dArt International Magazine – Page 18 – Spring 2026 edition of the making of art, its exhibition, and what we say about it

February 19, 2022March 14, 2022

Rachid Koraïchi : Le Chant de l’Ardent Désir

by Siba Kumar Das

Rachid Koraïchi, Jardin d'Afrique, 2021, woven tapestry, 129.92 x 90.94 in. Courtesy of Aicon Art — Rachid Koraïchi, Jardin d’Afrique, 2021, woven tapestry, 129.92 x 90.94 in. Courtesy of Aicon Art

Open till March 12, 2022, this is Aicon Art’s third solo show celebrating the art of Rachid Koraïchi—humanist, polymath, creator of art carrying universal significance. While originating in a culture permeated by Quranic scholarship and Sufi mysticism, his art crosses artistic frontiers going beyond Islamic calligraphy and inscription. In inventing a unique artistic language, Koraïchi draws upon many languages and cultures, including those of the Berber and Tuareg peoples. Within his fold, too, are invented Chinese ideograms plus magical squares and talismanic glyphs and other auspicious signs. Also most impressive is the range of his materials, the employment of which has often inspired the artist to create a symbiotic partnership with designers and artisans around the globe.

February 12, 2022March 14, 2022

Nathaniel Mary Quinn and Not Far From Home: Still Far Away

by Mary Hrbacek

Nathaniel Mary Quinn, All the Lost Awards, All That Was Lost, 2021, oil paint, pain stick, oil pastel, soft pastel, gouache, black charcoal on linen canvas stretched over wood panel, 30 x 30 inches, 76.2 x 76.2 cm © Nathaniel Mary Quinn. Photo: Rob McKeever, courtesy Gagosian — **Nathaniel Mary Quinn**, *All the Lost Awards, All That Was Lost*, 2021, oil paint, pain stick, oil pastel, soft pastel, gouache, black charcoal on linen canvas stretched over wood panel, 30 x 30 inches, 76.2 x 76.2 cm © Nathaniel Mary Quinn. Photo: Rob McKeever, courtesy Gagosian

Nathaniel Mary Quinn, “Not Far From Home; Still Far Away,” at Gagosian, presented an exploration of Quinn’s relationships in fourteen intense portraits, created in a range of media that includes oil paint, gouache, charcoal, oil stick and pastel. Distortion is the keynote of Quinn’s inner-based perception, expressed in a vision that transforms the artist, his friends and his female subject, apparently his mother. He disregards visually perceivable features, boldly executing truncated, layered, re-imagined, and spliced images that exude a sense of deep emotional anguish. Quinn’s impeccable inventive paintings compare with the visceral images Francis Bacon created in his portraits, and Picasso’s Synthetic Cubist women.

February 12, 2022March 14, 2022

Forest Bathing – A Group Exhibition about Nature

by Jen Dragon

Forest Bathing installation view John Lyon Paul (left) Anne Leith (right)

Woodstock, NY – Forest Bathing is a concept that originated in Japan in the 1980’s as an antidote to an increasingly technological and alienating world. The idea is to mindfully walk in the woodlands and reconnect with the sounds, smells, colors and textures of nature. The recent Covid pandemic and its restrictions on indoor gatherings have forced a return to the outdoors creating a renewed appreciation for the forest habitat and its seasonal cycles. Inspired by the woodlands of upstate New York, this exhibition features artwork by Ashley Garrett, Anne Leith, Iain Machell, John Lyon Paul, Christy Rupp and Martin Weinstein.

November 6, 2021March 15, 2022

High + Low: A 45-Year Retrospective of the Work of D. Dominick Lombardi

by Eric Nord

D. Dominick Lombardi, “Whistling Bird”, 1998, courtesy of the artist. — *Whistling Bird* 1998, acrylic, wood, papier-mâché, acrylic medium, flower hair clip, 16 1/2 x 17 x 13 1/2 inches

For nearly 250 years, since the first documented occurrence in London in 1775, the artist retrospective has evolved and grown in significance to become a rite of passage within an artist’s career. Arguably, it is now considered an essential accomplishment for any serious artist, legitimizing their inclusion within the canon of art history, and signaling their arrival to a level of public, or at least academic, acknowledgement and recognition.

November 6, 2021March 15, 2022

American Earth Landscape

by Christopher Hart Chambers

Alan Sonfist, Mud Slide California, 1991, mixed media on canvas, 48 x 48 in. (121.9 x 121.9 cm.)

Legendary earthworks artist and forerunner of the movement Alan Sonfist rarely mounts gallery exhibitions. However, this fall his showing at Shin gallery on the Lower East Side of Manhattan is truly brilliant. It features a brief overview of his thought process since the early 1960s via tangible indoor pieces, most hanging on the walls in a variety of media.