“Fuzzy Math,” the title of Sadie Benning’s debut with this gallery, is a term taken from set theory, which has been used to generate “truthy” explanations for political and economic events (war, elections, global warming). Benning’s output here—a series of carefully constructed resin on wood pieces—is predicated on the repercussions of this ideology, resulting in works that image the aftershock of trauma.
The first major retrospective of Pierre Huyghe crystallizes more than two decades worth of output into a single environment. Fifty pieces, many being presented in the US for the first time, have been arranged thematically. Some act as much as artworks as exhibitions and events unto themselves, promising encounters unique to each viewer. This is an exhibition that insists on the living dimension of Huyghe’s sublime practice.
Plump ceramic lips hang from the wall and life-size mannequins, polished in hats and heels, sprout spider webs from their limbs; each have eight eyes. Cartoon balloons of chitchat have been drawn on the walls and phallic mounds have been sculpted into a table. Liz Craft's debut at Jenny's, “The Secret Lives of Spiders,” is a spirited and complicated appeal for talk.
Tom of Finland’s lusty, homoerotic depictions of muscled men were groundbreaking for their pluck and spirit. This exhibition brings together works created between 1944 and 1972, making an exceptional case for the legacy and influence of this artist. There is leather and military garb, locker rooms and stables, policemen and sailors. An accompanying catalogue, designed by Brian Roettinger and featuring an essay by Kevin McGarry, will be published this spring.
Tom of Finland Early Work 1944 - 1972
Included in Thomas Demand's latest exhibition are two new photographic series from 2014: “Backyard” images the dilapidated home of Boston Marathon bomber Tamerlan Tsernaev; for “Atelier,” Demand has remade Henri Matisse’s studio at the Hotel Régina in Nice, France, where the artist created the bulk of his cutouts. In both, the central figuresTsernaev’s wife and the late artistare absent, emphasizing Demand’s interest in the reconstruction of news media and artistic practice, where bodies seem less vital than material.
Thomas Demand Thomas Demand
What has the Internet imparted to art making? See Parker Ito’s latest exhibition, a labyrinth of glittering lights and brightly colored chains that suspend dashing paintings and high-gloss sculptures—all doubles of others artists’ work (Sturtevant, Murakami, Hockney, Bernini, Koons). It's an enormous, generous, and treacherous installationa brilliant realization of a question with an answer that has no bounds.
Parker Ito A Lil Taste of Cheeto in the Night