Anne Couillaud

  • picks April 28, 2017

    Ayana V. Jackson

    In the photographs for this exhibition, Ayana V. Jackson takes on the role of Sarah Forbes Bonetta, a nineteenth-century Yoruba princess who, when she was only seven years old, became a goddaughter of Queen Victoria in the United Kingdom and remained close to her until Forbes Bonetta’s death in 1880.

    Though several images of Forbes Bonetta still exist today, included here is a small copy of only one of them, in which she appears poised and reserved in a pale, elegant gown. Each of the seven self-portraits made by Jackson respond to and even undermine this archival image. Dressed in a white

  • picks March 16, 2017

    Jennifer West

    One can circulate around Jennifer West’s latest installation, Film Is Dead . . ., 2016, but it is most potent when you are standing in front of it. A giant static curtain of 70-mm filmstrips comes down to the floor and spreads toward three seamlessly joined horizontal monitors positioned on the ground, creating a peculiar silent landscape. The screens play digitized versions of the filmstrips’ movies, resulting in vibrant, hypnotic, often colorful abstract collages in motion.

    Although there is no explicit narrative in these films—made with leftovers from the artist’s hand-manipulated, camera-less

  • picks May 03, 2016

    Noah Davis and Kahlil Joseph

    Filiation and legacy both symbolic and tangible are pervasive in “Young Blood,” a title derived from a greeting Kahlil Joseph used for his late younger brother, Noah Davis. The exhibition of the two siblings’ work is a rigorous yet tender examination of their individual practices. Not a retrospective, it is rather an intimate tribute, curated by their longtime friend and Seattle-based artist Maikoiyo Alley-Barnes, that reveals the interconnectivity and shared experiences of the two artists.

    At the heart of their practices is the depiction of humans: Sharing concise visual vocabularies, Joseph

  • picks January 02, 2016

    Franz Erhard Walther

    With its 300 works, “Franz Erhard Walther: The Body Draws”—the first American survey of the pioneering German artist—offers an interesting reassessment of his work. As the title suggests, the show is intended to consider the extent to which drawing—broadly speaking—has always been at the core of the artist’s practice. Focusing on works on paper, the extensive exhibition foregrounds the importance of the line, in a body of work at the crossroads of painting, sculpture, architecture, the conceptual, and the performative.

    In the main room, Walther’s cornerstone piece, 1. Werksatz (1. Work Set,