Adina Glickstein

  • Achraf Touloub, Discord venue, 2020, watercolor and acrylic on paper, 29 7/8 × 23 5/8''.
    picks January 13, 2023

    Achraf Touloub and Harm van den Dorpel

    Like snowflakes, Harm van den Dorpel’s light exposure prints bear an organic geometry, internally harmonious and each one unique. Like snapshots, their patterns register moments in time, fixed in place by technological means. Van den Dorpel, an OG in Berlin’s cryptoart scene, makes software that gives way to colorful sets of nested squircles—see Blush Array II and Modular Mind (both 2022), their vibrant palettes and soft beveled edges recalling the gentle contours of a user interface. 

    Interspersed between them are delicate watercolor works by Achraf Touloub. At first glance purely analog, these

  • Harun Farocki, Inextinguishable Fire, 1969, 16 mm transferred to video, black-and-white, sound, 28 minutes.
    picks December 19, 2022

    Harun Farocki

    From the “first television war” to the algorithmic surveillance of the twenty-first century, Harun Farocki’s filmography turns media back on itself, untangling the work that images are made to do. Unfolding across Hantarex monitors lining the perimeter of this gallery, “Gegen Krieg (Against War)” foregrounds Farocki’s critique of Vietnam-era reporting, though it’s printed matter, not broadcast, that comes under fire here.

    In Their Newspapers, 1968, Farocki appears in front of the camera as one of several young radicals campaigning against popular dailies for their biased reporting on the war in

  • View of “Didi Rojas: You’re Doing Amazing Sweetie,” 2019.
    picks September 18, 2019

    Didi Rojas

    “You’re doing amazing sweetie!” said notorious momager Kris Jenner to her most famous little dividend, Kim Kardashian, during her daughter’s 2007 photo shoot for Playboy. Kris’s croon serves as the title for Didi Rojas’s first solo show in New York, which features forty-two single shoes (right foot only!) on a low pedestal in the center of the petite gallery. The footwear is diverse, ranging from a vertiginous Nike platform and a leopard-print brothel creeper to a Gucci slipper and a skyscraper-y go-go boot. But don’t even think about slipping one on. They’re all ceramic—your comfort is not up

  • Oskar Schmidt, Portrait of a Girl (Fernanda), 2018, ink-jet print, 37 x 30".
    picks July 11, 2019

    Oskar Schmidt

    The five portraits in Oskar Schmidt’s exhibition “Centro” face one another in uneasy reciprocation, severing the gallery space with a taciturn exchange of gazes. Each sitter, unmoored against a digitally processed earth-toned backdrop, occupies their frame perfectly unblemished as the viewer’s eye traverses the image’s antiseptic solace.

    For John Berger, the tradition of oil painting is historically inextricable from the desire to possess. Tactile solidity flattens subjects into objects of exchange; the tangible is conflated with the real, and ownership is the final destination. What, then, is

  • Brendan Earley, The Runner, 2018, aluminum wire, cast aluminum, pen on cotton, dimensions variable.
    picks April 26, 2019

    Brendan Earley

    A rare sunny morning in London: This would be pleasant if it weren’t a reminder of hastening climate apocalypse. In this diffused light, the pastel palette and minimal sculptures of Brendan Earley’s “Elsewhere and Other Things” at first seem cynically palliative—an injection of millennial pink, a meditation retreat amid alarm bells. Under closer scrutiny, the soothing sentiment starts to decay. Take the A Train, 2018, involves two baby-blue aluminum rings, lonely in their separate orbits. In The Runner, also 2018, an aluminum arch flirts with anthropomorphism, one “foot” caught in a metal cast

  • Ryan Sullivan, Untitled, 2018, cast urethane resin, fiberglass, epoxy, 84 3/4 x 59 1/4 x 1 1/4".
    picks February 06, 2019

    Ryan Sullivan

    Ryan Sullivan’s name doesn’t manage to crop up in the 1,400-word press release for “one minute’s music, one minute’s time,” his third solo exhibition here. To the uninitiated, the text accompanying the show echoes a dissertation on the history of jazz. But as is so often the case, in saying nothing about his practice, the press release says everything: Bill Evans’s “Jazz-Process,” the subject of this theoretical treatise, is given visual form across Sullivan’s fluid, shambolic surfaces.

    Several of these cast-resin pieces stretch nearly from floor to ceiling, morphing and divulging greater detail