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Subliminal Horizons curated by Alvin Hall

Past viewing_room
New York: July 1 – August 14, 2021
Germantown: July 2 – August 15, 2021
  • Subliminal Horizons

    Curated by Alvin Hall

     

     

     
    New York: July 1—August 14, 2021
    Germantown: July 2—August 15, 2021
  •  

    Alexander Gray Associates presents Subliminal Horizons, an exhibition curated by Alvin Hall as an open-ended survey of Black, indigenous, brown, and Asian artists living and working in the Hudson Valley in New York.

     

    BIPOC creators and their predecessors have always been present in the Hudson Valley. They numbered among its original inhabitants and labored in its agrarian and industrial economies. They have been a force in the countercultural and creative communities that have historically been drawn to the area and are now driving its ongoing transformation into an arts-driven economy. Nonetheless, their work has largely been left out of a cultural narrative that historically gives primacy to the nearly all-white, all-male Hudson River School. Bringing together painting, sculptures, and drawings by an intergenerational group of BIPOC artists living and working in Hudson Valley, Subliminal Horizons invites a fluid, open-ended consideration of the area’s cultural life oriented towards an expanded field and a more complete context.

     

    Rather than presenting a purely critical thesis, the exhibition offers a point of departure for this expanded field. The artists and the works on view are connected by loosely recurring art historical themes such as the contrast between the sublime, realist landscapes of the Hudson River School and the figuration, interiority, textuality, or abstraction of much contemporary work; and by the possibilities for community and collectivity embedded in their shared geography. “I’ve looked at the Hudson River and the surrounding landscape so many times during train rides. The metaphor of the estuary—a body of water that flows in multiple directions— resonates in the works,” says Alvin Hall. “One can locate the covering and uncovering of personal and social histories; a blurring of distinction between the representational and the abstract; the conflicts of the documented and imaginary; and a tension among traditions, modernism, and contemporary art’s growing pluralism in the diverse works in the exhibition.”

     

    A necessarily incomplete intervention, Subliminal Horizons is an exercise in building community, shifting narratives, and reframing dialogue. Generous rather than exclusive, responsive rather than prescriptive, the exhibition aims to strengthen and extend community ties by uncovering existing histories, affinities, and artistic connections. Collectively, the artists and their works speak to the many ways the Hudson Valley is today an important magnet for artistic expression, intellectual pursuit, and emotional expansion. 

     

    Diana Al-Hadid 

    Huma Bhabha 

    Henri Paul Broyard 

    Karlos Cárcamo 

    Lisa Corinne Davis 

     

    Melvin Edwards 

    Kenji Fujita

    Jeffrey Gibson 

    David Hammons 

    Lyle Ashton Harris

     

    Jennie C. Jones 

    Laleh Khorramian

    Glenn Ligon 

    Adam Pendleton 

    Martin Puryear 

     

    Angel Otero 

    Tschabalala Self

    Xaviera Simmons

    Kianja Strobert 

    Carlos Vega

     
  • Kenji Fujita’s paintings juxtapose simple forms to, in his words, encourage viewers to “[engage] with the work in physical space...

    Kenji Fujita’s paintings juxtapose simple forms to, in his words, encourage viewers to “[engage] with the work in physical space and time.” Set/Reset #16 (2021) features amorphous shapes against a blue ground. Offset by bright pops of color, Fujita’s composition collapses distinction between micro and macro—its geometry at once suggesting the molecular and a landscape. Updating a modernist vernacular, the animated volumes of Set/Reset #16 inject formalism with a wry playfulness.

     

    Originally from Los Angeles, Henri Paul Broyard’s paintings of interiors reveal his fascination with vintage items. To create his fictional living spaces, the artist combs through second-hand stores, thrift shops, estate sales, and flea markets in search of photographs from the 1960–1980s. Using these as his inspiration, he constructs imaginary spaces that evoke the colorful domestic tableaus of Post-Impressionists like Paul Bonnard and Édouard Vuillard. In canvases like GTPS (2019), he coopts this visual language to serve as a framework for experimentation, juxtaposing different approaches to mark-making that are alternately improvisatory and deliberate. 

  • Selected works by Kenji Fujita

    • Kenji Fujita Set/Reset #16, 2021 Oil on canvas mounted on MDF 20 x 16 in (50.8 x 40.6 cm)
      Kenji Fujita
      Set/Reset #16, 2021
      Oil on canvas mounted on MDF
      20 x 16 in (50.8 x 40.6 cm)
    • Kenji Fujita Set/Reset #15, 2021 Oil on canvas mounted on MDF 20 x 16 in (50.8 x 40.6 cm)
      Kenji Fujita
      Set/Reset #15, 2021
      Oil on canvas mounted on MDF
      20 x 16 in (50.8 x 40.6 cm)
    • Kenji Fujita Set/Reset #3, 2021 Oil on canvas mounted on MDF 20 x 16 in (50.8 x 40.6 cm)
      Kenji Fujita
      Set/Reset #3, 2021
      Oil on canvas mounted on MDF
      20 x 16 in (50.8 x 40.6 cm)
  • Selected works by Henri Paul Broyard

    • Henri Paul Broyard GTPS, 2019 Acrylic, flashe, spray paint, and correction fluid on canvas 40 x 30 in (101.6 x 76.2 cm)
      Henri Paul Broyard
      GTPS, 2019
      Acrylic, flashe, spray paint, and correction fluid on canvas
      40 x 30 in (101.6 x 76.2 cm)
    • Henri Paul Broyard TFFSD, 2016 Acrylic on canvas 36 x 30 in (91.4 x 76.2 cm)
      Henri Paul Broyard
      TFFSD, 2016
      Acrylic on canvas
      36 x 30 in (91.4 x 76.2 cm)
    • Henri Paul Broyard ILOWP, 2021 Acrylic, flashe, and graphite on canvas 24 x 20 in (61 x 50.8 cm)
      Henri Paul Broyard
      ILOWP, 2021
      Acrylic, flashe, and graphite on canvas
      24 x 20 in (61 x 50.8 cm)
  • Carlos Vega is inspired by history, mythology, and religion, which he uses as a point of departure to explore questions... Carlos Vega is inspired by history, mythology, and religion, which he uses as a point of departure to explore questions...

