Mari Lee: Daily Discovery of Present MomentArt Projects International, New York

Art Projects International presents Daily Discovery of Present Moment, Mari Lee’s first solo exhibition at the gallery. The exhibition presents selected videos from Mari’s Daily Discovery of Present Moment series as well as a large projection of selected new videos, which expand on the body of work she began during the recent pandemic.

Tue 7 May 2024 to Fri 21 Jun 2024

434 Greenwich Street, Ground Floor, NY 10013

Tue-Fri 11am-6pm

Eva Hesse. Five Sculptures, Hauser & Wirth 22nd Street, New York

Eva Hesse (1936-1970) transformed the language of sculpture through her pioneering use of alternative forms and materials. Challenging the hard-edged, manufactured aesthetic of the prevailing minimalist movement of her day, Hesse’s use of latex, Fiberglas and industrial plastics opened new possibilities in art. Half a century later, her groundbreaking oeuvre is as potent as it was in 1968, the year of the first and only exhibition of her sculptures held during her lifetime. That there have been some fifteen exhibitions in the decades following her death in 1970 is a testament to Hesse’s continued contemporaneity.

Hauser & Wirth celebrates the 25th anniversary of the estate’s representation by the gallery by spotlighting Hesse’s remarkable achievements in ‘Eva Hesse. Five Sculptures.’ This exhibition, organized by Barry Rosen, longtime adviser to the Hesse estate, in collaboration with art historian and critic Briony Fer, reunites five of her most celebrated large-scale works, all on loan from major American museums and all made in the most intense period at the end of her life from 1967 to 1969. Installed on the ground floor of Hauser & Wirth’s gallery on West 22nd Street, the exhibition will emphasize the breadth, scope and impact of Hesse’s materially experimental and psychologically charged sculptures.

Thu 2 May 2024 to Fri 26 Jul 2024

542 & 548 West 22nd Street, NY 10011

Tue-Sat 10am-6pm

Gesture & Form: Women in Abstraction, Almine Rech, New York

Gesture & Form: Women in Abstraction brings together twenty modern and contemporary artists working within the mode of abstraction. In recent years, greater efforts have been made to remediate the imbalanced presence of women artists in the story of abstract painting, and this exhibition engages in that change by celebrating the formidable contributions of these painting giants, past and present.

Fri 3 May 2024 to Sat 15 Jun 2024

39 East 78th Street, 2nd Floor, NY 10075

Tue-Sat 10am-6pm

Phyllida Barlow: unscripted, Hauser & Wirth Somerset, Bruton

In ‘unscripted,’ the work of Phyllida Barlow (1944 – 2023) takes over Hauser & Wirth Somerset in a celebration of the British artist’s transformative approach to sculpture, marking the 10th anniversary of the arts center that was inaugurated by Barlow’s solo exhibition ‘GIG’ in 2014. The landmark exhibition, curated by Frances Morris, draws on her close working relationship with the artist during her lifetime. The presentation will explore the evolution of Barlow’s formal and expressive vocabulary, bringing together singular sculptures, installations, studio maquettes and drawings from her extensive career, some of which will be on public view for the first time.

Sat 25 May 2024 to Sun 5 Jan 2025

Durslade Farm, Dropping Lane, BA10 0NL

Tue-Sun 10am-5pm

Huma Bhabha: Before The EndPublic Art Fund at Brooklyn Bridge Park, New York

Public Art Fund presents Huma Bhabha: Before The End, an exhibition featuring a series of four new large-scale bronze sculptures set against the verdant backdrop of Brooklyn Bridge Park. Drawing inspiration from a diverse array of influences, Bhabha’s works blend aesthetic, cultural, and psychological elements, probing the intersections of art, science fiction, horror, and mythology.

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Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In National Portrait Gallery, London

Photographers Francesca Woodman and Julia Margaret Cameron are two of the most influential women in the history of photography. They lived a century apart – Cameron working in the UK and Sri Lanka from the 1860s, and Woodman in America and Italy from the 1970s. Both women explored portraiture beyond its ability to record appearance – using their own creativity and imagination to suggest notions of beauty, symbolism, transformation and storytelling. Showcasing more than 160 rare vintage prints, Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In spans the career of both artists – and suggests new ways to look at their work, and the way photographic portraiture was created in the 19th and 20th centuries.

