Seizan Gallery, 2023 Summer Group Show, New York, New York,
Iwasaki is using the traditional Japanese material palette of Nihonga, although her leaf work is delicate, detailed flowers and flowing forms. The portraits are young women with an almost manga-like expressive quality
Pen and Brush, New York, May 20, 2026
Anindita Dutta is an Indian-born, US-based sculptor, installation artist, and performance artist whose practice is materially anchored in wet clay and, increasingly, in the collision between clay and repurposed everyday matter (textiles, clothing, domestic remnants). Her work treats the body as a site of pressure: memory, mortality, and impermanence made literal through the thick clay that cracks, slumps, dries, and records her imprint.
Her most legible “signature” is the way she uses clay as both medium and metaphor. Clay lets her keep process visible: surfaces read as worked and worried. In performance-related work, the body and clay often blur into one another. Clay carries its own behavior, and Dutta leans into it rather than hiding it.
A mildly skeptical read, and I think it is fair, is that work like this can tip into seduction by material density. When it’s strongest, the material excess is in service of a specific psychic or bodily proposition, not just “look how much the surface can hold.” The better pieces tend to be the ones where she maintains a clear hierarchy: sensation first, symbolism second, then spectacle.
David Zwirner, New York, November 9, 2023—February 3, 2024
Robert Ryman (May 30, 1930 – February 8, 2019) was an American conceptual artist closely identified with the high modernist Minimalist mode of painting in the 1960’s. Interestingly he did not attend an art school or program of art studies at a university. Instead, his visual interests began when he worked as a security guard at MoMA, befriending fellow employees Sol Lewitt and Dan Flavin.
From the David Zwirner exhibition text:
Ryman gained initial recognition for the work he made in the late 1960s and early 1970s. As a result, his paintings created prior to this period remain less well known to this day. Yet it was during the early 1960s that Ryman began to firmly establish the broad parameters of his radical and inventive practice. His paintings from these years reflect how, even at this early point, Ryman was already looking to interrogate and reinterpret the fundamental precepts of painting by experimenting with different supports and materials; deconstructing the relationship between frame and wall; and more broadly, investigating the visual, material, and experiential qualities that define the conditions in which a work of art is encountered. It was also at this time that the artist settled on the square as the primary format for his art and began experimenting with scale, a consequence, in part, of his move around 1961 to a studio space that afforded him the ability to work in larger formats.
David Zwirner Gallery
T Space, Rhinebeck, New York, July 16 to October 1 2023
I met Ann Hamilton in 1998 when she installed her piece “Myein” at the Venice Biennale (I was working to install the Philip Johnson exhibition at the Ca’ Zenobio). Was delighted to see her again here at her work exhibited at Steven Holl’s T Space room.
This piece is an installation of wool coats and sheep fleece, as aromatic as it was beautiful
Inscribed on a stone near the coats are her words:
as outside is to inside
-Hamilton
as animal is to human
as stone is to words
as sound is to song
as image is to object
as made is to grown