    Carlos Vega is inspired by history, mythology, and religion, which he uses as a point of departure to explore questions around humanity. His works often incorporates historical documents such as antique ledgers, typed cards from library catalogs, postage stamps, newspapers, and labels into paintings on canvas and sometimes lead, which he then punctures, etches, and paints over. Vega's Morebat et Dolebat I (2020) takes its title from the Latin phrase “wept and grieved.” Depicting a grim scene of death and despair, the composition serves as a visual dirge for the suffering experienced by so many during the Covid-19 pandemic.

     

    Adam Pendleton is a conceptual artist whose practice includes silkscreen paintings, photographic collage, video, performance, and publishing. Much of his work is language-based, including the well-known silkscreen series “Black Dada” (2008-). Beyond the references to the color of these monochromatic works (featuring geometric forms and letters from the titular phrase) and the WWI-era Dada movement, the tile of this series, which Pendleton describes as “a hybrid of poster and something else,” references a 1964 work by the Beat poet Amiri Baraka, Black Dada Nihilismus. “Black Dada is a a way to preach about the future while talking about the past. It is our present moment,” he explains.

  • Selected works by Carlos Vega

    • Carlos Vega Morebat et Dolebat I, 2020 Acrylic on canvas 10 x 13 in (25.4 x 33 cm) 11 3/8 x 14 3/8 x 2 in framed (28.9 x 36.5 x 5.1 cm framed)
      Carlos Vega
      Morebat et Dolebat I, 2020
      Acrylic on canvas
      10 x 13 in (25.4 x 33 cm)
      11 3/8 x 14 3/8 x 2 in framed (28.9 x 36.5 x 5.1 cm framed)
    • Carlos Vega Morebat et Dolebat II, 2020 Acrylic on canvas 13 x 16 in (33 x 40.6 cm) 14 3/8 x 17 3/8 x 2 in framed (36.5 x 44.1 x 5.1 cm framed)
      Carlos Vega
      Morebat et Dolebat II, 2020
      Acrylic on canvas
      13 x 16 in (33 x 40.6 cm)
      14 3/8 x 17 3/8 x 2 in framed (36.5 x 44.1 x 5.1 cm framed)
    • Carlos Vega Love in the Times of Covid, 2020 Acrylic and collage on canvas 11 x 9 in (27.9 x 22.9 cm) 12 3/8 x 10 3/8 x 2 in framed (31.4 x 26.4 x 5.1 cm framed)
      Carlos Vega
      Love in the Times of Covid, 2020
      Acrylic and collage on canvas
      11 x 9 in (27.9 x 22.9 cm)
      12 3/8 x 10 3/8 x 2 in framed (31.4 x 26.4 x 5.1 cm framed)
    • Carlos Vega Patmos, 2020 Acrylic on canvas 10 x 9 in (25.4 x 22.9 cm) 11 3/8 x 10 3/8 x 2 in framed (28.9 x 26.4 x 5.1 cm framed)
      Carlos Vega
      Patmos, 2020
      Acrylic on canvas
      10 x 9 in (25.4 x 22.9 cm)
      11 3/8 x 10 3/8 x 2 in framed (28.9 x 26.4 x 5.1 cm framed)
  • Selected works by Adam Pendleton

    • Adam Pendleton Untitled, 2019 Collage on paper 15 1/2 x 10 1/2 in (39.37 x 26.67 cm) 18 1/8 x 13 in framed (46.04 x 33.02 cm framed)
      Adam Pendleton
      Untitled, 2019
      Collage on paper
      15 1/2 x 10 1/2 in (39.37 x 26.67 cm)
      18 1/8 x 13 in framed (46.04 x 33.02 cm framed)
    • Adam Pendleton Untitled, 2019 Collage on paper 15 1/2 x 10 1/2 in (39.37 x 26.67 cm) 18 1/8 x 13 in framed (46.04 x 33.02 cm framed)
      Adam Pendleton
      Untitled, 2019
      Collage on paper
      15 1/2 x 10 1/2 in (39.37 x 26.67 cm)
      18 1/8 x 13 in framed (46.04 x 33.02 cm framed)
  • Kianja Strobert’s mixed-media sculptures and works on paper share a coarseness of texture and an expressive line. Often working in...

    Kianja Strobert’s mixed-media sculptures and works on paper share a coarseness of texture and an expressive line. Often working in series, Strobert strives to maintain a similar rhythm throughout each work by implementing similar color palettes and visual motifs, as in a recent series that combined sculptures of concrete blocks and terracotta shards with bold abstractions on paper rendered in vibrant autumnal hues. Her delicate and colorful works reveal a preoccupation with assuring that every edge of the composition commands an illusion of depth, perspective, light, and motion. Pushing the boundary between abstraction and figuration, Strobert’s works have no identifiable subject and yet are highly evocative of light and, perhaps, space.

