For Friedrich Schiller, our aesthetic accomplishments owe themselves to the Spieltrieb, or “play drive”: the expenditure of energy in an unimpeded outpouring of imagination. Romanian-born Andra Ursuta, an artist who plumbs bleak and … READ ON
Don’t be deceived by the provinciality implied in “stone’s throw,” the title of Steve Roden’s latest exhibition—the imaginative routes in his work are as elaborate as his paintings. Bundles of boldly dappled lines congregate in … READ ON
On a visit to Carol Bove’s exhibition at Kimmerich in New York last March, the gallery assistant kindly asked me to refrain from blowing on the peacock feathers. Apparently, a number of visitors had been so disarmed by Bove’s exquisite … READ ON
This exhibition, “The Decapitation of Money,” marked the latest installment of a project titled “Looking for Headless,” initiated three years ago by the Swedish artists Simon Goldin and Jakob Senneby. Actually, it comprised the … READ ON
“Recommencer. Commencer de nouveau la peinture” (Starting Again: Starting the Painting Again) surveyed the career of French painter Gérard Gasiorowski (1930–1986), who began his career as a successful Photorealist in the mid-1960s and… READ ON
Alisha Kerlin paints failed games of solitaire, but it would be a disservice to take that allegory of painting-as-stalemate at its word. Judging by her lustrous, lively palette, there is more to her position than just an admission of failure.… READ ON
Meredith James’s first solo exhibition at this gallery is titled “Espalier,” which nicely captures the artist’s elaborate conceptual frameworks and her work’s natural charm. This rare combination might account for why James’s … READ ON
The third and last in a cycle of exhibitions curated by Lorenzo Benedetti at the Kunsthalle Mulhouse, “Les Sculptures meurent aussi” (Sculptures Also Die) looked like a primer on recent European sculpture, however predicated on such … READ ON
Capping off (and gamely repudiating) a series of exhibitions at 179 Canal featuring collaborations, Josh Kline and Anicka Yi’s exhibition “Loveless Marriages” playfully suggests the kind of irreconcilable differences that make good … READ ON
A Plexiglas panel, installed above the entrance to the Crac Alsace, reads, “Je haïs les voyages et les explorateurs” (I hate traveling and explorers)—the first line from Claude Lévi-Strauss’s Tristes tropiques (1955), as well as … READ ON