Your concise art guide to New York for July 2022

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Installation view of Lizania Cruz: Every Immigrant Is a Writer/Todo Inmigrante Es un Escritor (2022) (photo by Shark Senesac, courtesy of International Studio & Curatorial Program)

Cancer season is here again, and we water signs are embracing the creative impulse. Across the city, new art exhibits pay homage to forgotten masters of their craft, address the urgency for direct political action and evoke a shared sense of nostalgia. Our main July exhibitions include installations on the global climate crisis, educational studies of Japanese photographers, and a bridge between ancient and contemporary printing traditions.

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Ajay Kurian, detail from “Hedgehog” (2022) (photo by Joerg Lohse, courtesy the artist and 47 Canal, New York)

When: until July 9
Where: 47 Canal (291 Grand Street, second floor, Lower East Side, Manhattan)

Last year Ajay Kurian Told BOMB magazine that he envisioned two future exhibits in his mind that were “basically about a failed escape: one where we’re leaving the planet and mourning our loss. And the other where we are somewhere else and mourn our situation there. This latest idea, which addresses the neocolonial trend of space exploration, is the basis of his latest series. The foam core sculptures mounted from Homesickness are cerebral and celestial. From afar, they merge ancient Indian sculpting techniques with Rorschach test imagery; up close they reveal microcosmic worlds that seem to float serenely in the gallery space.

Zulu Padilla next to one of his works by Everything migrates (image courtesy of the artist)

When: until July 23
Where: The Compound Cowork (1120 Washington Avenue, Prospect Lefferts Gardens, Brooklyn)

Zulu Padilla’s new Serie merges two seemingly unlikely developments: seasonal warbler migration and queer cruising in Prospect Park. Padilla’s colorful mixed media and photo collages draw visual comparisons between used condoms, which break down into rings, and the life cycles of small birds that visit the city once a year. Everything migrates recalls the varied meanings of theft in New York and how gentrification influences the nature and culture of Brooklyn.

Yasuhiro Ishimoto, “Japan” (circa 1950s-1960s) (image courtesy of Alison Bradley Projects)

When: until July 29
Where: Alison Bradley Projects (526 West 26th Street, Suite 814, Chelsea, Manhattan)

Famous Japanese artist Tokuko Ushioda is widely known for her series Library (2017), who elevated books and printed ephemera into worthwhile works of art. His last exhibition, From student to mastertraces the educational influence of Ushioda’s lesser-known mentors, Yasuhiro Ishimoto and Kiyoji Otsuji. Shown together, their intimate images of domestic scenes and streets illustrate the private and public lives of Japanese photographers long before they were strongly represented in the field.

Untitled painting by Lee Lozano (1963) (photo by Stefan Altenburg, courtesy Hauser & Wirth)

When: until July 29
Where: Hauser & Wirth (542 West 22nd Street, Chelsea and 32 East 69th Street, Upper East Side, Manhattan)

Hauser & Wirth’s summer lineup highlights two accomplished female artists. Before his famous “General strike piece(1969), which marked the artist’s later withdrawal from the industry, Lee Lozano created warm but haunting minimalist oil paintings that elude stylistic definition. Cindy Sherman focused on color self-portraits from 1977 to 1982, a five-year period during which her many character studies reached a peak of productivity.

installation view, Between Worlds – Mokuhanga (image courtesy of Kentler International Drawing Space)

When: until July 31
Where: Kentler International Drawing Space (353 Van Brunt Street, Red Hook, Brooklyn)

Two group exhibitions at the Red Hook Gallery trace the influence of Japanese printing traditions on contemporary artists. Mokuhanga takes its name from the water-based technique explored by the artists in residence at the Mokuhanga Innovation Lab in Yamanashi Prefecture, which forms the base of the exhibition. And in Focus on flat files, a group of such artists who go through the Mokuhanga sisters curated a related series of works from Kentler’s permanent collection. Together, the two exhibitions detail the discipline and precision of an ancient art form and chart its future as a collective practice.

Stacey Davidson, “Boatload” (2022) (image courtesy of FiveMyles)

When: until July 17 and 31
Where: FiveMyles (558 Saint John’s Place, Crown Heights, Brooklyn)

Stacey Davidson’s “Boatload” will likely be a familiar scene for many viewers. Made with dolls, red Solo mugs and miniature American flags, the hanging installation depicts the bizarre camp of white nationalism in the United States. Floating in a sea of ​​dead air, the piece is on display at Plus/Space in Crown Heights 24 hours a day. And in the main gallery, At Tuce Yasak summer residence The light is generous creates a space for quiet introspection, with colored lights and shadow play on reflective sculptural installations.