  • Selected works by Kianja Strobert

    • Kianja Strobert 7W, 2021 Paper, wood, foam core, and acrylic paint 16 1/2 x 19 x 3 1/2 in framed (41.9 x 48.3 x 8.9 cm framed)
      Kianja Strobert
      7W, 2021
      Paper, wood, foam core, and acrylic paint
      16 1/2 x 19 x 3 1/2 in framed (41.9 x 48.3 x 8.9 cm framed)
    • Kianja Strobert 25, 2021 Metal lathe, papier mâché, and acrylic paint Approx 13 x 44 x 20 in (33 x 111.8 x 50.8 cm)
      Kianja Strobert
      25, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 13 x 44 x 20 in (33 x 111.8 x 50.8 cm)
    • Kianja Strobert E1, 2021 Metal lathe, papier mâché, and acrylic paint Approx 35 x 18 1/2 x 2 1/4 in (88.9 x 47 x 5.7 cm)
      Kianja Strobert
      E1, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 35 x 18 1/2 x 2 1/4 in (88.9 x 47 x 5.7 cm)
    • Kianja Strobert 22, 2021 Metal lathe, papier mâché, and acrylic paint Approx 27 1/2 x 19 1/4 x 8 1/2 in (69.8 x 48.9 x 21.6 cm)
      Kianja Strobert
      22, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 27 1/2 x 19 1/4 x 8 1/2 in (69.8 x 48.9 x 21.6 cm)
    • Kianja Strobert 19, 2021 Metal lathe, papier mâché, acrylic paint, and paper backing Approx 20 x 21 1/4 x 5 3/4 in (50.8 x 54 x 14.6 cm)
      Kianja Strobert
      19, 2021
      Metal lathe, papier mâché, acrylic paint, and paper backing
      Approx 20 x 21 1/4 x 5 3/4 in (50.8 x 54 x 14.6 cm)
    • Kianja Strobert 43, 2021 Metal lathe, papier mâché, acrylic paint, and paper Approx 24 1/2 x 22 1/4 x 4 1/8 in (62.2 x 56.5 x 10.5 cm)
      Kianja Strobert
      43, 2021
      Metal lathe, papier mâché, acrylic paint, and paper
      Approx 24 1/2 x 22 1/4 x 4 1/8 in (62.2 x 56.5 x 10.5 cm)
    • Kianja Strobert 21, 2021 Metal lathe, papier máché, and paper Approx 27 1/4 x 18 5/8 x 7 3/4 in (69.2 x 47.3 x 19.7 cm)
      Kianja Strobert
      21, 2021
      Metal lathe, papier máché, and paper
      Approx 27 1/4 x 18 5/8 x 7 3/4 in (69.2 x 47.3 x 19.7 cm)
    • Kianja Strobert 42, 2021 Metal lathe, papier mâché, acrylic paint, and paper Approx 30 1/2 x 15 1/4 x 8 5/8 in (77.5 x 38.7 x 21.9 cm)
      Kianja Strobert
      42, 2021
      Metal lathe, papier mâché, acrylic paint, and paper
      Approx 30 1/2 x 15 1/4 x 8 5/8 in (77.5 x 38.7 x 21.9 cm)
    • Kianja Strobert 24, 2021 Metal lathe, papier mâché, and acrylic paint Approx 47 x 19 1/4 x 8 3/4 in (119.4 x 48.9 x 22.2 cm)
      Kianja Strobert
      24, 2021
      Metal lathe, papier mâché, and acrylic paint
      Approx 47 x 19 1/4 x 8 3/4 in (119.4 x 48.9 x 22.2 cm)
  • Thundersnow Road is an immersive project in which Xaviera Simmons traveled across North Carolina, from coast to mountains, shooting photographs...

    Thundersnow Road is an immersive project in which Xaviera Simmons traveled across North Carolina, from coast to mountains, shooting photographs in both rural and urban environments that reinterpret the cultural and physical landscape. Simmons inserted herself into the settings as anonymous subjects, traveling musicians that appear in the landscape, excavated from the history of the location. In this image, the artist is seen completely immersed in the bare limbs of a forest, holding a guitar and pointing toward something outside of the photograph’s frame. Her fictional characters conjure the lore of the landscape and blur the lines of the imaginative and the real to explore the significance of place, music and storytelling in the South.

     

    Diana Al-Hadid's works probe the perceptions and possibilities of scale, material and medium. Balanced at a vanishingly subtle point of connection between gestural elegance and muscular physicality, Al-Hadid's panel works bring the heft of sculpture into the two-dimensional plane. Al-Hadid makes the panel works via an additive drip process in which she meticulously layers paint with polymer gypsum. As substantial and assured as it is delicate and ornate Styx and Stones reads at first like a two-dimensional work. Seen from a distance in a gallery space, it functions like a painting, even as its careful accumulation of materials hints at its structural complexity. Up close, the work contains spaces of absence: actual gaps between areas of the material where one could reach a finger through and touch the wall. Al-Hadid emphasizes this interplay between presence and absence, surface and depth,  by deploying drips of paint from the top of the work with a determined verticality, so that the viewer experiences Styx and Stones as an oscillation between painting and sculpture.

