reviews

  • Ree Morton, Signs of Love (detail), 1976, acrylic, oil, colored pencil, watercolor, and pastel on nitrocellulose-impregnated canvas, wood, and canvas with felt, dimensions variable. Photo: Constance Mensh.

    Ree Morton

    ICA - Institute of Contemporary Art, Philadelphia

    Ree Morton’s first large-scale US museum exhibition since 1980, “The Plant That Heals May Also Poison,” at the Philadelphia Institute of Contemporary Art, captures the unparalleled, heartbreaking hot streak, from 1971 to 1977, that constitutes her brief career. She got a late start: She was married with three kids by age twenty-five, and her subsequent pursuit of an art education was as arduous as it was anomalous. And then she died tragically, in a car accident, when she was just forty. So all of her work is early work, and in this show curated by Kate Kraczon, we see her in flux, forging her

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  • Kate Bright, Between a Dog and a Wolf 4, 2018, oil on canvas, 55 × 47". From the series “Between a Dog and a Wolf,” 2018.

    Kate Bright

    Locks Gallery

    The title of Kate Bright’s exhibition, “Soft Estate,” referred to the fertile swaths of land that run parallel to railroads and highways in the UK, where Bright photographed the flourishing nonnative flora that are, in her words, “escapees from the domesticated environment.” Painted from composites of these photographs, Bright’s sensuous—and deeply ethical—canvases extend her two-decade occupation with the landscape as both urgent environmental concern and contested artistic genre.   

    In Holloway, 2017, which is named after a major London thoroughfare, massive mustard yellow, flame red,

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