Artist On the Rise
Diamond Stingily by Daniel Dorsa for Artsy.
Hayden Dunham by Daniel Dorsa for Artsy.
“Isolated Above, Connected Down,” her recent exhibition at Tanya Bonakdar Gallery and her first solo outing at a major U.S. gallery, was a tripartite viewing experience, demonstrating her facility in photography, film, and room-filling installation. It’s a key moment of visibility for the artist, who recently joined the gallery’s ranks, a heavyweight roster that includes
. Xiaoyu Weng, associate curator of Chinese art at the Guggenheim, points to that exhibition as a milestone, as it introduces her “very personal and intimate aesthetic language” to an institutional audience in New York.
Liu was also included in last year’s “.com/.cn,” an important group show that looked at the internet cultures of China and the West in various ways. This exhibition—which was co-presented by the K11 Art Foundation and MoMA PS1, and co-curated by the latter’s Klaus Biesenbach and Peter Eleey—placed her work in conversation with
, and others who have already received a surfeit of international attention. And, through May 21st, Liu’s work is on view as part of the Kunsthalle Düsseldorf’s 50th anniversary exhibition, “Welcome to the Jungle.”
Paul Mpagi Sepuya by Daniel Dorsa for Artsy.
Sepuya is one of the standouts of Gallun’s MoMA show, and he was also a highlight of “Trigger: Gender as a Tool and a Weapon” at the New Museum, where one of his more indelibly explicit images tested the boundaries of many an Instagram feed. The artist was recently picked up by Team Gallery (the longtime home of star photographer
), and had an inaugural show at its Los Angeles outpost last September, which is now on view at Chicago’s Document Gallery through May 26th. Sepuya is also represented by Yancey Richardson Gallery, with whom he had his first solo show last February.
Following the Zabludowicz Collection show and solo outings at Matt’s Gallery in London and Seventeen in New York, Simnett is experiencing a groundswell in institutional support, with forthcoming solo exhibitions at the New Museum in New York and at Glasgow’s Gallery of Modern Art. Simnett was also recently shortlisted for the 2017 Film London Jarman Award, an accolade she shares with the artists
—each of whom went on to be shortlisted for (or win) the Turner Prize.
Lu’s recent solo show at M Woods, a private museum in Beijing, combined three new commissions with existing works, including ghostly sculptures made from artificial crystals; an arcade game featuring Uterus Man, a superhero of Lu’s invention; and an interactive installation using augmented reality. Notably, it was the first solo presentation by a Chinese artist to take place at the museum since it was founded in 2014. (She’s in good company, with other M Woods shows having spotlighted
Lu is represented by Société, the Berlin gallery home of new-media whizzes
. She’s shown widely throughout greater China, and was included in the country’s pavilion at the 2015 Venice Biennale. She grabbed the coveted Gallery Weekend Berlin slot for a solo exhibition at Société last year, as well as a solo show at MOCA Cleveland, titled “Delusional Mandala.” A 2017 group show at Sadie Coles in London, “Zhongguo 2185,” put Lu forward as one in a new crop of artists redefining the lexicon of
; she’ll also be included in the 12th Shanghai Biennale, opening this November.
Loie Hollowell by Daniel Dorsa for Artsy.
Loie Hollowell is a painter, but one who isn’t afraid to get dimensional. Her brightly colored oils of abstract forms suggest both undulating bodies and lush landscapes; they include curved extrusions crafted from high density foam and sawdust, inviting comparisons to the suggestive geometries of
Hollowell was previously represented by Lower East Side gallery Feuer/Mesler, before its owners shuttered the space in early 2017 to pursue ventures further afield. She landed well, officially joining the roster of blue-chip Pace Gallery two days before Feuer/Mesler’s closure was announced—a major coup for an emerging artist. Hollowell is, along with
, one of the youngest artists represented by Pace, which hosted its first solo show with her this past fall in Palo Alto. That was followed by a further vote of continuing confidence in Hollowell’s maturity and market appeal, courtesy of a solo show in Hong Kong at Pace Gallery’s Entertainment Building location, which opened during the week of Art Basel in Hong Kong this March.
Raphael Gygax, curator of Zurich’s Migros Museum of Contemporary Art, likens Vogel to “the heavy metal version” of acclaimed multimedia artist
. It’s an apt comparison: Vogel’s immersive installations trade Rist’s vibrant and sensual videos for loud music and films projected onto bulky readymades. The Berlin-based artist often makes her own body the focal point of her films, sharing the starring role with cameras, projectors, and drones.
Sable Elyse Smith by Daniel Dorsa for Artsy.
Shen’s career has reached a critical temperature over the past year. In 2017, she was chosen by the artist
to be one of four recipients (alongside
) of the inaugural BALTIC Artists’ Award, and she performed a live interpretation of Provocation of the Nightingale before its screening at the Serpentine Pavilion. MIMA and the Centre for Chinese Contemporary Art (CFCCA) in Manchester have together commissioned Shen to make a new film, which will debut in her solo show opening at the CFCCA in May.
Christina Quarles by Daniel Dorsa for Artsy.
The figures in Los Angeles-based Christina Quarles’s paintings often look as if they’re on the verge of motion. She’s part of a broader groundswell of artists who are inventively rejuvenating the possibilities of figuration. “In a just a few wide strokes, Quarles disavows the rabid misogyny of
and restores the powerfully erotic dignity of being neither/nor,” says Dena Beard, director of The Lab, an experimental art and performance space in San Francisco. “I often look for movement, improvisation, and the trace of breath in object-based practices,” Beard says. “Quarles’s paintings move even beyond the breath.”
Quarles is represented by David Castillo Gallery in Miami Beach, and is also a recent addition to the roster of London’s Pilar Corrias Gallery, which has bolstered the careers of artists like
During Art Basel in Miami Beach last December, the Rubell Family Collection spotlighted Quarles in its insightful survey show, “Still Human,” alongside the likes of
(the show is on view until August 25th). The artist was also included in a group exhibition, “Abstract/Not Abstract,” co-presented by Gagosian and Jeffrey Deitch during the fair. Her streak continues this year with an upcoming exhibition at Pilar Corrias and inclusion in the Hammer Museum’s influential snapshot of contemporary practice, “Made in L.A.”
The darkness of history crashes into the absurd in Naufus Ramírez-Figueroa’s performances. Consider A Brief History of Architecture in Guatemala (2010), in which three performers—wearing white foamboard costumes of a
pyramid, a colonial church, and an
modernist bank—dance to a Guatemalan folk tune played on the marimba. The dancers’ movements become faster and more convulsive until the costumes tear and fall from their bodies, leaving them standing naked, except for their socks.
Luke Willis Thompson’s autoportrait (2017) shows a woman, filmed in black and white in strikingly high contrast, against a blank backdrop—reminiscent of
’s “Screen Tests.” Shot without sound, the film is freighted with political urgency: Its subject is Diamond Reynolds, who broadcast the dying moments of her partner, Philando Castile, on Facebook Live after he was shot by a police officer during a traffic stop.