Alex Garner

  • interviews August 07, 2018

    Maija Kurševa

    Maija Kurševa is an artist, publisher, lecturer at the Art Academy of Latvia, program director for the Riga Zine Festival, and, last but not least, cofounder of the artist-run LOW gallery in Riga, Latvia. Her work encompasses various media, from comics to sculptures, attending to recurring characters and themes with a sense of humor. “Investigation,” an exhibition of Kurševa’s recent work, is on view at kim? Contemporary Art Centre in Riga through September 2, 2018.

    MY RECENT DRAWINGS stem from a poem I wrote one winter in the countryside outside Berlin. I took out words and left only a few; some

  • picks July 02, 2018

    “Cloudbusters: Intensity vs. Intention”

    The main exhibition of the Seventeenth Tallinn Print Triennial takes Wilhelm Reich’s pseudoscientific invention from the first half of the twentieth century as its starting point. Upon entering the building (which was an abandoned heating plant until 2006 and is now redesigned for each triennial), the viewer first sees photo documentation of Christoph Keller’s ongoing project of creating his own “cloudbuster,” in which he reenacts Reich’s experiments with the goal of influencing the atmosphere and inducing rain. Featuring more than twenty artists, the show, curated by Margit Säde, conjures

  • Barnaby Furnas

    Barnaby Furnas’s recent exhibition “Frontier Ballads” explored stereotypes of American national identity, from the deceptively romantic ideals of the Wild West to the terrifying reality of Trump rallies. All but one of the twelve paintings portrayed white figures, and subjects were repeated throughout. The show included two works depicting Mount Rushmore, two of women singing and holding farming tools (echoing the composition of Grant Wood’s American Gothic, 1930), and two of men with lassos riding large steeds. The viewer first encountered The Gunslinger, 2018, in which the image of a cowboy’s

  • Chris Oh

    Like a novel with several intertwining plots, Chris Oh’s exhibition “Interiors,” organized by Fortnight Institute and presented at Sargent’s Daughters, complicated our perceptions of space, time, and material through the appropriation of seven allegorical works by Dutch old masters. Oh deconstructed and reimagined the paintings as installations, reconfiguring the compositions and rendering different sections of a single work on multiple sculptural elements. Referencing works by Jan van Eyck, Hans Memling, Rogier van der Weyden, and Robert Campin, the artist chose unorthodox and difficult surfaces

  • picks March 23, 2018

    Claudia Wieser

    For her exhibition “Chapter,” Claudia Wieser creates a harmonious environment incorporating elements of cultural history and abstraction. The show includes images of classical busts, hand-painted vases placed on the floor and atop plinths of various heights, and delicate, vivid geometric drawings. Wieser also sourced black-and-white images from the BBC’s 1976 television adaptation of Robert Graves’s novel I, Claudius (1934) for a wallpaper that covers three of the gallery’s walls from floor to ceiling (all works Untitled, 2017). The artist transforms the space into a site of aesthetic examination,

  • picks March 02, 2018

    Tessa Perutz

    In Tessa Perutz’s “Karma Solaire,” all but one of the paintings are landscapes made up of brilliant shapes—nature is rendered as an experience of color. Eight of these works, plus a self-portrait with a companion, are presented in memory of Perutz’s friend Paul Saeio, a French artist and poet who died suddenly last year at the age of twenty-nine. The sketches Perutz made during two memorials for Saeio in France—one in Burgundy and the other at his studio in Bagnolet—were the launching point for her current works here, full of vineyards and country roads crowned by trees. In a statement for her

  • picks January 26, 2018

    Byron Kim

    For the past seventeen years (and continuing through the duration of this show), Byron Kim has painted a swatch of sky every Sunday, to which he appends a few diaristic sentences in a slanted, loose cursive with the date, location, and time of painting. Hung in a straight line at eye level across the gallery, the paintings create a narrative that weaves the intimate with the profound and, occasionally, the delightfully mundane.

    The series “Sunday Paintings,” 2001–, takes us through 9/11 (“Too sad for words”), the election of Barack Obama (“Today we have a black president”), and the election of