  • Selected works by Xaviera Simmons

    • Xaviera Simmons Thundersnow Road, 2010 Chromogenic color print 40 x 50 in (101.6 x 127 cm) 41 1/8 x 51 1/8 x 1 3/4 in framed (104.5 x 129.9 x 4.4 cm framed)
      Xaviera Simmons
      Thundersnow Road, 2010
      Chromogenic color print
      40 x 50 in (101.6 x 127 cm)
      41 1/8 x 51 1/8 x 1 3/4 in framed (104.5 x 129.9 x 4.4 cm framed)
    • Xaviera Simmons If We Believe In Theory #1, 2009 Chromogenic color print 40 x 50 in (101.6 x 127 cm) 41 1/8 x 51 1/8 x 2 1/4 in framed (104.5 x 129.9 x 5.7 cm framed)
      Xaviera Simmons
      If We Believe In Theory #1, 2009
      Chromogenic color print
      40 x 50 in (101.6 x 127 cm)
      41 1/8 x 51 1/8 x 2 1/4 in framed (104.5 x 129.9 x 5.7 cm framed)
  • Selected works by Diana Al-Hadid

    • Diana Al-Hadid Styx and Stones, 2021 Polymer gypsum, fiberglass, steel, plaster, pigment 54 x 95 x 3 1/2 in (137 x 241 x 3 1/2 cm)
      Diana Al-Hadid
      Styx and Stones, 2021
      Polymer gypsum, fiberglass, steel, plaster, pigment
      54 x 95 x 3 1/2 in (137 x 241 x 3 1/2 cm)
    • Diana Al-Hadid Untitled, 2020 Conté, charcoal, pastel, and acrylic on mylar 42 x 60 in (106.6 x 152.4 cm) 45 x 63 x 1 3/4 in framed (114.3 x 160 x 4.4 cm framed)
      Diana Al-Hadid
      Untitled, 2020
      Conté, charcoal, pastel, and acrylic on mylar
      42 x 60 in (106.6 x 152.4 cm)
      45 x 63 x 1 3/4 in framed (114.3 x 160 x 4.4 cm framed)
    • Diana Al-Hadid Untitled, 2021 Conté, charcoal, pastel, and acrylic on mylar 42 x 60 in (106.6 x 152.4 cm) 45 1/8 x 63 1/8 x 1 5/8 in framed (114.6 x 160.3 x 4.1 cm framed)
      Diana Al-Hadid
      Untitled, 2021
      Conté, charcoal, pastel, and acrylic on mylar
      42 x 60 in (106.6 x 152.4 cm)
      45 1/8 x 63 1/8 x 1 5/8 in framed (114.6 x 160.3 x 4.1 cm framed)
  • Huma Bhabha’s work addresses themes of memory, war, displacement, and the pervasive histories of colonialism. Using found materials and the...

    Huma Bhabha’s work addresses themes of memory, war, displacement, and the pervasive histories of colonialism. Using found materials and the detritus of everyday life, in works like Road to Balkh (2015) she creates haunting sculptures that suggest both monumentality and entropy. While her formal vocabulary is distinctly her own, Bhabha embraces a post-modern hybridity that spans centuries, geography, art-historical traditions, and cultural associations. Her work includes references to ancient Greek Kouroi, Gandharan Buddhas, African sculpture, and Egyptian reliquary. In Road to Balkh, Bhabha pays homage to the ancient city that was on the Silk Road and was sacked by Genghis Khan and his Mongol hordes in 1222.

  • Selected works by Huma Bhabha

    • Huma Bhabha Not About You, 2012 Wood, wire, Styrofoam, wire mesh, cork, lucite, and acrylic paint 65 1/2 x 11 1/8 x 12 1/2 in (166.4 x 28.3 x 31.8 cm)
      Huma Bhabha
      Not About You, 2012
      Wood, wire, Styrofoam, wire mesh, cork, lucite, and acrylic paint
      65 1/2 x 11 1/8 x 12 1/2 in (166.4 x 28.3 x 31.8 cm)
    • Huma Bhabha Road to Balkh, 2015 Tire, clay, wood, acrylic paint, wire, cork, Styrofoam, nail polish, oil stick, paper, and string 5 x 75 x 15 in sculpture (12.7 x 190.5 x 38.1 cm sculpture) 16 3/8 x 83 x 22 1/8 in overall (41.6 x 210.8 x 56.2 cm overall)
      Huma Bhabha
      Road to Balkh, 2015
      Tire, clay, wood, acrylic paint, wire, cork, Styrofoam, nail polish, oil stick, paper, and string
      5 x 75 x 15 in sculpture (12.7 x 190.5 x 38.1 cm sculpture)
      16 3/8 x 83 x 22 1/8 in overall (41.6 x 210.8 x 56.2 cm overall)
  • Born in Tehran, Iran, Laleh Khorramian approaches her work as a series of experiments with the process of chance as...

    Born in Tehran, Iran, Laleh Khorramian approaches her work as a series of experiments with the process of chance as a starting point for discovering possibilities of the unknown. In a vacillating process between macro and micro views of painted landscapes and incidental spaces, Khorramian integrates fiction with spectacle and theater to explore the transience of living matter and beings. Combining spray painted silhouettes and abstract forms with velvet, Lady Totem (2021) recalls the artist’s assertion, “At the moment, … I’m spreading myself a little bit thin, because I’m exploring in a way that I think is necessary, and that feels right. I’ve got to create work and then read that. It tells me where to go.”

     

    While best known for paintings that are all over abstractions collaged from a single paint skin that the artist carves into, Angel Otero’s newest body of work features representational imagery painted directly onto blank canvases and paint skins, foregrounding images drawn from Otero’s memories of his childhood while maintaining the artist’s signature process and abstract style. In works like Untitled (2021), recognizable objects and motifs―beds, house plants, bird cages, couches―seem to float amidst or emerge from the frenetic swirls of layers upon layers of vibrant oil paint. Each painting engages with memories associated with specific objects or spaces, in this case items found in the home. These objects function as subjects, in place of the traditional figure or landscape, and exist as both concrete forms and repositories for memory, their significance constructed through their daily use and the accumulation of associations.

