Trisha Donnelly’s inscrutability is legendary. She largely forgoes press releases and other sorts of exhibition didactics describing what the artwork is and how it is intended to be interpreted, and has limited the photo-documentation of her work.
Most of the ten paintings in Eleanor Aldrich’s exhibition, “Main Squeeze,” portrayed the suppleness of human flesh through close-up depictions of people’s backs pressed into woven or vinyl-cord lawn chairs, hammock nets, and chain-link fencing.
In “Strategic Vandalism: The Legacy of Asger Jorn’s Modification Paintings,” curators Axel Heil and Roberto Ohrt framed Jorn’s practice of détournement as a kind of ground zero for various strains of appropriation art.
“A Tale of Today: Yinka Shonibare CBE” inaugurates the Driehaus Museum’s exhibition series spotlighting the work of contemporary artists of color, an exciting new direction for this Gilded Age mansion–turned–museum, whose programming has focused largely on art and design from the home’s original era.