Amanda Cachia

  • Margaret Noble, Index of Fear (detail), 2015, interactive media archive, dimensions variable.
    picks December 09, 2016

    “S/Election: Democracy, Citizenship, Freedom”

    Offering a curatorial selection as unexpected as the outcome of the recent presidential election, the mixed-media and socially engaged works by thirty-two contemporary artists in this exhibition straddle binaries that stem from democracy, citizenship, and freedom: obedience/rebellion, citizen/alien, and fixed/fluid. The most nuanced pieces are those that offer an opportunity to make a choice: Margaret Noble’s Index of Fear, 2015, is an interactive media archive where one can sift through an old filing drawer and pick out sounds to play that, according to a corresponding list of tangible fears,

  • Charles Gaines, Numbers and Trees: Central Park Series II: Tree #3, Susanne, 2015, black-and-white photographs and acrylic on Plexiglas on three panels, 8 x 10 1/2'.
    picks November 11, 2016

    Charles Gaines

    Many who are familiar with the work of Conceptualist Charles Gaines will recognize here the sequence of grids and numbers from his “Numbers and Trees: Central Park Series II,” 2015–16. The artist’s commitment to his system-based methodology for critiquing clichés of artistic impulse is seen in eight large-scale black-and-white photographs of Central Park, overlaid with acrylic Plexiglas boxes: Tree #1, Paula, Tree #2, Elmore, Tree #3, Susanne, Tree #4, Steve, Tree #5, Lucas, Tree #7, Laurel, all 2015, and Tree #6, Fredrick and Tree #8, Amelia, both 2016, which are exhibited alongside eight

  • View of “Karon Davis: Pain Management,” 2016.
    picks October 05, 2016

    Karon Davis

    A consortium of props and decor offers a capacious mix of memories, myths, and maladies in Karon Davis’s solo exhibition “Pain Management.” Reflecting on the physical and emotional experience of suffering and loss, Davis brings us into what was, until recently, her world, which was confined to her husband’s bedside in a hospital as he underwent cancer treatment. She takes us on a hallucinatory journey as told through the re-creation of a waiting room and eight characters composed of plaster casts, and one of shredded medical bills, indicating the financial as well as affective burden she carried

  • Kenneth Tam, Champagne 1, 2016, ink-jet print, 23 1/2 x 15 1/2".
    picks August 08, 2016

    Kenneth Tam

    Three large flat-screen televisions are placed diagonally across the wooden floors, imitating the playful actions one encounters in Kenneth Tam’s three-part single-channel video installation The Loving Cup, 2016. The cup runneth over, as visitors encounter a generous and inviting social dynamic with a group of ethnically diverse men––strangers—who must physically and psychologically engage with each other through a series of activities across all three videos. Tam questions the normative scripts of interaction between men by asking them to slow dance, poke, and tickle one another or to make