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Barbara Kruger, Sprüth Magers, Grafton St. London

The razor-sharp, witty and unmistakable work of Barbara Kruger explores the power of image and word and touches on the dynamics of control, class, corruption and consumerism. For over four decades, her voice and aesthetic have transcended the insularity of the art world and influenced everyday visual culture. Monika Sprüth and Philomene Magers are pleased to present an exhibition of new works by Kruger at the London gallery. The artist’s most recent text-based wall work and series of vinyls will be set in dialogue with a group of ‘paste-ups’—collages from the 1980s related to some of her early and best-known works.

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Jo Andres: Before Your Eyes A solo exhibition spanning 40 years, New York

In this 2 floor exhibition titled Before Your Eyes, a compelling selection from the artists' archive brings together multiple bodies of her work spanning over 40 years. Curated by Stephanie Acosta, Laurie Berg, and Christina Massey Produced by Before Your Eyes with Anna Adams Stark Artworks courtesy of the Jo Andres Archive and Estate Presented by the Jo Andres Archive + SPRING/BREAK Art Show.

April 29 - May 16, 2024

Opening Reception: Thursday, May 2nd, 6-9pm

Exhibition Dates: May 3 - 15, 2024

Open daily* Mon - Sun, 12-6pm *by appointment only on May 6, 7, and 13

The OLD SCHOOL, 32 Prince Street, New York, NY 10012 United States

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Amel Bashier: ورد الجوري ‘Ward el Juri’Addis Fine Art, London

Addis Fine Art presents Amel Bashier’s solo exhibition ورد الجوري ‘Ward el Juri,’ named for her daughter and translating to ‘damask rose.’ The exhibition features new paintings and recent works on paper.

Amel’s works are reflections on the nature and possibilities of freedom. She paints towards the liberation of women, symbolically connecting this emancipation with the growth and persistence of the natural world. The women in her paintings, semi-mythical images of bravery and power, stare boldly back at their viewer. The flowers, leaves, and twisting stems represent the vital force within us, and the promise of flourishing blossoms when adequately nourished and nurtured. Sometimes these natural elements come from memories or stories, which interweave her personal relationships into the narratives of the works.

Wed 24 Apr 2024 to Sat 29 Jun 2024

21 Eastcastle Street, W1W 8DD

Tue-Fri 11am-6pm, Sat 12-5pm

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Pegah Keshmirshekan: Imaginary Homeland, Under The Mango Tree, Berlin

Gallery Under The Mango Tree presents the exhibition “Imaginary Homeland” by Pegah Keshmirshekan (*1996, Tehran). After graduating from Berlin’s Universität der Künste in 2023 as recipient of the Schulz-Stübner Prize for painting, this is her first solo gallery show in Berlin. On display is an expansion of her conceptual multimedia series of floral still life. Her acrylic paintings, an intriguing pastiche of the “Impossible Bouquet”, are paired with a dialogic short film as well as an installation that immerses viewers into the narrative fiction that spans the exhibition.

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Sarah Sze Victoria Miro Venice

Victoria Miro presents Sarah Sze’s first exhibition at Victoria Miro Venice. This exhibition, the artist’s sixth with Victoria Miro, marks a return to Venice for Sze, who featured in the 1999 and 2015 Biennales and represented the United States with her exhibition Triple Point in the 2013 Biennale.

Tue 16 Apr 2024 to Sun 16 Jun 2024

Il Capricorno, San Marco 1994, Calle Drio La Chiesa, 30124

Tue-Sat 10am-1pm & 2pm-6pm

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Teresa Selbee Baker, Without Saying A Word

Without Saying a Word An exhibition of One Hundred Portraits. The show will run May 3rd - May 27th. See this exhibition the ONLY time they'll be on display together. Portraits will be available for purchase. This is the third year I am participating in Taking.Up.Space. A grassroots global community event where womxn artist take up Space through Thrive Together Network. The North Thompson Arts Council, encourages and supports arts and culture projects and activities through education and collaboration I am so thrilled to be exhibiting with them in the town where my own art practice began.

