Jerry Kearns: Complicit at Frosch & Co Gallery
Review of Jerry Kearns’s Complicit at Frosch & Co Gallery, examining authoritarianism, American consumer culture, ICE imagery, Pop aesthetics, and political painting in contemporary art.
Ghosts Always Come Back
At Kunstmuseum Basel, Ghosts / Geister: Visualizing the Supernatural, curated by Eva Reifert, unfolds as a charged encounter between visibility and the unseen. In her review, Nekane Aramburu traces how artists from Georgiana Houghton and Frederick Hudson to Mike Kelley, Katharina Fritsch, Rachel Whiteread, Claudia Casarino, Ryan Gander, and Gillian Wearing mobilize the ghost not as metaphor, but as a persistent visual and material force. Moving between 19th-century spiritualism and contemporary practices, the exhibition destabilizes the boundaries of abstraction, embodiment, and perception, revealing how the spectral continues to haunt the languages of modern and contemporary art.
The Politics of the Object in Michele Pred’s Work
Projecting Democracy: Michele Pred and the Feminist Politics of the Object — Essay by Yohanna Magdalene Roa for INES_Magazina on Michele Pred’s exhibition at Nancy Hoffman Gallery. The article examines how Pred uses everyday objects—vintage purses, quilts, confiscated airport items, and architectural projections—to address feminism, human rights, bodily autonomy, and the intersection of domestic space and political power in contemporary art.
Insight: Emily Blair Quinn at 5-50 Gallery NYC
This review examines Emily Blair Quinn’s exhibition at 5-50 Gallery, focusing on her paintings, resin sculptures, and photographs that reinterpret vintage porcelain figurines through a contemporary feminist lens. Drawing on Gilded Age aesthetics and themes of gender norms, beauty standards, and female subjectivity, Quinn transforms decorative statuary into psychologically charged narratives. The exhibition critiques historical and contemporary constructions of femininity, including the impact of social media and AI-driven beauty culture, presenting a cohesive body of work grounded in feminist aesthetics and material experimentation.
Jeanne Jaffe: Becoming Hybrid, Emilio Martinez: Freedom From Fear. At L’Space
Art critic Dominick Lombardi explores the compelling dialogue between Jeanne Jaffe and Emilio Martinez at L’Space, where hybrid bodies, faith, migration, humor, and resistance converge into two distinct yet deeply connected artistic worlds.
Ruin and Flight: Counterhistories and Simulation in The Wayfinders
A critical review of Peggy Ahwesh’s The Wayfinders, a feminist counterarchive blending ruin, simulation, and decolonial historiography in a major NYC video installation.