We don’t need to remind you about our love and inspired writing and conversations about and with Danielle Mckinney: she has been the cover of the print edition and a recent guest on the Radio Juxtapoz podcast. Obviously, part of our admiration and interest in the work is the suspension of time in her works, this sort of incredible sense of intimacy, non-era-defined scenes, the solitary power of being alone. They are, indeed, powerful works. For TEFAF Maastricht, Marianne Boesky will pair the smokey, compelling and singular works of Mckinney with Edward Hopper, he too a painter of suspended time and nostalgic loneliness. It is, in so many ways, a perfect…

I just found out that Britt Lower from Severence joined the circus between season 1 and season 2, and presumably, before they start shooting season 3. I don’t know why this is significant to Eric McHenry’s Paying the Clowns at One Trick Pony, but there is a surreal and sinister sort of portrayal coming from these works. But they are beautiful and quirky, a sort of kitsch meets nostalgic theatrical setting. But something about the performative aspect of the circus connects with a desire to witness an other, a differecnt dimension, a different reality and yet still be connected to the present. These works take you somewhere and give you…

Harman Projects is bicoastal this week, first with a booth at the Outsider Art Fair and on the left coast, The Moral Compass, the third solo exhibition by 2x Juxtapoz cover artist and San Francisco-based artist Jeremy Fish. This body of work features new paintings and works on paper in collaboration with Fish’s mother Nicole, a life long librarian and teacher. Each piece is an illustration illuminating one of Ms. Fish’s fables that include a simple lesson and kernel of wisdom.

John Marchant Gallery is very pleased to present a show of paintings and works on paper by beloved British artist Jamie Reid (1947-2023), focusing principally on a period of work which has largely remained unseen.  

MASSIMODECARLO is delighted to present No Room for Emptiness, the first Italian solo exhibition by French artist Diane Dal-Pra. A title like this might hint at an overwhelming fullness, an attempt to keep emptiness at bay – but Dal-Pra subverts this expectation entirely. She courts emptiness, plays with it, stretches it until it becomes tangible. Her paintings exist in a state of beautiful instability: bodies flicker in and out of form, textiles morph into landscapes, and spaces fold in on themselves like fabric.