  • Selected works by Laleh Khorramian

    • Laleh Khorramian Lady Totem, 2021 Acrylic, crayon, ink, silk, and velvet on muslin 85 x 32 1/2 x 3 in (215.9 x 82.5 x 7.6 cm)
      Laleh Khorramian
      Lady Totem, 2021
      Acrylic, crayon, ink, silk, and velvet on muslin
      85 x 32 1/2 x 3 in (215.9 x 82.5 x 7.6 cm)
    • Laleh Khorramian Fallout, 2021 Acrylic, cotton, dye, ink, and silk on canvas 49 x 28 x 2 1/2 in (124.5 x 71.1 x 6.3 cm)
      Laleh Khorramian
      Fallout, 2021
      Acrylic, cotton, dye, ink, and silk on canvas
      49 x 28 x 2 1/2 in (124.5 x 71.1 x 6.3 cm)
  • Selected works by Angel Otero

    • Angel Otero Untitled, 2017 Oil paint and fabric collaged on paper 30 x 22 1/2 x 1/4 in (76.2 x 57.1 x 0.6 cm) 32 3/4 x 25 1/2 x 1 3/4 in framed (83.2 x 64.8 x 4.4 cm framed)
      Angel Otero
      Untitled, 2017
      Oil paint and fabric collaged on paper
      30 x 22 1/2 x 1/4 in (76.2 x 57.1 x 0.6 cm)
      32 3/4 x 25 1/2 x 1 3/4 in framed (83.2 x 64.8 x 4.4 cm framed)
    • Angel Otero Untitled, 2021 Oil paint and fabric collaged on canvas 47 1/2 x 31 1/2 x 1 1/2 in (120.7 x 80 x 3.8 cm)
      Angel Otero
      Untitled, 2021
      Oil paint and fabric collaged on canvas
      47 1/2 x 31 1/2 x 1 1/2 in (120.7 x 80 x 3.8 cm)
  • Born in the Bronx area of New York City, Glenn Ligon creates mixed-media works which reference the visual arts, literature...

    Born in the Bronx area of New York City, Glenn Ligon creates mixed-media works which reference the visual arts, literature and history to explore his experiences as an African American and a gay man living in the United States. In Introduction (5) (2004), the opaque typeface and the black-and-white palette both highlight and obscure the text and image, inviting us to examine the work’s surface and consider the ability—or failure—of words to communicate on issues of race and identity. The painting belongs to a larger, signature body of text-based works on paper and canvas in which he manipulated the same heavy, stenciled typeface. “When I choose a text, it's because I've had a very visceral reaction to it,” the artist explains, “the paintings are an attempt to communicate that to a viewer. It's more group therapy than individual sessions.”

     

    Karlos Cárcamo's Kase Paintings absorb and deploy materials associated with contemporary urban culture to internalize and rework the history of modernism and the formal language of abstraction. Incorporating found materials, notably in the frames, which often bear scorch prints or other marks indicating a complex, multivariate history, Cárcamo's finished works hew to the restrained aesthetics of mid-century modernist works by Lucio Fontana or Robert Ryman. Throughout the Kase Paintings, Cárcamo uses elements of removal, collage, spray paint, and other conceptual or industrial strategies to create objects whose formalist refinement invites a subtler engagement with materials and process. 

     

    A Concrete Movement (For George Floyd), a sculpture made in part from a vinyl record manipulated into an abstract shape, is part of a series begun in 2008 and influenced by a specific series of sculptural work by Brazilian conceptual artist Lygia Clark titled "Bichos". Clark's series dates from the 1960's and consists of hinged metal that could be manipulated by the viewer. The visual form of Clark's work influences Cárcamo's vinyl record pieces. The title A Concrete Movement...alludes to the Concrete Art movement of which Clark was a leading figure while also referencing "movements" around social justice. and in a way I see this as a kind of homage to her work and I make reference to it in the title of the series "A Concrete Movement". 

  • Selected works by Glenn Ligon

    • Glenn Ligon Introduction (5), 2004 Coal dust, oil stick, glue, acrylic paint, and gesso on canvas 40 x 30 in (101.6 x 76.2 cm)
      Glenn Ligon
      Introduction (5), 2004
      Coal dust, oil stick, glue, acrylic paint, and gesso on canvas
      40 x 30 in (101.6 x 76.2 cm)
    • Glenn Ligon Notes on the Prelude, 2012 Aquatint with drypoint 21 1/2 x 17 in (54.6 x 43.2 cm) 23 1/2 x 19 x 1 5/8 in framed (59.7 x 48.3 x 4.1 cm framed)
      Glenn Ligon
      Notes on the Prelude, 2012
      Aquatint with drypoint
      21 1/2 x 17 in (54.6 x 43.2 cm)
      23 1/2 x 19 x 1 5/8 in framed (59.7 x 48.3 x 4.1 cm framed)
  • Selected works by Karlos Cárcamo