Heather Day: A Moving Window, Almine Rech, Matignon, Paris

Heather Day makes large-scale abstract canvases dappled with the transmuting shades of the natural world. Far from literal evocations ofthe infinitely mutable atmospheric conditions that she observes at dawn and dusk in her high desert studio, Day’s works take apart and reassemble the medium in order to obliquely but evocatively depict the passing of time and the shifting of seasons. Titled A Moving Window, this exhibition explores the artist’s immersion in the quotidian yet profound environmental changes that happen every day outside her window. This presentation includes a new group of works from Day’s “Scattering Light” series, first begun in 2022, that examines the ways in which light is refracted through cloud formations. The artist probes the myriad ways that elevation and wavelength impact how this light is received by the human eye. With her saturated, pooling hues of deep red, blue, and orange, the artist interrogates how color and light leave an emotional residue, how sensory perception is intimately entwined with memory and affect.

Working in the legacy of abstract expressionist Color Field painting, Day starts by pouring acrylic over the surface, allowing the pigment to wash and puddle. As she adds different colors, the tints spread and interact with each other, spurring alchemical interactions that are shaped by humidity and the hour of the day. Utilizing supports that far exceed her own height, the artist performatively engages her compositions, continually moving and shifting the canvas, which acts as a stage for not only basins of paint, but the outsized brush marks that sweep briskly across negative space. In some stretches, Day’s stains rest thinly on the canvas, the texture of dyed fabric. In other sections, multiple layers of coloring result in thick heaps. The tension between these consistencies propels the eye around the frame, as do the final chunky dashes and scrapes of paint that dot the surface.

After completing the application of paint, Day cuts the works into long columns or vectors that she will reassemble and sew into entirely new compositions. In Magenta Window, six long vertical bays are sutured side by side, giving the piece a flickering, animated quality. Swoops of magenta are brusquely chopped, their edges butting up against hazy pools of cobalt blue and cadmium orange. The union of each strip laid side by side creates tension and energy between the recorded gestures. Day deconstructs the supposedly unimpeachable canvas surface, breaking up expected painterly tropes, and rejoining them in polyphonic connections.

Included here for the first time are three paintings that introduce a new radial composition in Day’s body of cut works. Vertically oriented, the configurations resemble the layout of a clock, with triangular sections extending from a central point. In Turning Sky, sections of fuchsia, cerulean blue, deep purples, and cranberry red all meet at the center of the canvas. At the upper right, a polygon of light blue rimmed by red and purple flanks another panel that features a darker spattering of crimson with an undulating boundary that reveals a section of blank space. Emphasizing the three-dimensional presence of the pieces, the painted field wraps around the sides of the stretcher bars. Day’s immersive and vivid paintings explore what the artist describes as “the dynamic relationship between the tangible and the abstract.” They offer the viewer a challenging, thought-provoking space in which to survey the affective, resonant, and transporting qualities of form and color.

Sat 2 Mar 2024 to Sat 20 Apr 2024

18 avenue Matignon, 75008

Tue-Sat 11am-7pm

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Lindokuhle Sobekwa: Heart of the garden, Goodman Gallery, London

South African photographer Lindokuhle Sobekwa’s first solo presentation in London titled Heart of the garden explores the multiplicity of place and identity. This new body of work reflects on the lingering effects of Apartheid with reference to his family history and his ancestral home in South Africa’s Eastern Cape.

This story behind this body of work was motivated by an earlier project, ‘I carry Her photo with Me’, which is about the disappearance of my sister Ziyanda. As part of that project, I traced her footprints back to the Eastern Cape, exploring her earlier life in Tsomo and the surrounding area. Through this process I was able to reconnect with family and uncover a wider sense of my identity. However, I realised that this was also a place that I know very little about. - Lindokuhle Sobekwa, 2024

The presentation includes work from Sobekwa’s series Ezilalini (The country) which offers a reflection on the division between the rural and urban areas structured by Apartheid spatial planning; a deliberate system that still affects family structures and economic access today. This division is represented through his photographic journey from his birthplace Katlehong – a large township in the south-east of Johannesburg – to where his grandmother lives in Tsomo in South Africa’s Eastern Cape Province. The work unpacks the complex sense of spiritual longing and desire to reconcile psychogeographic dislocation that comes from being in a place where one exists out of forced familial fragmentation and systemic dispossession.

