Widely regarded as one of the leading exponents of postminimalist art in the late 1970s, Charles Gaines (born 1944) is known primarily for his photographs, drawings and works on paper that investigate systems, cognition and language. Considered against the backdrop of the Black Arts Movement of the 1970s and the rise of multiculturalism in the 1980s, the works in Charles Gaines: Gridwork 1974-1989 are radical gestures. Eschewing overt discussions of race, they take a detached approach to identity that exemplifies Gaines' determination to transcend the conversations of his time and create new paths. Charles Gaines: Gridwork 1974-1989 gathers significant examples from several of the artist's most important series, including 75 key works from the mid-1970s through the late 1980s. It features drawings and photographs from public and private collections--some of which were previously considered lost--and essays by leading scholars and curators.

Charles Gaines: Gridwork 1974-1989

Arts & Photography

Martin, Courtney

Simpson, Bennett

Singerman, Howard

Gaines, Malik

Ellegood, Anne

Tani, Ellen

Schriber, Abbe

James, Jamillah

History & Criticism

The Studio Museum in Harlem

Berlin-based Bolivian American artist Donna Huanca (born 1980) practices a type of femme mark-making rooted in scientific and natural phenomena, Andean futurism and meditative practices. She utilizes materials that have a direct relationship to nature―such as raw pigment, oil, turmeric, sand, hair and clay―as key elements in her paintings, sculptures and “skin paintings,” which treat flesh as both canvas and performative tool. Donna Huanca: Obsidian Ladder accompanies the artist’s first large-scale presentation in the United States at the Marciano Art Foundation in Los Angeles. Describing her approach to the site, Huanca says, “I perceive space as both cohesive and elusive, something that can be activated at several levels. By virtue of their powerful presence, the models facilitate a transitory process that captures and develops the space. The models become a kind of respiratory system of temporality and deconstruction. They sense and feel the space, leaving it changed.”

Donna Huanca: Obsidian Ladder

Moss, Ceci

Marciano Art Foundation

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Books by James, Jamillah