Anne Prentnieks

  • Jorinde Voigt, The Intimate Content Transmitted via Sexuality (Niklas Luhmann / Love as Passion / The Incorporation of Sexuality) XXXVIII, 2014, ink, gold leaf, pencil, and pastel on paper, 55 1/8 x 82 11/16".
    picks June 13, 2014

    Jorinde Voigt

    In his monumental book, Love as Passion: The Codification of Intimacy, the social theorist Niklas Luhmann explored the cultural fusion of intimacy and matrimony, analyzing economic and political influences on love’s changing role in society. Jorinde Voigt’s airy, diagrammatic drawings are a reflection on Luhmann’s writing: Playful and associative, they are a poststructuralist response to his structuralist text, interpretatively assigning a set of visualized systems to codify Voigt’s own experience studying Luhmann’s book. In doing so, Voigt's works seem to reference an ebullient jumble of science

  • Rebecca Horn, Revelation of a Tree, 2014, branches cast in bronze, steel, brass, motor, electronic device, 
57 1/8 x 90 1/2 x 59 1/16".
    picks May 29, 2014

    Rebecca Horn

    An eponymous poem by Rebecca Horn is the unseen backbone to “The Vertebrae Oracle,” the artist’s first solo show in New York since 2011. Honoring what would have been her friend Méret Oppenheim’s one-hundredth birthday, the poem describes an androgynous oracle—“circling / pulsing / bird-proud”—protected by stars but exposed to elements. Activated by motion detectors, Horn’s kinetic sculptures—along with paintings—carefully reprise both her poem’s narrative as well as quintessential imagery and themes of her work. The series embodies a fresh, quiet focus, and the paintings, scrawled with text,

  • Damian Loeb, Tycho, 2013, oil on linen, 48 x 48".
    picks March 20, 2014

    Damian Loeb

    It isn’t easy to assign contemporary artistic companions to Damian Loeb’s work, which orbits in its own satellite of what has been called hyperreal pictorialism. The sixteen paintings in “Sol-d,” named for an obscure astronomical cataloging term for Earth, show landscapes and starscapes that the artist has meticulously transcribed in oil paint by referencing his own digitally edited photographs and, occasionally, images captured by the Hubble Space Telescope. These sources are fused into final works through a process that also involves Loeb’s own memory, as well as a type of meditated

  • Martin Kippenberger, Untitled, 1996, oil on canvas, 78 3/4 x 94 1/2”. From the series “The Raft of Medusa,” 1996.
    picks March 10, 2014

    Martin Kippenberger

    JE SUIS MÉDUSE. I am Medusa. These words hover, graffiti-like, in a speech bubble on the choppy blood-red ground seething through the chaotic central painting of Martin Kippenberger’s causa mortis series “The Raft of the Medusa,” 1996. It is here—in this layered, macabre scene—that Kippenberger depicts his own figure modeled after each dead, dying, or deranged crew member of the wrecked ship Medusa immortalized in Théodore Géricault’s 1819 epic painting. Inspired by the French masterpiece, Kippenberger feverishly produced a series of forty-nine paintings, drawings, lithographs, and even a rug

  • Red Grooms, Picasso Goes to Heaven, 1973, acrylic and charcoal on paper laid down on six canvases with wood extensions, 182 1/2 x 196".
    picks March 06, 2014

    Red Grooms

    The Abstract Expressionist-era haunt Cedar Street Tavern is enlivened with nearly two dozen of its notorious patrons in Red Grooms’s Cedar Bar, 1986: Lee Krasner coolly holds court with Elaine de Kooning and Aristodimos Kaldis; further over, Norman Bluhm pins John Chamberlain to the floor. On view as part of “Red Grooms: Larger Than Life,” the work can be seen before one even enters the exhibition, which rollicks in scenery that the artist has observed over the past six decades and animated through his quintessentially comic style. Part parody yet largely reverential, Grooms’s works playfully

  • Kon Trubkovich, Untitled (Lenny), 2014, graphite on paper, 29 x 22 1/2".
    picks March 03, 2014

    Kon Trubkovich

    A pair of solid wooden doors with small brass knobs acts as the physical portal into “Snow,” Kon Trubkovich’s latest show. Opening them feels illicit, like entering a home without knocking. This intimacy is the base layer that connects the works inside: A film assembled from home-video footage and a series of eight oil paintings and mixed-media works visually layer the pixelation of CRT screens with feathered imagery of memories. Trubkovich has said that in his work, “the pause is the abstract gesture.” In “Snow,” the cinematographic paused moment is isolated and transmitted through the hand-worked

