previews

  • Ginny Casey, Balancing Act, 2017, oil on canvas, 70 × 75".

    GINNY CASEY AND JESSI REAVES

    ICA - Institute of Contemporary Art, Philadelphia
    University of Pennsylvania 118 South 36th Street
    April 28 - August 6

    Curated by Charlotte Ickes

    A bulbous, raunchy anthropomorphism runs through the paintings of Ginny Casey and the sculptures of Jessi Reaves. Casey’s paintings, featuring cool-toned, swollen hands and vases, and Reaves’s furniture-based constructions both confront the life of the decorative object. While these emerging artists clearly share a fascination with the everyday, the most striking common aspect of their practices is an uncanny, subtly grotesque emphasis on the body as it assumes the forms of (or interacts with) household objects. This two-person show features more than thirty recent works, several made for the occasion, and comes on the heels of Reaves’s critically heralded interventions at this year’s Whitney Biennial. Accompanied by a catalogue featuring essays by Ickes and art historian Julia Bryan-Wilson, the show pushes beyond the rote feminist strategy of the appropriation and inversion of the domestic to explore something far creepier.

  • “MOHAMED BOUROUISSA: URBAN RIDERS”

    The Barnes Foundation
    2025 Benjamin Franklin Parkway
    June 30 - October 2

    Curated by Sylvie Patry

    In 2014, the Algerian-born, Paris-based artist Mohamed Bourouissa began a long-term project about black cowboys in northern Philadelphia, producing a slew of videos, photographs, drawings, and sculptures. He spent the better part of a year with the young men of the Fletcher Street Urban Riding Club, not only capturing a world that belies the mythology of the white western cowboy but also earning the trust of the riders—to the extent that he and they were able to create new works together, such as ritualized costume competitions and “horse-tuning” events, which borrow from the style and attitude of showing off tricked-out cars. Bourouissa’s first major solo show in the US promises to be both concise and expansive, focusing solely on the Fletcher Street project, displayed in its entirety—comprising more than fifty works, including new ones—for the first time in the city where it was made. The accompanying catalogue, which sets “Urban Riders” in the wider context of Bourouissa’s practice, is the first publication on the artist’s work in English.