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3 weeks ago | 
lesactualites.news | Jessica Simmons-Reid
Archives incarnées par Carmen Winant “, c, ‘onload =” var d =’, n, “; d.getElementsByTagName (‘head’)[0]. “, d,” (d. “, g,” (‘script’).
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3 weeks ago | 
artforum.com | Jessica Simmons-Reid
On the art of Carmen WinantIN APRIL 2018, shortly after becoming a new mother, I made a pilgrimage to see Carmen Winant’s herculean installation My Birth, 2018, at the Museum of Modern Art in New York. The work consists of over three thousand found photographs of women (including the artist’s mother) in various stages of labor and childbirth.
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1 month ago | 
artforum.com | Jessica Simmons-Reid
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2 months ago | 
artforum.com | Jessica Simmons-Reid
The Palisades firestorm broke out several days before the scheduled opening of “Mothership,” Isabel Yellin’s solo exhibition at the Frederick R. Weisman Museum of Art at Pepperdine University. Perched on a coastal bluff in Malibu, the museum had only just survived a previous wildfire that swept through the surrounding mountains in December 2024. When I finally made it to Yellin’s exhibition, the only open road that accessed the museum coiled through a once-verdant canyon now charred.
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Feb 4, 2025 | 
artforum.com | Andrew Berardini |Suzanne Hudson |Jessica Simmons-Reid |Jeremy FreyKarma
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Feb 1, 2025 | 
artforum.com | Jessica Simmons-Reid
Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.
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Jan 15, 2025 | 
frieze.com | Jessica Simmons-Reid
In ‘New Waves’ at Perrotin, four large-scale, elegantly minimalist photographs by Leslie Hewitt rest on the floor leaned against the wall – an irregular display tactic that the artist frequently employs. Embracing the dimensional space of the room, these works breach the invisible boundary between image and viewer; their physical weight and heft position them as discrete sculptural entities.
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Sep 1, 2024 | 
artforum.com | Jessica Simmons-Reid
While the word extraterrestrial can conjure images of fantastical or menacing alien beings, it more generally refers to anything, whether animate or inanimate, known or unknown, that exists beyond the immediate atmosphere of our planet. Similarly, the word alien, while infused with otherworldliness, encompasses a broader sense of outsiderness and is often wielded as a derogatory accusation.
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Jun 1, 2024 | 
artforum.com | Jessica Simmons-Reid
The title of Alberta Whittle’s solo exhibition “Learning a new punctuation for hope in times of disaster” served as a poetic cipher that ballooned in meaning the more one sat with her work. A collection of nine paintings and a video installation, the exhibition proposed forms of warmth––from rich colors to gestures of care––as reparative methods for addressing lineages of trauma wrought by forces of racism and colonialism.
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May 31, 2024 | 
frieze.com | Jessica Simmons-Reid
Julie Tolentino’s exhibition at Commonwealth and Council is an exercise in alchemy: it centres the process of becoming as a foundational tenet of the work. Here, everything is in flux, with objects and materials cohering, fracturing, tangling and transforming to create a sculptural dynamism that echoes the organic transmutations of the living world. The titular installation, The Flood, The Vessel, The Commune—how do we find each other? (2024), occupies a single gallery space.
