The Letters of Rosemary & Bernadette Mayer, 1976–1980 is a collection of the correspondence between artist Rosemary Mayer (1943–2014) and poet Bernadette Mayer (born 1945). The two sisters wax poetics of daily life during the development of well known bodies of work by the two women. While extremely intimate, the letters often preclude exclusivity in terms of readers. Rosemary, early on in the letters, indicates that not only does her correspondence with her sister aid her in working through her art practice, but that the letters figure in very literally. The writings, therefore, to some extent anticipate witnesses privy to such intimate minutiae other than Rosemary or Bernadette. This framing for the other brings up larger questions of witness to development and production of artwork and writing: we read along with Rosemary and Bernadette their day to day thoughts, hesitations and fears, what they’re reading or watching at the cinema, their apologies for writing late or trouble with money, conversations with friends and neighbors, concoctions for dreams and descriptions of images and packages they send to one another. From smaller to grander gestures, The Letters of Rosemary & Bernadette Mayer, 1976–1980 offers insight into the very workings of Rosemary and Bernadette Mayer’s practices in such a way that invites readers to work through similar conceptions of life and art—and, ultimately, to write to another. You can read more about the publication here.

“;” was a group exhibition organized by Mark McKnight at Vielmetter Los Angeles. The show features Etel Adnan, CAConrad, Moyra Davey, Demian Dinéyazhi’, Shannon Ebner, John Giorno, Otis Houston Jr., Jibade-Khalil Huffman, Félix González-Torres, The Song Cave, and Cecilia Vicuña.

; is an exhibition that includes artists who work with, towards, and through poems, poets or “the poetic.” The exhibition unsettles exclusive demarcations of what makes up a poem or an artwork.

‘The New Bend’ is a group exhibition curated by Legacy Russell on view at Hauser & Wirth in Los Angeles. The show features contemporary artists working in textile practice. Their visual vernacular exists in conversation with, and in respect to, the contributions of the Gee’s Bend Alabama quilters – Black American women in collective cooperation and creative economic production – and their enduring legacy.

The show features 13 artists— Anthony Akinbola, Eddie R. Aparicio, Dawn Williams Boyd, Myrlande Constant, Ferren Gipson, Tomashi Jackson, Basil Kincaid, Eric N. Mack, Sojourner Truth Parsons, Tuesday Smillie, Rachel Eulena Williams, Qualeasha Wood, and Zadie Xa—and pays homage to Gee’s Bend quilters Sarah Benning (b. 1933), Missouri Pettway (1902-1981), Lizzie Major (1922-2011), Sally Bennett Jones (1944-1988), and Mary Lee Bendolph (b.1935), among others. The works in the show, therefore, are citational of very specific communal and radical traditions of textile and quilting practices of Gee’s Bend while also contributing to radically new approaches both within textile practice and beyond.

The exhibition runs until December 30, 2022.

Over Time (published by Inventory Press) pairs works from both James Benning (b. 1942) and Sharon Lockhart (b. 1964) with a collaborative, free association-like text. The result is a profound conversation between two accomplished artists that highlights how slow, studied examination and reflection can deepen and enrich often overlooked, everyday experience.

Benning and Lockhart have each made careers of investigating the structure of film itself and rethinking the use of duration and sound. Both artists’ work illustrates the importance of close observation and the evolving urban landscape.