Faith Ringgold’s paintings from the 1960s stand alone and they have for some time. Long excluded from art-historical narratives, the canvases are frank and unforgiving in what they depict (racial conflicts, gender troubles), but they also… READ ON
How do we describe our everyday existence? Colloquially, we might cheekily use the term rat race. In his first US exhibition, “B.A.C.K.,” German-born, Brussels-based artist Peter Wächtler seemed to take up this idiom, presenting a cartoon… READ ON
I once considered Trisha Baga a video artist, but the appellation doesn’t really fit any longer. Increasingly over the past two years, Baga has allowed the objects that have always accumulated around her projectionswhich she composes from… READ ON
THE TOFU WAS OOZING FASTER than Anicka Yi had expected. Untitled, 2011, her contribution to the 2011 New York group exhibition “Skin So Soft,” organized by fellow artist Josh Kline for Gresham’s Ghost, took the form of a winkingly … READ ON
I’M TEMPTED HERE to list off some of the great monographic undertakings of 2012. They were certainly satisfying, but the year’s instances of artists refusing to supply demand seem to be more memorable in the end. What should have been… READ ON
Don’t let the blonde by the window fool you. The three paintings in Jana Euler’s solo exhibition feature closely cropped women’s faces that mislead as agreeable representations of jeunes filles, but thinly painted (and veiled) skin … READ ON
MMM I DIDN’T THINK I HAD IT IN ME TO DO THIS. Frances Stark’s camsex epiphany also reflects her decision to continue exhibiting her ongoing risqué virtual fixation. “Osservate, leggete con me” (Observe, Read Along with Me), the latest… READ ON
“Anne Truitt: Drawings” has little to do with Anne Truitt’s sculpture, which couldn’t be better for both media. The elegantly installed retrospective of Truitt’s works on paper spotlights her career-long formal investigations, laid… READ ON
George Ortman’s math doesn’t always add up. His colorful geometric relief paintings, while seemingly well behaved, are anything but. Diamonds, octagons, arrows, and the occasional obtuse angle—all made of canvas, wood, and plaster—nearly… READ ON
Llyn Foulkes never really “fit in” and didn’t try to either—not with the “Cool School” surrounding the Ferus Gallery, the site of his first solo exhibition in 1961, and not with the contributors to Wallace Berman’s Beat magazine,… READ ON