    • Karlos Cárcamo Kase Painting (P1), 2021 Latex and spray enamel, graffiti remover, and collage on canvas in reclaimed plywood frame 36 x 28 in (91.4 x 71.1 cm)
      Karlos Cárcamo
      Kase Painting (P1), 2021
      Latex and spray enamel, graffiti remover, and collage on canvas in reclaimed plywood frame
      36 x 28 in (91.4 x 71.1 cm)
    • Karlos Cárcamo A Concrete Movement (For George Floyd), 2020 White vinyl records, black plexiglass, latex and spray enamel, and plywood pedestal 54 x 16 x 16 in (137.2 x 40.6 x 40.6 cm)
      Karlos Cárcamo
      A Concrete Movement (For George Floyd), 2020
      White vinyl records, black plexiglass, latex and spray enamel, and plywood pedestal
      54 x 16 x 16 in (137.2 x 40.6 x 40.6 cm)
    • Karlos Cárcamo Untiled Study for Kase Painting (Blue), 2019 Latex and spray enamel, graffiti remover, and collage on paper 21 1/2 x 15 1/4 in (54.6 x 38.7 cm) 26 1/2 x 21 1/2 x 1 1/2 in framed (67.3 x 54.6 x 3.8 cm framed)
      Karlos Cárcamo
      Untiled Study for Kase Painting (Blue), 2019
      Latex and spray enamel, graffiti remover, and collage on paper
      21 1/2 x 15 1/4 in (54.6 x 38.7 cm)
      26 1/2 x 21 1/2 x 1 1/2 in framed (67.3 x 54.6 x 3.8 cm framed)
    • Karlos Cárcamo Untiled Study for Kase Painting (Green), 2019 Latex and spray enamel, graffiti remover, and collage on paper 26 1/2 x 21 1/2 x 1 1/2 in framed (67.3 x 54.6 x 3.8 cm framed)
      Karlos Cárcamo
      Untiled Study for Kase Painting (Green), 2019
      Latex and spray enamel, graffiti remover, and collage on paper
      26 1/2 x 21 1/2 x 1 1/2 in framed (67.3 x 54.6 x 3.8 cm framed)
  • Jennie C. Jones’s interdisciplinary practice seeks to engage viewers visually and aurally. Drawing on painting, sculpture, sound, and installation, her...

    Jennie C. Jones’s interdisciplinary practice seeks to engage viewers visually and aurally. Drawing on painting, sculpture, sound, and installation, her unconventional materials and reductive compositions highlight the perception of sound within the visual arts. Capturing what Jones has termed "the gesture of sound,” this yet to be titled 2021 diptych plays with the five lines of the staff, turning it vertically and reimagining it as an abstract device whose rises and falls evoke the reverberations of a spectogram. Recalling expanded understandings of music that were advanced by Fluxus artists and composers like John Cage, the piece establishes a connection between drawing and music, transforming wild gesture into booming crescendo. notation), a theme found throughout Jones’ oeuvre the last 10 years.

     

    Martin Puryear is best known for his use of natural materials in creating his sculptures, including tar, rawhide, stone, wire, metals, and, most frequently, wood. He began creating works on paper in the 1960s and returned to the medium at the turn of this century, after a period of devotion to monumental sculpture. The relationship between Puryear’s sculpture and printmaking practice is displayed in works like, Untitled (State 1) (2016), which appears to be a blueprint for the artist’s monumental sculpture, Big Bling (2016) in Philadelphia. However, in this two-dimensional iteration, the shape takes on the appearance of a large, seated cat or an abstracted human form, and the resemblance confirms that whatever the medium, Puryear’s work flows from the same creative stream.

  • Selected works by Jennie C. Jones

    • Jennie C. Jones Graphite Movement #1, 2021 Acrylic and ink on paper 20 x 15 in (50.8 x 38.1 cm) 23 x 18 x 1 3/4 in framed (58.4 x 45.7 x 4.4 cm framed)
      Jennie C. Jones
      Graphite Movement #1, 2021
      Acrylic and ink on paper
      20 x 15 in (50.8 x 38.1 cm)
      23 x 18 x 1 3/4 in framed (58.4 x 45.7 x 4.4 cm framed)
    • Jennie C. Jones Untitled (Segue Score) Diptych #4, 2021 Collage, acrylic, and ink on paper in 2 parts 20 x 16 in (50.8 x 40.6 cm), 20 x 15 in (50.8 x 38.1 cm) 23 x 19 x 1 3/4 in framed each (58.4 x 48.3 x 4.4 cm framed each)
      Jennie C. Jones
      Untitled (Segue Score) Diptych #4, 2021
      Collage, acrylic, and ink on paper in 2 parts
      20 x 16 in (50.8 x 40.6 cm), 20 x 15 in (50.8 x 38.1 cm)
      23 x 19 x 1 3/4 in framed each (58.4 x 48.3 x 4.4 cm framed each)
    • Jennie C. Jones Untitled (Segue Score) Diptych #3, 2021 Collage, acrylic, and ink on paper in 2 parts 20 x 16 in each (50.8 x 40.6 cm each) 23 x 19 x 1 3/4 in framed each (58.4 x 48.3 x 4.4 cm framed each)
      Jennie C. Jones
      Untitled (Segue Score) Diptych #3, 2021
      Collage, acrylic, and ink on paper in 2 parts
      20 x 16 in each (50.8 x 40.6 cm each)
      23 x 19 x 1 3/4 in framed each (58.4 x 48.3 x 4.4 cm framed each)
  • Selected works by Martin Puryear

    • Martin Puryear Untitled (State 1), 2016 Intaglio in 3 colors on Hahnemühle bright white paper 41 x 40 in (104.1 x 101.6 cm) 44 3/8 x 43 3/8 x 2 in framed (112.7 x 110.2 x 5.1 cm framed)
      Martin Puryear
      Untitled (State 1), 2016
      Intaglio in 3 colors on Hahnemühle bright white paper
      41 x 40 in (104.1 x 101.6 cm)
      44 3/8 x 43 3/8 x 2 in framed (112.7 x 110.2 x 5.1 cm framed)
    • Martin Puryear Métissage/Camouflage, 2016 Woodcut on Torinoko paper 38 5/8 x 47 3/4 in (98 x 121 cm) 41 x 50 1/4 x 2 in framed (104.1 x 127.6 x 5.1 cm framed)
      Martin Puryear
      Métissage/Camouflage, 2016
      Woodcut on Torinoko paper
      38 5/8 x 47 3/4 in (98 x 121 cm)
      41 x 50 1/4 x 2 in framed (104.1 x 127.6 x 5.1 cm framed)
  • Lyle Ashton Harris’s diverse artistic practice ranges from photography and collage to installation and performance art. His work examines the...

