Andrianna Campbell


    DOTS, DOTS, and more dots: Punched-out paper circles accumulate in dense, nearly geologic thickets, or scatter into coruscating, anti-optical arrays on the surfaces of Howardena Pindell’s paintings. With these signature dots, the New York–based artist flouts the stringent orthodoxies of vanguard painting that dominated art schools when she was a student at Yale University in the late 1960s, opting instead for an unapologetically unconventional mode that also includes glam sprays of glitter, exuberant color, and labyrinthine passages of stitching. Abstraction, for Pindell, is a mode of contemplation,

  • picks January 25, 2018

    Andy Robert

    Andy Robert’s Smoking Gun (all works 2017) is a mass of speckled paint. The broken brushstrokes on the substrate dissolve and then corrugate in the manner of late Impressionism, Arte Povera, or even tachism. At times, pure, nonlocalized color abuts less welcoming mixtures that approach the hues of mud. From a distance, silvery tones, deeper beiges, and warm ivories read as only slight deviations from the canvas. Up close, at center, a body emerges, a black body. One wearing cutoff blue jeans, a hat, and carrying a firearm slung over one shoulder. The figure is based on a mass-produced image of

  • interviews July 20, 2017

    Trevor Paglen

    Trevor Paglen is the first artist-in-residence at the Cantor Arts Center at Stanford University. The exhibition “The Eye and the Sky: Trevor Paglen in the Cantor Collection” places his photographic series of predator drones, “Time Study (Predator; Indian Springs, NV),” 2010, alongside photographs by artists such as Eadweard Muybridge, Edward Steichen, and Eve Sonneman from the Cantor’s permanent collection. Earlier this year, the Cantor also commissioned Paglen’s multimedia performance Sight Machine. Below, he discusses issues of surveillance in the show, which is on view through July 31, 2017,

  • interviews July 11, 2017

    Sam Gilliam

    Sam Gilliam is a Washington, DC–based artist whose vibrantly hued unstretched canvas Yves Klein Blue, 2017, will be draped across the entrance to the Giardini’s central pavilion at the Fifty-Seventh Venice Biennale until the show closes on November 26, 2017. Here, Gilliam speaks of his earlier participation in the Biennale, forty-five years ago, and his continued investigation into the expanded field of painting. His work is also featured in “Soul of a Nation: Art in the Age of Black Power,” which will be on view at Tate Modern from July 12 to October 22, 2017.

    IN VENICE, I’m showing Yves Klein

  • “We Wanted a Revolution: Black Radical Women, 1965–85”

    The title “We Wanted a Revolution” might seem to imply a wistful retrospection on the two decades that witnessed the rise of second-wave feminism and the Black Power movement in the US. Yet the 130-some puissant artworks gathered for this show promise an incisive exploration of black female radicality in variegated forms—whether the mixed-media assemblages of Betye Saar or Faith Ringgold’s silk screens of the people’s flag or a costume from Lorraine O’Grady’s 1980 performance Mlle Bourgeoise Noire. The exhibition will offer a rare opportunity

  • interviews December 01, 2016

    Luchita Hurtado

    Luchita Hurtado has been making art for decades, though, despite her close friendship with many famous artists, she was reluctant to show her work until the 1970s, when the women’s liberation movement provided encouragement. A small survey show in Los Angeles gives insight into the wildly fluid forms and experimental techniques in her paintings and works on paper. “Luchita Hurtado: Selected Works, 1942–1952” is on view at the Park View Gallery through January 7, 2017.

    “PAINTING IS SUCH AN ESCAPING THING…almost like two lives coming together.” I found that line in one of my letters to my second

  • interviews November 26, 2016

    Lorna Simpson

    Lorna Simpson, best-known for her body of conceptual photography, has recently been exploring painting. On the occasion of her solo exhibition at the Modern Art Museum of Fort Worth, which runs through January 15, 2017, she reflects here on her experience of this medium, and how it relates to her practice of imagemaking in general.

