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They used to call this waterlogged city the Most Serene Republic, but there is nothing serenissima about the opening days of the Venice Biennale. The world’s longest-running and most extravagant festival of contemporary art opens to the public on Saturday after a preview biathlon of fine art and financial profligacy that has grown more hectic than ever. You exchange tips on shows not to miss. You judge, you gossip, you wash it all down with Prosecco. Have you seen the Uzbekistan pavilion?

Organizations: Venice Biennale, Prosecco Locations: Serene, Venice, Uzbekistan

☆ Representing the U.S. and Critiquing It in a Psychedelic Rainbow
▼ + stars: | 2024-04-13 | by ( Jillian Steinhauer | ) www.nytimes.com time to read: +2 min

There, they’ll climb atop and surround a large red sculpture composed of pedestals of different heights and perform. The jingle dress dance, which originated with the Ojibwe people of North America in the early 20th century, typically takes place at powwows. In Venice, it will inaugurate the exhibition in the United States Pavilion on April 20. “How do I relate to the United States?” mused Gibson, 52, who in conversation slips effortlessly between earnestness and flashes of playful, dry wit. “I have a complicated relationship with the United States,” he said.

Persons: Jeffrey Gibson, ” mused Gibson, Gibson, ” Organizations: United States Pavilion, Cherokee Locations: Venice, Oklahoma, Colorado, Italian, North America, powwows, United States, New York

☆ Inside Shary Boyle’s Head-Spinning Palace of Wonders
▼ + stars: | 2023-11-09 | by ( Jillian Steinhauer | More About Jillian Steinhauer | ) www.nytimes.com time to read: +1 min

It’s that second feeling I thought about while visiting Shary Boyle’s “Outside the Palace of Me” at the Museum of Arts and Design (MAD), an exhibition that considers how we create our identities and present them to others — and in turn, how those performances feed back into who we are. To visit the show is to step into Boyle’s palace, or at least one wing of it. “Outside the Palace of Me” is a contemporary art fun house — only the fun isn’t as innocent and uncomplicated as it was in childhood. The exhibition originated at the Gardiner Museum in Toronto, where Boyle was raised and still lives. In the 2000s, Boyle began to make ceramics inspired by the porcelain figurines that were popular among the elites of 18th-century Europe.

Persons: It’s, Shary, Boyle, Feist, Ouroboros ” Organizations: Shary Boyle’s, Museum of Arts and Design, Gardiner Museum Locations: Toronto

In order to face either one head on, you must stand on a small, uneven platform of homemade adobe bricks. This is a message from the artist: He’s not interested in a seamless viewing experience. It recalls his contribution to the 2017 Whitney Biennial, where he created a room of adobe bricks. Here, a winding path of bricks connects life-size portraits of members of esparza’s largely queer community. The paintings are also on adobe, referencing his Mexican heritage and accentuating his subjects’ brown skin.

Persons: rafa esparza’s, He’s, JILLIAN STEINHAUER Organizations: Art Basel Miami Beach, Biennial Locations: Los Angeles, New York

Almost any of the 16 Giorgio de Chirico paintings in “Horses: The Death of a Rider” could sustain an exhibition by itself. A couple from the late 1920s are less polished, and you could reasonably call “Two Horses on a Seashore,” 1970, a little glib. As the exhibition title suggests, every canvas also holds one or more horses, often backed by one of the mysterious landscapes he’s known for. The majestic white steed in the title piece, “Death of a Rider,” rears up on a twilit beach, letting its rider tumble off like Icarus behind it. In the distance stands a city on a hill; nearby, two voyagers or gods watch from a rowboat.

Persons: Giorgio de Chirico, de Chirico, It’s, Chirico, ”, HEINRICH

☆ Jaune Quick-to-See Smith, Shaped by the Land
▼ + stars: | 2023-04-20 | by ( Jillian Steinhauer | ) www.nytimes.com time to read: +2 min

She and her sister were raised by their father, Arthur, after their mother, who gave birth to Smith as a teenager, left. Arthur was a horse trader, and while attending school, Smith worked with him — and in canneries and on farms — throughout her childhood. In high school, a white adviser told her, “Indians don’t go to college,” so she did college prep. When an art teacher told her she drew better than the men, but that “women cannot be artists,” she got an art education degree. (Her son Neal Ambrose-Smith is also an artist; two of their collaborations are on view at the Whitney.)

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