Contemporary Art in the Americas Arte Contemporáneo en las Américas
*and what good does all the research of the Impressionists do them…*

*and what good does all the research of the Impressionists do them…*

Curated by Zoë Claire Miller and Eva Wilson

Squash Editions Ciudad de México 01/19/2018 – 01/21/2018

*and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank* Red lines mark the out of bounds of the squash court, forming an odd horizon that signals the limits of the playing field. Contained in the here

Vista de la instalación *and what good does all the research of the Impressionists do them when they never got the right person to stand near the tree when the sun sank*, Squash Editions, Ciudad de México, 2018. Cortesía de Chelsea Culprit y Squash Editions Vista de la instalación *and what good does all the research of

Right to Remain Elegant

Right to Remain Elegant

Chelsea Culprit

Barba Azul, by Galería La Esperanza Mexico City, México 05/26/2017 – 06/03/2017

Por primera vez desde su inauguración, Galería La Esperanza cambia y expande su locación física al Cabaret Barba Azul en la Colonia Obrera, Ciudad de México. Establecido en 1950, Barba Azul es uno de los restantes salones de baile de segunda categoría en la Ciudad de México, coloquialmente conocidos como ficheras. Una leyenda urbana debido a sus icónicos

Chelsea Culprit, Barba Azul, 2017. Neon, chain and acrylic. 120 x 45 cm. Courtesy of the artist and Galería La Esperanza, Photo: PJ Rountree. Chelsea Culprit, I’ll know in an hour , 2017. Oil, acrylic, aluminum paint, dental plaster, gold llame, plastic jewelry and zipper. 220x172x7cm. Right to Remain Elegant, 2017. Courtesy of the artist and

Ozone Flowers

Ozone Flowers

Michael Assiff

Galería Mascota Mexico City, México 02/08/2017 – 04/08/2017

Ozone Flowers, a show by New York-based painter Michael Assiff, has two pressing events in mind: the onset in 2017 of the Mexican ‘Cap and Trade’ carbon market to reduce greenhouse gasses, and, to the country’s north, the ascent to power of a new climate change-denying political regime. Strung together, the ecological tableaus Assiff creates denote a new world order,

Michael Assiff, Installation View (Hyperaccumulators, Hyperaccumulators), 2017. 40.64 x 50.8 cm each. Courtesy of Galería Mascota, Mexico City. Photo: PJ Rountree. Michael Assiff, Hyperaccumulators (Wedding Hive), 2017. Plastic, latex, UV print on canvas, craft bees. 40.64 x 50.8 cm. Courtesy of Galería Mascota, Mexico City. Photo: PJ Rountree. Michael Assiff & Chelsea Culp, Rex, 2017.

Bougainvillea Begonia Bougainvillea Begonia

Bougainvillea Begonia

Joshua Abelow, Michael Kennedy Costa, Chelsea Culprit, and more

Jonathan Hopson Houston, Texas, USA 09/11/2016 – 10/09/2016

Artists: Joshua Abelow, Michael Kennedy Costa, Chelsea Culprit, Ryan Hawk, Paul Kremer, Keith J. Varadi, Alison Veit, Yui Yaegashi   http://jonathanhopsongallery.com/ Courtesy of Jonathan Hopson, Houston

Artists: Joshua Abelow, Michael Kennedy Costa, Chelsea Culprit, Ryan Hawk, Paul Kremer, Keith J. Varadi, Alison Veit, Yui Yaegashi   http://jonathanhopsongallery.com/ Courtesy of Jonathan Hopson, Houston

Miss Universe Miss Universe

Miss Universe

Chelsea Culprit

Yautepec Mexico City, Mexico 07/07/2016 – 09/09/2016

Silver crowns, butterflies, smashed tiles and neon question marks floating above. Painting becomes 3D, better than any blow up doll, like sculpture, graphic and alive. We’re on the other side of the looking-glass, and the subject of painting, one of those naked models we’re so used to looking at and calling “nudes”, turns around and

Silver crowns, butterflies, smashed tiles and neon question marks floating above. Painting becomes 3D, better than any blow up doll, like sculpture, graphic and alive. We’re on the other side of the looking-glass, and the subject of painting, one of those naked models we’re so used to looking at and calling “nudes”, turns around and