Lindokuhle Sobekwa (b. 1995, Katlehong, South Africa) is from a generation of South African photographers born after the first democratic elections of 1994. Through his participation in the Of Soul and Joy photography education programme in Thokoza in 2012, he realised that the medium of photography would be an essential tool to tell stories that concern and interest him.

Sobekwa exhibited for the first time in 2013 as part of a group show in Thokoza organised by the Rubis Mécénat foundation. His photo essay Nyaope (2014) was published in the Mail & Guardian (South Africa), in Vice magazine’s annual Photo Issue and in the daily De Standaard (Belgium). In 2015, Sobekwa was awarded a scholarship to study at the Market Photo Workshop. That same year his series Nyaope was exhibited in another group show, Free From My Happiness, organised by Rubis Mécénat for the International Photo Festival of Ghent (Belgium). The exhibition toured additional sites in Belgium and South Africa. A publication edited by Tjorven Bruyneel included a selection of works.

Sobekwa was selected by the Magnum Foundation For Photography and Social Justice (NYC) to develop the project I carry Her photo with Me. In 2018 he received the Magnum Foundation Fund to continue his long-term project Nyaope. In 2021 Sobekwa completed a residency at A4 Foundation in Cape Town, culminating in a two-person exhibition with Mikhael Subotzky titled Tell It to the Mountains. Sobekwa opened his first museum show in 2022 at Huis Marseille (Netherlands), featuring the body of work Umkhondo. Tracing memory as part of the summer programme The beauty of the world so heavy. His hand-made photobook, I carry Her photo with Me, was included in African Cosmologies at the FotoFest Biennial Houston (2020), curated by Mark Sealy.

Sobekwa’s work was shown at Goodman Gallery in March 2023 as part of the photography show Against the Grain, alongside Ernest Cole, David Goldblatt, Ruth Motau and Ming Smith. He was named an official member of Magnum Photos in 2022 and gave a lecture about his practice at TATE Modern in 2023 as part of his John Kobal Foundation Fellowship. He was also awarded the 2023 FNB Art Prize and as part of the award will have a solo show at the Johannesburg Art Gallery in September this year. His series I carry Her photo with Me will be published by Mack Books in 2024.

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Elaine Cameron-Weir: A WAY OF LIFE, Lisson Gallery, New York

Ingenious WomenWomen Artists and their Companions

Women were long barred from art academies (in Italy, for instance, until 1606). Hence, typically, women artists stemmed from artistic families, where they could acquire the necessary skills outside of official studies. Of Marietta Robusti, nicknamed La Tintoretta (c. 1554/55–1614), – daughter of Jacopo Robusti, known as Tintoretto, – we know that she accompanied her father on commissions at an early age prior to herself becoming a celebrated painter. Yet others had less good fortune and worked for their family members in secrecy. Still others were married into artist families. Of Rachel Ruysch (1664–1750), evidence indicates that her husband, painter Jurien Pool (1625–1666), not only encouraged her to paint, but that her still lifes even sold more than his. Rarer aspirants stemmed from a higher social class, as was the case with Sofonisba Anguissola (1532–1625). Trained by artist and master Bernardino Campi (1522–1591), she even received commissions from the Spanish court.

A joint endeavor initiated by the Bucerius Kunst Forum Hamburg and the Kunstmuseum Basel, the exhibition showcases works by eighteen women artists, contextualising them for the first time with those of their fathers, brothers, husbands and teachers: This series of focused juxtapositions, creative and thematic parallels and divergences are presented in truly fascinating form. Against the background of societal and familial milieu, Ingenious Women brings together portraits, history paintings, still lifes, drawings and graphic arts dating from the Renaissance, Baroque and Classicist epochs.

Kunstmuseum Basel, St. Alban-Graben 16, 4051 Basel, Switzerland

Exhibition Closes: 30 June 2024

More information here

Miniatures Conjure Delights

Miniature art is inherently delightful.  It makes you slow down, take a closer look.  For this show, museum curator Angela Green and micro gallery curator Elaine Luther have partnered to create a group show of 14 different solo shows – each one in a miniature box gallery.

