-Rahme, courtesy the artists)
“As questions and opposition are quelled in the United States by strategic governmental efforts to expunge words, names, and archives, May amnesia never kiss us on the mouth proposes that holding onto these moments is a powerful political act.” —NH
Learn the complete assessment right here.
