Some of the must-see galleries this weekend at Upstate Art Weekend in New York

Northern State Weekend Art It returns (July 22-24) this year with nearly 150 galleries, open studios, and events throughout the Hudson Valley. Founded by curator Helen Tomer, co-founder of the Northern District Artist Residency Center Stoneleaf Retreat, the event launched with 23 participants in 2020, and has grown exponentially since then. The complete 2022 squad It’s expected to include major destinations like Storm King Art Center and Dia Beacon, both of which offer special opening hours this weekend, as well as trade fairs, non-profit and pop-up spaces. Here are our picks for some of the exhibits on display this weekend:

Forland Gallery Alliance
Until July 24 at Foreland, 111 Water Street, Catskill

Forland, the newly opened Hudson Valley Contemporary Art Campus founded by artist Steve Halmos, has opened the 85,000-square-foot waterfront building with galleries from four separate galleries. A doc from Chicago organized a group display of abstract images and sculptures. Hudson-based Jag Projects presents group exhibitions of abstract paintings. New York-based organization Situations has compiled multicolor prints by artist Natalia Kent; and New Discretions, also based in New York, presents the historical works of German sculptor Hans Bilmer in dialogue with the work of contemporary artists. This weekend (July 23), the center will host a concert in collaboration with the New Art Dealers Alliance featuring music by artists Tschabalala Self and Mike Mosby. Foreland consists of three restored 19th-century buildings that house over 30 artists’ studios, commercial and private project spaces, and an elegant glass bridge. The campus will host a dynamic series of programs in the coming months.

View installation from Ian McMahon: Temporary Event (41.511N-75.004E) In the Elia wheat exhibition. Courtesy of the artist and Elia Wheat Gallery.

Ian McMahon: Temporary Event (41.511N -75.004E)
Until July 25 at the Elijah Wheat Fair, 197 Front Street, Newburgh

The space run by artist Elijah Wheat Showroom hosts a site-specific exhibition of the work of Newburgh sculptor and performance artist Ian McMahon, which explores themes of ephemeral and time in his work. The centerpiece of the gallery is an undulating stucco theater curtain that covers the 3,000-square-foot warehouse, weighs nearly 2,000 pounds and is 44 feet wide. The work was installed last month and will collapse onto the concrete floor of the space for a show that closes July 24 at 7 p.m. McMahon was born in Ithaca, New York and received a Bachelor of Fine Arts from Alfred University. Founded in 2015 by curator and writer Carolina Witt and artist Liz Nielsen, the gallery served as a space in Bushwick between 2016-2020. The Dutch Reformed Church at 134 Grand Street also hosts Nielsen’s work, force fieldwhere a Nitemind group lighting fixture will be projected onto the historic building from 8pm until midnight until September.

Athena Latocha, The night devours the world (2022) in JDJ the Ice House. Courtesy JDJ.

Athens Latocha
Until July 24 at JDJ the Ice House, 17 Mandalay Drive, Garrison

New York-based artist Athena Latocha is known for her multimedia work, which ranges from sculpture and painting to immersive audio scenes, which deal with the Anthropocene and our connection to Earth. In this exhibition of three new works, the artist combines hand-cast lead sheets of rock outlines in the region with ink, resin-coated paper, and other organic and synthetic materials to create massive abstract installations that resemble a ruined landscape. The works symbolically preserve the long-forgotten stories of the landscape surrounding the gallery; Latocha notes that the area, near the Hudson River, was an important site for both the Muncie Lenape, early European colonists, and the US Army during the Revolutionary War. LaTocha’s work was the highlight of the 2021 New York Grand Show at MoMA PS1, and previously at a popular show at BRIC in Brooklyn, where the installation In the wake of… (2021) amplified her work, creating a piece that spanned 55 feet and included an acoustic component that disrupted the space with city sounds.

