Archives for May 2026

As astounding as it may now seem, the enthusiasm for Claude Monet’s “Water Lillies” series had started to wane by 1908. So the 68-year-old artist visited Venice in October of that year, extending that visit to two months.

“Run Fast, Bite Hard” explores our relationship to a 21st century concept of “pets.” The show is inspired by Professor Donna Haraway’s theory that humans, animals, and plants are intertwined and co-evolving.

Jason Jägel’s paintings refuse to abide by narrative logic. Never-was and never-will-be are all presented simultaneously taking place all over the canvas. The conscious mind has stepped aside for a few minutes for this literary collagist of a painter.

Jane Ivory’s crisp black and white nature studies offer a What Hath Man Wrought critique on the (mostly local) landscape. Gene Holtan’s intricately detailed paintings form landscapes, maps, or obscurely written manuscripts.

Each work functions like a self-contained echo chamber populated with a small chorus of formal and iconographic operations that co-habit picture spaces. Such spaces are almost but not quite random and precisely organized at the same time.

We enter this exhibition through an image of artist Christine Temblyn’s mouth. The image is vivid — at once bodily and computational — and issues a simple directive: click on my mouth. What follows is disarmingly serene: a menu of twelve labeled flower petals, each serving as a point of entry for both the art and the exhibition.

Jonathan Calm’s photography addresses the diminution of Black Americans’ automobility and, more broadly, the structures and practices that impede their fair access to decent land, a safe home, the freedom to hop in a car and hit the road.

Saif Azzuz’s attitude of inclusivity encompasses both his art practice and his life. With his Libyan father and his Yurok mother, the artist grew up surrounded by relatives who were always making things, so he gravitated naturally into an art career in which the history of settler colonialism is addressed, while highlighting the culture and traditional practices of the Indigenous Yurok people.

This exhibition of 23 color photographs subdivides into several series. These groupings may seem disparate, but they are linked by Lola Flash’s longstanding interest in re-examining the complex fluidities operating between heteronormative racial and gender constructs.

The title of Diane Arbus’ “Sanctum Sanctorum” refers to the fact that almost all the images are of individuals alone in their homes, from single room occupancy hotels to expansive mansions. We are made privy to the environments Arbus’ subjects have built for themselves, places where they feel safest and most themselves.