Amanda Parmer

  • picks November 14, 2013

    “Counter Forms”

    Two thick chunks of flesh are stacked inside a pristine glass box covered with neon stripes, emphasizing the dissonance between the clinical enclosure and the

  • picks October 24, 2012

    “Material Girls: Contemporary Black Women Artists”

    Maren Hassinger’s Love, 2005–12, in the far corner of the gallery, displays inflated hot pink plastic shopping bags gathered in the shape of an obtuse triangle rising up to the ceiling. It is impossible to see Love and not think of the collective progress made by the gay rights movement that has used this symbol of a pink triangle since the 1970s, as well the individual acts that went into shaping the movement. The allegorical use of materials continues in Sonya Clark’s Plain Weave, 2008—a simple, elegant grid of gold-colored thread and black plastic combs held together in the royal kente cloth

  • picks August 24, 2012

    Julika Rudelius

    Set in a private lounge with a country club aesthetic, Julika Rudelius’s Rites of Passage, 2008—one of two video installations on view in her current solo exhibition—pairs young Ivy League men with wizened male politicians. While the older men quiz the younger ones on politics, posing leading questions and prompting their responses, viewers may begin to recognize a spectrum of other performative iterations unfolding in the work—subtle physical touches, vocal intonations, and rhythms of speech—which charge the piece with sexual overtones. The video suggests that the keys to becoming a powerful

  • picks July 24, 2012

    Evelyne Axell

    Under the tutelage of René Magritte and the influence of Pauline Boty, Belgian-born protofeminist Evelyne Axell produced a body of work that bound together her unconventional artistic education with her newfound investment in the women’s liberation movement. Axell’s erotic paintings and drawings—unabashedly charged with bright, hot colors—exude her heady, vivacious desire to champion the female body as sexual and pleasurable while loading these allegorical images with references to women’s social and intellectual achievements, especially in the realm of space travel.

    Valentine, 1966,