    I APPROACHED PAINTING initially from a place of intimidation. I started my undergraduate studies as a painter, as perhaps all foundation studio students do, and yet when I proposed a series of paintings for the first time, for the Fifty-Sixth Venice Biennale in 2015,

  • interviews May 05, 2016


    On December 15, 2015, the Tokyo-based artist Takashi Kudo came to Silicon Valley to begin preparations for an installation at Pace Art + Technology, Pace Gallery’s new project space in Menlo Park. Kudo is one of three spokespeople representing the over four hundred collaborators in teamLab, an art collective that rethinks the idea of the art installation by allowing it to take numerous forms as evanescent, immersive digital environments, such as gardens, towns, aquariums, or even fields of fire. Here, Kudo discusses the collective’s new artwork/exhibition, “Living Digital Space and Future Parks,”

  • Jonathan Lasker

    When visual invention becomes an afterthought in favor of ever-more-prolix theoretical justifications, even the most lauded examples of conceptual painting can eventually outlive their novelty, becoming at best inflexible demonstrations of a theme or motif. Not so for Jonathan Lasker’s work, which is always evolving. Indeed, in the past few years, he has introduced a new element to his work: the grid. This structure is the lodestar of the avant-garde and alternately its bête noire—Rosalind Krauss accused it of ghettoizing modern painting. In several paintings on view in this show, a

  • picks January 25, 2016

    “Of Echo Systems”

    An obstacle course provided by three floor-based works by K. r. m. Mooney makes traversing this show a tense endeavor. The delicacy and metallic hues of these mixed-media pieces—which often feature steel cables, wires, trays, and bars—ensure difficulty in trying to distinguish them from the concrete floor. This anxiety sets the tone for the austere exhibition “Of Echo Systems,” which augments a concern for viewing predicated on a heightened sensitivity of one’s bodily parameters. For instance, Will Rogan’s Adam 2, 2016, is a mahogany clock with a playful anthropomorphic, smiling face. It clearly

  • interviews November 30, 2015

    Nari Ward

    Nari Ward is a Jamaican-born artist who lives and works in New York City. Here he discusses the extensive survey of twenty years of his practice, “Sun Splashed,” which opened this month at the Pérez Art Museum Miami and is on view through February 21, 2016.

    SOUND IS LIKE A SPIRIT. It is in everything. When you write a rhythm you are acknowledging the sound that is already here and simply amplifying it. My work is visual; however, I also make sonic space, and even when there is no sound component the surrounding air has an aural quality. Happy Smilers, 1996, was an early artwork that that was

  • picks November 27, 2015

    Frank Stella

    In the late 1970s, Frank Stella’s foray into spectacular wall-mounted painted reliefs left many admirers at a loss. Thinking of his work from this period in what Robert Slifkin has termed a theory of “badness” in 1970s music and art is fruitful. There is a tackiness that is integral to the work, not merely as a rejection of aesthetic notions of composition but also as a renunciation of ties to minimal nuance. Yet, today, his tackiness also seems to predate the Photoshop aesthetic that is regaled in work by artists such as Trudy Benson and Keltie Ferris. We assume digital mediation to be

  • picks November 13, 2015

    Ralph Lemon

    In Ralph Lemon’s performance How Can You Stay In The House All Day And Not Go Anywhere?, 2010, he whispered, “love without rage is powerless.” In the more current work Scaffold Room, 2014-2015, love and rage are interrogated via readings, sculptures, and a lecture/performance/musical. Through the performances—which ended as of November 10—we experience the fullness of Lemon’s vision, a place where a vast catalogue of legibly dramatized gestures interact with unintelligible and visceral sounds, found film, and an assortment of ostensibly uncalculated movements.

    For the exhibition period, Lemon

  • interviews November 12, 2015

    Andrea Geyer

    In 2012, the Museum of Modern Art invited New York–based artist Andrea Geyer to perform an Artist Research Residency in the museum’s archives. The residency was supported by MoMA’s Wallis Annenberg Fund for Innovation in Contemporary Art through the Annenberg Foundation. Two pieces from the resulting body of works are currently on view at the museum: The video Insistence, 2013, which is on view through November 15, 2015, and the mural Revolt, They Said, 2012–, which runs through November 29, 2015.

