Ricco/Maresca, New York, June 8 to August 11 2023
Kate Berry Brown, “Wood Paper Paint”
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Don Brown: Yoko V
Paul Stolper Gallery, 2015
Threaded Visions: Contemporary Weavings from the Collection
Art Institute of Chicago, Chicago, Illinois, Feb 24–Aug 26, 2024
Early Hand Tools and Farm Implements
Columbia County Historical Society, Kinderhook, New York
This exhibit of early hand tools and farm tools at the Columbia County Historical Society in Kinderhook argues for the expressive beauty of these objects. They are obviously handmade and made singly — the asymmetries are fascinating and add life to the pieces.
They share an additional point in common – they are objects to amplify the force of a farmer’s abilities, extending his or her reach, power, ability to grasp or cut. As such, they feel uncanny, almost as if imbued with their own force. I wonder what happens in the museum at night when it is empty and the lights are out.
Diana Al-Hadid: “Women, Bronze, and Dangerous Things
Kasmin Gallery, New York, November 2 – December 22, 2023
Al-Hadid is a Brooklyn based artist. Born in Aleppo, Syria, Diana Al-Hadid emigrated to the United States when she was five years old, growing up in Ohio. There she received a BA at Kent State and then went on to earn an MFA at Virginia Commonwealth University.
The exhibition work spans a number of media, including rigid board, styrene, bronze, and wax. Commenting on the mythological content of the subject matter, the gallery writes:
“Across Al-Hadid’s use of motifs in this exhibition—which includes figures from Greek mythology alongside protagonists in Islamic and Christian narratives—the artist’s contemporary interpretations intuitively navigate different attempts of reading the future through our past. Constructions in nature such as mountains and caves reappear as emblematic elements of landscape tied to the social, psychological, and religious narratives that have been absorbed into dominant culture over the centuries. Indifferent to where these narratives find their origin in theology, Al-Hadid’s method of retrieving stories both communicate with history and imagine them anew. At once prophetic and autobiographical, Al-Hadid’s sensitive installation across two sites of the gallery’s architecture articulates a realm that manifests, both physically and metaphorically, above ground and below.”