    Lyle Ashton Harris’s diverse artistic practice ranges from photography and collage to installation and performance art. His work examines the impact of ethnicity, gender, and desire on contemporary social and cultural dynamics. Nyame Bekyere (2019) belongs to a series of arresting mixed-media assemblages that incorporate traditional African fabric and patterns into their compositions. The work features images “sampled” from the artist’s wall collages, which he creates by combing through his personal archive. As a result, this and other pieces from the series forward an Afro-fusion of historical and contemporary global references that erodes distinctions between the personal and the political.

     

    David Hammons settled in New York in the 1970s and began to work with found objects and installation in the spirit of Dada and Arte Povera as well as California-based assemblage. Hammons gravitated toward objects particularly coded as “black,” from grease to chicken bones and hair, as well as simple, cheap materials like rocks and empty wine bottles. In this Untitled (1985) series, Hammons transforms cultural objects into magical, fetishistic assemblages. Containing recognizable religious and mythical symbols, along with ritualistic ceremonial objects, the ambiguous relationship between chosen materials ultimately confuscate the “message in the bottle.”

  • Selected works by Lyle Ashton Harris

    • Lyle Ashton Harris Nyame Bekyere, 2019 Ghanaian cloth, dye sublimation prints, and ephemera 40 1/2 x 50 x 3 in framed (102.9 x 127 x 7.6 cm)
      Lyle Ashton Harris
      Nyame Bekyere, 2019
      Ghanaian cloth, dye sublimation prints, and ephemera
      40 1/2 x 50 x 3 in framed (102.9 x 127 x 7.6 cm)
    • Lyle Ashton Harris Antiquariato Busted, 2020 Ghanaian cloth with sutured selvedge, two dye sublimation prints on aluminum, and artist’s dreadlocks 39 1/2 x 48 3/4 in (100.3 x 123.8 cm) 40 3/4 x 50 x 3 in framed (103.5 x 127 x 7.6 cm framed)
      Lyle Ashton Harris
      Antiquariato Busted, 2020
      Ghanaian cloth with sutured selvedge, two dye sublimation prints on aluminum, and artist’s dreadlocks
      39 1/2 x 48 3/4 in (100.3 x 123.8 cm)
      40 3/4 x 50 x 3 in framed (103.5 x 127 x 7.6 cm framed)
    • Lyle Ashton Harris Trophy Piece, 2020 Conjoined Ghanaian cloth, two dye sublimation prints on aluminum, spray-painted stencils, and artist’s dreadlocks 40 5/8 x 49 3/4 x 3 in framed (103.2 x 126.4 x 7.6 cm framed)
      Lyle Ashton Harris
      Trophy Piece, 2020
      Conjoined Ghanaian cloth, two dye sublimation prints on aluminum, spray-painted stencils, and artist’s dreadlocks
      40 5/8 x 49 3/4 x 3 in framed (103.2 x 126.4 x 7.6 cm framed)
  • Selected works by David Hammons

    • David Hammons Untitled, n.d. African mask, buddha statue 20 1/2 x 15 x 11 in (52.1 x 38.1 x 27.9 cm)
      David Hammons
      Untitled, n.d.
      African mask, buddha statue
      20 1/2 x 15 x 11 in (52.1 x 38.1 x 27.9 cm)
    • David Hammons Untitled, 1985 White lightening bolt In clear circular bottle 11 1/4 x 3 1/4 in (28.6 x 8.3 cm)
      David Hammons
      Untitled, 1985
      White lightening bolt In clear circular bottle
      11 1/4 x 3 1/4 in (28.6 x 8.3 cm)
  • Featuring hammer heads, barbed wire, chain, and a horse shoe, Accord (2017) belongs to Melvin Edwards's celebrated series of Lynch... Featuring hammer heads, barbed wire, chain, and a horse shoe, Accord (2017) belongs to Melvin Edwards's celebrated series of Lynch...

    Featuring hammer heads, barbed wire, chain, and a horse shoe, Accord (2017) belongs to Melvin Edwards's celebrated series of Lynch Fragments. Titled in honor of the artist's studio in Accord, New York, the disparate objects and materials that inform the structure of Accord invite complimentary and conflicting readings of oppression, industry, creation, and violence. Edwards often incorporates chain and barbed wire into his work because of the multiple uses both materials have. (Chains, for example, while symbolizing human connections, are also tools of bondage and oppression; similarly, barbed wire is frequently used to imprison and separate populations.) Ultimately capitalizing on this disjuncture, Edwards explained to the curator Catherine Craft in 2013, “Using barbed wire, you have to be aware that it was a way to keep the cows at home. But then people turned it into concentration camps. Before it happened with Jewish people in World War II, it happened in Namibia. Those contradictions, or contradistinctions are things that have occupied me in visual art. As a way to realize the dynamic in a situation, art or otherwise, they’re very important to me.”

