Andrew Witt

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  picks April 23, 2014

  Andrea Zittel

  Andrea Zittel’s current solo show, “Physical Matter Reality,” features three new series of works. The artist’s geometric weavings, “Parallel Planar Panel,” 2014, dangle as curtain-like wall reliefs; her metal “Hard Carpets,” also 2014, resemble Carl Andre’s slender floor works, such as Weathering Piece, 1970; while Zittel’s series titled “Bench (after Judd),” 2014, comprises tables that are low to the ground, resembling earth-skimming spaceships. Following the women of the Bauhaus weaving workshop—Anni Albers and Benita Koch-Otte—Zittel rejects curvilinear forms. Warp and weft (the very grammar

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  picks March 25, 2014

  Benedict Drew

  One could write an entire art history on hands. Machinic hands, articulating hands, hands that give life, hands that bring death. From El Lissitzky to Mary Kelly, Artemisia Gentileschi to John Baldessari, the hand mediates the intensive relation between gesture and speech, life and death. Benedict Drew’s latest film, the centerpiece of his current solo show at Matt’s Gallery, is titled Heads May Roll, 2014, and it arrests the hand as a convulsive undead appendage. Severed and digitally rendered, Drew’s hand emanates a mercurial affliction. Tuned to the feedback of decay and malfunction, this

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  picks March 19, 2014

  Camille Henrot

  What makes up a world? Last year, Camille Henrot posed this question in her film Grosse Fatigue, 2013, the winner of the Silver Lion at the Venice Biennale. For her latest exhibition, “The Pale Fox,” Henrot shifts focus to the medium of sculpture.

  Spurious origins and ecological devastation are offered up here as a sculptural narrative. Along the gallery’s garish blue walls, the slick aluminum shelves of The Pale Fox, 2014, wrap, climb, and twist around the room, depicting discordant scenes and jittery objects. In one corner, Henrot stages a wreckage of images and icons, shark posters and National