Francheska Alcántara, “[email protected] [email protected]” (2018) (image courtesy of the artist and Recess)

When: July 21–August 13
Where: Recreation (46 Washington Avenue, Clinton Hill, Brooklyn)

Dominican artist based in the Bronx Francheska Alcantara deconstructs the cultural symbols of the Caribbean diaspora. Through an examination of “charged objects,” such as brown paper bags and Hispano Cuaba soap, the artist unpacks stories of racial coding and governance on queer bodies. The gallery-wide installation at Recess will also allow visitors to play an improvised game of dominoes as an allegory for breaking down layers of oppression.

Clay model for “Cutting Through Mountains to Bring in Water” (1958), artist Liu Shiming pictured at right (image courtesy of Godwin-Ternbach Museum)

When: July 6–August 18
Where: Godwin-Ternbach Museum (Klapper Hall at Queens College, 65-30 Kissena Boulevard, Flushing, Queens)

chinese sculptor Liu Chiming passed away in 2010, but his art is only now getting its due here in New York. His new retrospective brings together 62 works from his five-decade career, including his post-revolutionary debut in Rodin-inspired surrealism. Positioned as China’s first truly modern sculptor, Shiming worked in bronze, wood and ceramics to honor daily life in the People’s Republic using traditional and folk techniques. Rather than an assimilationist, he envisioned a world in which ordinary Chinese people could be appreciated around the world as complex and vital beings.

Steven Anthony Johnson, “Multi-tasking” (2022) (image courtesy of the artist)

When: until August 12 and 26
Where: International Studio and Curatorial Program (1040 Metropolitan Avenue, Williamsburg, Brooklyn)

Two artists-in-residence from the North Brooklyn curatorial program address the historical trauma of the African diaspora. In Every immigrant is a writerDominican artist Lizania Cruz presents her traveling series We the news, a wooden newsstand containing written and printed testimonials from migrants around the world. Meanwhile, Steven Anthony Johnson II Get blood from the stone translates the artist’s interviews with family and friends into fragmentary sketches and sound collages that resonate throughout the gallery. Together, their work forms a common language of displacement and resilience.

Anas Albraehe, “Untitled” (2021) (image courtesy of the artist and Anita Rogers Gallery)

When: until August 27
Where: Anita Rogers Gallery (494 Greenwich Street, Tribeca, Manhattan)

syrian painter Anas Albraeh places marginalized men in compromising positions. The workers and refugees in his expressionist paintings seem asleep in random public spaces, speaking to the layers of fatigue and exposure that come with immigration. Bringing the styles of Matisse and Gauguin into landscapes of Beirut, the artist’s current hometown, The dreamer visualizes migrants’ experience of being on the lookout for something unknown and uncertain.

Cannupa Hanska Luger, “Future Ancestral Technologies—New Myth” (2021) (photo by Stefan Hagen, courtesy Wave Hill and Garth Greenan Gallery)

When: until August 28
Where: Wave Hill Public Garden & Sculptural Center (4900 Independence Avenue, Riverdale, Bronx)

It’s no secret that we’re in the middle of a drinking water shortage. Rampant desertification is forcing people in African countries to leave their homes, aggravating the global refugee crisis. Climate change, too, is melting polar ice caps and burning forests across the Western Hemisphere, threatening the lives of indigenous water protectors. With all of this in mind, Wave Hill’s Water shortage is inspired by stories of resistance, with site-specific installations by Tahir Carl Karmali, Cannupa Hanska Luger, and Lucy and Jorge Orta highlighting nomadic and communal modes of survival.

Dr. Charles Smith’s site in Hammond, Louisiana (since 2001) (photo by Fred Scruton, courtesy of White Columns)

When: July 8–September 10
Where: White Columns (91 Horatio Street, West Village, Manhattan)

Dr. Charles Smith claims that God once told him to make art as an antidote to his suffering. A Vietnam War veteran and ordained minister, Smith answered the call by transforming his family homes in Illinois and Louisiana into marvelous outdoor sculpture gardens called the African American History Museum + Black Veterans Archives. More than 30 new figurative sculptures make up his first solo exhibition in New York, listening to his experience exploring the legacies of slavery in the United States and learning about sculpture himself as a remedy for personal trauma.

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