Hudson Basilica Photo by Leonard Nevarez via Flickr

all hands
From July 22 to August 27 at Hudson Basilica, 110 South Front Street, Hudson

Basilica Hudson, the arts center and event space housed in a massive 19th-century factory near the banks of the Hudson River, reviews the gallery’s newly renovated building with this group exhibition organized by New York curator Jessica Wallen and focused on artists specializing in crafts and crafts. Through their work, wood sculptor Sean Desiree, avant-garde builder Alison McNulty, conceptual landscape artist Bob Breen, and installation artist and poet Leslie Reed have reinterpreted the processes associated with craftsmanship to address issues of sustainability and conservation. Appropriately, the exhibition will be accompanied by a series of public programs focusing on practical skills.

Reginald Madison and Odessa Strobe
July 23 – September 4 at September Gallery, 4 Hudson Street, Kinderhoek

Former Lower East Side dealer Kristen Dodge, who previously ran a space in the Hudson, opened her new digs in Kinderhook with a pair of solo galleries. My flaws are my pets By Reginald Madison presents the paintings of the Hudson-based painter, which in turn evoke the cartoonish characters of Philip Guston and the elaborate allegory of David Wojnarovich. Meanwhile, Odessa Straub Real-Puss Molting Center The Brooklyn-based sculptor, painter, and installation artist is characterized by brightly colored installations and intricate assembly work, which transform household objects into otherworldly contraptions.

Rachel Owens, root sisters (2022). Courtesy Jerry Contemporary.

Rachel Owens: Real Fragile
Until July 24 at Geary Contemporary, 34 Main Street, Millerton

Pstate-based artist Rachel Owens has brought her earthen sculptures numerous times to open fields, from the Socrates Sculpture Garden to the Berkshire Botanical Garden. However, since it works primarily with wood, which it collects throughout the northern region, the show in the Owens Materials Source Region is the perfect full course. The show showcases monumental sculptures and works on paper, each imbued with bold shades of Mother Earth – but a few nonetheless. Indeed, vandalism springs from our hands, arrogance-fueled human destruction of plants and animals. Owens uses broken glass, resin, charcoal, or wood paint that comes from two ash trees that she had to drop from her ground to decompose. “The logs are an important reminder, tombstones of sorts,” says the artist. Owens left New York City for the countryside in 2020, where nature has broadcast her presence to the artist’s practice. But she doesn’t consider her practice a collaboration with nature, “because the weather and the planet’s fluctuation around the sun don’t change,” she said. “Nature sets the standards – it’s like gardening that I love to do too.”

View installation from Vanessa German & Zoe Buckman: We Flew Over the Wild Winds of Wildfires In the Mother Gallery. Courtesy Mother Gallery.

Vanessa German & Zoe Buckman: We Flew Over the Wild Winds of Wildfires
Until September 18 at Mother Gallery, 1154 North Avenue, Beacon

Nowhere could maternal energy be more appropriate than an exhibition called Mother. The Paola Oxoa Gallery, who grew up in her current home in Beacon and later thrived on the Tribeca location, hosts a double show with Vanessa German and Zoë Buckman. A total of 19 works are displayed on plinths or walls that weave together the common threads of two artists’ practices—flexibility in vulnerability, plurality of autonomy and the universal premise of vocation—through the very immediate work of sewing, embroidery, and assembly. German mixed media sculpture hammer (2021) is an in-your-face build-up of softness against raging, an invitation to the warmth of bed sheets against the metallic hammerhead breeze. A mummy-like figure wrapped in pure white sheets, holding a cloud of white pearls on one side and their red sisters on the other. However, red is also bursting with thin curtains of more pearls, flowing from her hand with an undeniable resemblance to blood. Perhaps the delivery of the meridian has to do with the hammer erected over the figure rather than the head. A similar color optimist wears a pukman Delete the mistake you left (2021), a combination of boxing gloves, gingham and string. The tension between warm home life and chilling machines—here she carries German bedroom cloth to kitchen tapestry and batting—is kinetic and ceremonial, and it’s as unsettling as it is soothing.

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