The solo artists in this show are:  Isaac Rafael Galvan, Rebecca Potts Aguirre, Elaine Luther, Alex Velázquez Brightbill, Aparajita Jain Mahajan, Dulce Rodriguez, Stephanie Capps Dyke, Kathleen Marie Garness, Nina Wood, Bryan Northup, Beatriz Whitehill, Gina Lee Robbins, Priscilla Perkins, Liberty Worth.  Mel Kolstad’s work for this show is 365 miniature drypoint etchings.

The media represented in the show include oil painting, acrylic painting, quilts, upcycled sculpture, cyanotypes, polymer clay painting, photography, printmaking and illustration. Artists are from across the U.S., plus Canada and India.

Garrett Museum of Art

100 S. Randolph St., Garrett, IN 46738 United States

22 March - 05 May 2024

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Camille Claudel

GETTY CENTER

April 2 - July 21 2024

The trailblazing French sculptor Camille Claudel (1864–1943) defied the social expectations of her time to pursue original and powerful explorations of the human form.

During that period, few women achieved celebrity in the field of sculpture, which, unlike painting or drawing, continued to be a largely male enterprise. Densely material, largely reliant on nude models, physically demanding, and bound up in male-dominated and politicized systems of state patronage, sculpture was not considered a polite art, and Claudel’s ambitions in that arena were transgressive. Her work prompted the critic Octave Mirbeau to famously exclaim, “We are in the presence of something unique, a revolt of nature: a woman genius.”

Featuring some 60 sculptures from more than 30 institutional and private lenders, the presentation gathers her key compositions—including Young Roman, recently acquired by the Art Institute—showcasing her remarkable technical ability and innovative creations across multiple genres and materials. These range from portraiture to large-scale allegories to scenes inspired by her keen observation of everyday life, and are made in terracotta, plaster, bronze, and stone.

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Making Her Mark: A History of Women Artists in Europe, 1400–1800

Art Gallery of Ontario,

March 30, 2024–July 1, 2024.

Introducing new artistic heroines, Making Her Mark brings together more than 230 objects from royal portraits to metal work, ceramics, textiles, and cabinetry, to demonstrate the many ways women contributed to the visual arts of Europe.

Featuring the work of well-known artists Sofonisba Anguissola, Artemisia Gentileschi, Judith Leyster, Luisa Roldán, Rosalba Carriera, Rachel Ruysch, and Elisabeth Vigée-LeBrun alongside female artisanal collectives, talented amateurs, and women working in factory settings and workshops, the exhibition invites us to reconsider what we think we know about European art history. 

Co-curated by Dr. Alexa Greist, AGO Curator and R. Fraser Elliott Chair, Prints & Drawings and Dr. Andaleeb Banta, BMA Senior Curator and Department Head, Prints, Drawings & Photographs, the decision to exclusively display objects made by women makes this exhibition unique, and among the first to put women makers of various levels of society in conversation with each other, across centuries and a continent, through their artworks.

Making Her Mark is co-organized by the Art Gallery of Ontario and the Baltimore Museum of Art.

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Angelica Kauffman

Royal Academy, London, UK

(The Jillian and Arthur M. Sackler Wing of Galleries | Burlington House)

1 March - 30 June 2024

Angelica Kauffman RA was one of the most celebrated artists of the 18th century. In this major exhibition, we trace her trajectory from child prodigy to one of Europe's most sought-after painters.

Known for her celebrity portraits and pioneering history paintings, Angelica Kauffman helped to shape the direction of European art. She painted some of the most influential figures of her day – queens, countesses, actors and socialites – and she reinvented the genre of history painting by focusing largely on female protagonists from classical history and mythology.

This exhibition covers Kauffman’s life and work: her rise to fame in London, her role as a founding member of the Royal Academy and her later career in Rome where her studio became a hub for the city’s cultural life.

See paintings and preparatory drawings by Kauffman, including some of her finest self-portraits, her celebrated ceiling paintings for the Royal Academy’s first home in Somerset House, as well as history paintings of subjects including Circe and Cleopatra, and discover the remarkable life of the artist whom one of her contemporaries described as “the most cultivated woman in Europe”.

More information here