     

    Jeffrey Gibson’s diverse practice synthesizes the cultural and artistic traditions of his Cherokee and Choctaw heritage with the visual languages of modernism and themes from contemporary popular and queer culture. His work is a vibrant call for queer and Indigenous empowerment, envisioning a celebration of strength and joy within these communities. One of Gibson’s tapestry works, POWERFUL BECAUSE THEY'RE DIFFERENT (2019) continues the artist’s project of incorporating craft into contemporary art. The bright colors of the wall work evoke the psychedelic effects of Navajo “eye-dazzler” weavings, which developed in the 1890s with the arrival in various trading posts of brightly colored yarns from mills in industrial towns in the north eastern United States, particularly Germantown, PA. Speaking to narratives of resistance, resilience, and endurance, POWERFUL BECAUSE THEY'RE DIFFERENT coopts the language of geometric abstraction to reflect on, in the curator Marshall N. Price’s words, “both the problematic legacies of … [Gibson’s] own heritage and the problematic legacy of modernism.”

  • Selected works by Melvin Edwards

    • Melvin Edwards Accord, 2017 Welded steel and barbed wire 12 1/8 x 7 1/8 x 5 in (31.11 x 18.41 x 12.7 cm)
      Melvin Edwards
      Accord, 2017
      Welded steel and barbed wire
      12 1/8 x 7 1/8 x 5 in (31.11 x 18.41 x 12.7 cm)
    • Melvin Edwards Addis A., 2007 Welded steel 13 x 10 1/4 x 7 1/2 in (33 x 26 x 19.1 cm)
      Melvin Edwards
      Addis A., 2007
      Welded steel
      13 x 10 1/4 x 7 1/2 in (33 x 26 x 19.1 cm)
    • Melvin Edwards Untitled, 1974 Mixed media on paper 18 1/8 x 24 in (46.35 x 60.96 cm) 21 1/2 x 27 1/2 x 1 3/4 in framed (54.6 x 69.8 x 4.4 cm framed)
      Melvin Edwards
      Untitled, 1974
      Mixed media on paper
      18 1/8 x 24 in (46.35 x 60.96 cm)
      21 1/2 x 27 1/2 x 1 3/4 in framed (54.6 x 69.8 x 4.4 cm framed)
  • Selected works by Jeffrey Gibson

    • Jeffrey Gibson POWERFUL BECAUSE THEY'RE DIFFERENT, 2019 Cotton, linen, wool, and nylon 81 1/2 x 101 in (207 x 256.5 cm)
      Jeffrey Gibson
      POWERFUL BECAUSE THEY'RE DIFFERENT, 2019
      Cotton, linen, wool, and nylon
      81 1/2 x 101 in (207 x 256.5 cm)
    • Jeffrey Gibson INFINITE INDIGENOUS QUEER LOVE, 2020 Acrylic on canvas, glass beads and artificial sinew inset into wood frame 63 7/8 x 35 1/2 in (162.2 x 90.2 cm)
      Jeffrey Gibson
      INFINITE INDIGENOUS QUEER LOVE, 2020
      Acrylic on canvas, glass beads and artificial sinew inset into wood frame
      63 7/8 x 35 1/2 in (162.2 x 90.2 cm)
  • Lisa Corinne Davis’s abstract paintings merge form and content to articulate the complex relationship between race, culture, and history. The...

    Lisa Corinne Davis’s abstract paintings merge form and content to articulate the complex relationship between race, culture, and history. The “inventive geography” of her compositions, constructed through the juxtaposition of cartographic lines against organic, amorphous forms, challenges reductive understandings of space and identity. Map-like images like Psychotropic Turf (2015) forward a limitless, open-ended approach to navigating a complex world. Championing nuance and eroding prescriptive categorizations of race and gender, Davis’s paintings encourage viewers to question the systems that shape society.

     

    Tschabalala Self builds a singular style from the syncretic use of both painting and printmaking to explore ideas about the black female body. The artist constructs exaggerated depictions of female bodies using a combination of sewn, printed, and painted materials, traversing different artistic and craft traditions. The exaggerated biological characteristics of her figures reflect Self’s own experiences and cultural attitudes toward race and gender. “The fantasies and attitudes surrounding the black female body are both accepted and rejected within my practice, and through this disorientation, new possibilities arise,” Self explains. “I am attempting to provide alternative, and perhaps fictional, explanations for the voyeuristic tendencies towards the gendered and racialised body; a body which is both exalted and abject.” 

  • Selected works by Lisa Corinne Davis

    • Lisa Corinne Davis Psychotropic Turf, 2015 Oil on canvas 54 1/4 x 40 in (137.8 x 101.6 cm)
      Lisa Corinne Davis
      Psychotropic Turf, 2015
      Oil on canvas
      54 1/4 x 40 in (137.8 x 101.6 cm)
    • Lisa Corinne Davis Congruous Fantasy, 2017 Oil on panel 24 x 36 x 1 1/2 in (61 x 91.4 x 3.8 cm)
      Lisa Corinne Davis
      Congruous Fantasy, 2017
      Oil on panel
      24 x 36 x 1 1/2 in (61 x 91.4 x 3.8 cm)
  • Selected work by Tschabalala Self

    • Tschabalala Self No, 2019 Fabric, acrylic, flashe and painted canvas on canvas 84 x 72 in (213.5 x 183 cm)
      Tschabalala Self
      No, 2019
      Fabric, acrylic, flashe and painted canvas on canvas
      84 x 72 in (213.5 x 183 cm)
  • Installation views: New York City

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  • Installation views: Germantown, NY

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