    A CURIOUS BLIND SPOT exists in MoMA’s archives when it comes to women and modernism. I was intrigued

  • picks November 08, 2015

    “Kill All Zombies”

    This playfully titled exhibition, “Kill All Zombies,” purports to take aim at the made-for-market abstract works that have recently infested the art world. The photographs in the show, for instance, could be discussed in terms of a new materiality; however, all three photographers depart from the sterile coolness of formal interrogations of medium to the weird and even biographical: In John Houck’s Decorated Shed, 2015, cheery yellow rubber duckies function metonymically for his youthful ambitions to be an architect, while referencing Robert Venturi and Denise Scott Brown’s demarcation between

  • interviews October 20, 2015

    Jack Whitten

    Jack Whitten is a painter who lives and works in New York. Here, he reflects on how he developed as an artist, his cross-generational exchanges, and three paintings from very different moments in his life, all on the occasion of his retrospective “Jack Whitten: Five Decades of Painting,” which was organized by the Museum of Contemporary Art, San Diego, traveled to the Wexner Center for the Arts in Columbus, Ohio, and is currently on view at the Walker Art Center in Minneapolis until January 24, 2016.

    SUN RA WAS RIGHT ON THE MONEY; humans came here from outer space as minerals and chemicals. During

  • interviews August 11, 2015

    Elaine Lustig Cohen

    Elaine Lustig Cohen is an artist, graphic designer, and AIGA medalist known for her spectacular book covers, exhibition catalogues, and collaborations with architects such as Philip Johnson and Richard Meier. Here, she talks about the intersection between design and architecture in her paintings on the occasion of a show of her early work that is on view at Johnson’s Glass House in New Canaan, Connecticut, through September 28, 2015.

    MY ABSTRACTION NEVER CAME FROM NARRATIVE; it came from architecture. Even though I had many friends who were writers, I was never particularly drawn to narrative.

  • interviews July 29, 2015

    Nick Cave

    Nick Cave’s solo exhibition at the Cranbrook Art Museum, “Here Hear,” highlights the range of his multidisciplinary practice, from his iconic Soundsuits to newer sculpture, and also marks the artist’s return to a city that fostered his early practice. Organized in collaboration with the Museum of Contemporary Art Detroit, the Detroit School of Arts, and other community-engaged programs at the Ruth Ellis Center and the Detroit Riverfront Conservancy, the exhibition is on view through October 11, 2015.

    DETROIT GAVE ME THE SOUL. It was a critical part of my education. When I was a graduate student

  • interviews July 14, 2015

    Stanley Whitney

    The New York–based artist Stanley Whitney’s first solo museum exhibition in New York, “Dance the Orange,” at the Studio Museum in Harlem will feature recent work made between 2008 and 2015. Here, he unpacks the formal and structural ramifications of the colors in his paintings. The show opens July 16 and will run through October 25, 2015.

    I ALWAYS HAD THE COLOR. I don’t know where it came from. My influences are many, from Titian to Edvard Munch to textiles, and the color comes from all kinds of places. Sometimes I go for a walk and I am looking for a yellow but I can’t find it in the world so

  • picks July 10, 2015

    Ruth Root

    Ruth Root’s Untitled, 2014–15, is a slightly larger-than-life, irregularly shaped canvas, which at seven feet high both relates to and dwarfs the average viewer. Big Top–like striped diagonals at the base and then flotsam and jetsam patternmaking at the top define its shape, which is primarily a parallelogram intersecting a rectangle. Suspended by grommets, the painting reveals sections of the gallery wall particularly when small textile rectangles nestle into a larger identical section of fabric. Never quite aligning, the collage of shapes affirms an intrinsic disjointed structure. Defying the