Courtney Fiske

Daniel Gordon

Wallspace

November 2014

Daniel Gordon locates his photographs through a triangulation of painting, collage, and cutout. His C-prints compose still-life fare in complex tableaux, which he lights in-studio and captures on large-format film. Sourced from the Internet… READ ON

PICKS

Kiki Kogelnik

Simone Subal Gallery

November 2014

Two silhouettes cut from sheet vinyl, one black, one butterscotch, hang from two coat hangers that are looped through wire to the canvas’s upmost edge. Slung against an acrylic gradient (pink-rimmed azure melted in lavender), each silhouette… READ ON

PICKS

Jennifer Paige Cohen

Nicelle Beauchene Gallery

November 2014

Jennifer Paige Cohen figures moments of corporeal hinge: the slouch of a shoulder, the crook of crossed knees. Consider Obverse (Fleece), 2014, which takes shape from troweled plaster and pilled fleece. One side disposes consecutive curves:… READ ON

PICKS

Gina Beavers

Clifton Benevento

September 2014

On December 1, 1961, Claes Oldenburg’s Store opened on Manhattan’s East Second Street. For sale were replicas of banal objects—a plate of meat, a fur coat—made lumpy and lascivious. Each came as a burlesque of the commodity it … READ ON

PICKS

Nancy Grossman

Michael Rosenfeld Gallery

June 2014

There’s an unsalutary air about Nancy Grossman’s wall-bound assemblages: a sense of impaction or suppurated swell like a beetle squished then left to harden. For all their blunt materiality, her bas-reliefs, produced between 1964 and … READ ON

PICKS

Sherrie Levine

Paula Cooper Gallery | 534 West 21st Street

May 2014

Repetition can act to affirm, to shore up meaning and provide closure: The lecturer reiterates her point to underscore its significance. Yet repetition can also effect the opposite, seriality emptying into beige-bland banality. To repeat in… READ ON

PICKS

Matthew Porter

Invisible-Exports

April 2014

Matthew Porter approaches his photographs as one might a canvas. His abstractions accrue from multiple in-camera exposures of generic still-life ingredients—furniture, fabrics, and sundry bric-a-brac—that the artist composes in front of… READ ON

PICKS

Save the Last Tanz

Courtney Fiske on Chantal Akerman’s Un Jour Pina m’a demandé

January 2014

A BEAT, and then, of course: Who better to make a documentary about Pina Bausch than Chantal Akerman? Her 1976 classic Jeanne Dielman is not just a film but a choreography of the everyday, made manic through the stringency of its rehearsal.… READ ON

FILM

Julien Bismuth

Simone Subal Gallery

January 2014

If modernism’s knell announced medium’s loosening into an infinite elasticity, it never quite consigned the latter to anachronism. Medium, that middling condition between subject and world, lingered like some slouching, sallow houseguest:… READ ON

PICKS

Elaine Reichek

Zach Feuer Gallery

December 2013

Elaine Reichek’s work proceeds through semantic slippage and an incessant collapse of high art into craft. Spanning from 1972 to 1995, this modest retrospective plumbs those structures—mediumistic, discursive, and otherwise—whose … READ ON

PICKS