  • David Altmejd, The Flux and the Puddle, 2014, Plexiglas, quartz, polystyrene, expandable foam, epoxy clay, epoxy gel, resin, synthetic hair, clothing, leather shoes, thread, mirror, plaster, acrylic paint, latex paint, metal wire, glass eyes, sequin, ceramic, synthetic flowers, synthetic branches, glue, gold, feathers, steel, coconuts, aqua resin, burlap, lighting system including fluorescent lights, Sharpie ink, wood, 10' 3/4“ x 21' x 23' 1/2”.
    picks February 14, 2014

    David Altmejd

    Aesop’s arboretum meets laboratory in “Juices,” David Altmejd’s latest exhibition, where three monumental works show life expanded by metamorphosis. The show’s centerpiece, The Flux and the Puddle, 2014, is a layered vitrine-like installation that spans more than twenty-four feet across the gallery and reaches nearly eleven feet into the air. It reads like an abstracted hologram that twists into focus as one approaches: Walls of mirrors surround and weave through the towering Plexiglas grid that outlines a seemingly alive terrarium-like ecosystem coursing with parades of insects, fruits, and

  • Lynda Benglis, Untitled, 2013, glazed ceramic, 18 x 15 x 10".
    picks January 26, 2014

    Lynda Benglis

    Lynda Benglis’s balletic clay tabletop sculptures (all works Untitled, 2013) read like tridimensional impasto brushstrokes: Folded, crushed, sloping, and unwittingly balanced, each piece conveys the mass and plasticity of its material in an energetic pose. A brassy application of glazes enhances the autonomous strength of each object. Often, the artist leaves portions of the clay unglazed or brushes matte pigment over its surface, which amplifies the works’ bold colors and mercury-like raku surfaces. One work assumes the shape of a bowing, fiery X—its crumpled, concave crease bleeds from a deep

  • Jessica Stoller, Untitled (Frosted Bust), 2012, porcelain, china paint and luster, 8 x 10 1/2 x 6 1/2".
    picks January 18, 2014

    Jessica Stoller

    Jessica Stoller’s sensual ceramic works illustrate how harmony can be found through opposing extremes, pairing saccharine gluttony with the sadomasochistic tug of bondage and allusions to death’s possibility. The works—which showcase Stoller’s expert hand at manipulating porcelain using antique ceramic techniques such as German lace dripping—are fetishistic celebrations of Rococo ebullience: grotesquely decadent, with richly layered textures, and a delicate, grandmotherly aesthetic. A centerpiece, Still Life, 2013, packs together an opulent spread of pastel Thiebaud piped cakes layered with

  • Phyllida Barlow, Untitled: Brokenupturnedhouse2013 (detail), 2013, steel armature, polystyrene, cement, scrim, paint, PVA, plywood, timber, polyfiller, varnish, approximately 137¾ x 157 ½ x 157 ½".
    picks January 16, 2014

    Phyllida Barlow

    In the homemaker’s realm, hoarding is taboo, connoting disorder and grime. “HOARD,” Phyllida Barlow’s tactile exhibition at the Norton Museum, both embraces and subverts its title’s implications, overtaking three austere galleries with intrusive installations that celebrate their frequently recycled, cacophonous materials—inexpensive, industrial objects and composites—and vibrate with anti-Minimalist energy. Each work projects the threat of impermanence, hovering between titanic stability and temporal mortality: Barlow often entirely destroys her site-specific installations postexhibition,

  • Roxy Paine, Carcass, 2013, birch, maple, glass, fluorescent lights, 13’ 10 3/4” x 20’ 1/2”.
    picks December 12, 2013

    Roxy Paine

    For “Apparatus,” Roxy Paine’s debut solo exhibition in Chicago, the artist presents two large-scale, meticulous reproductions of a fast food restaurant and control room–artworks that explore the viewer’s unconscious recognition of familiar forms by rendering them in natural materials and as static installations. These works—respectively Carcass and Control Room (both 2013)—portray, through subtle details, systematized, conveyer-belt spaces that one recognizes as hyperfunctional: machines that reprocess processed food, screens that display data, the mechanical din of fluorescent lights.

    Control

  • Eugene Von Bruenchenhein, Untitled, c. 1940, 35mm  transparency.
    picks November 22, 2013

    Eugene Von Bruenchenhein

    Sweet and carnal, Eugene Von Bruenchenhein’s expansive and exploratory work on view here is a relic of the deeply private world shared between the artist and his wife and muse, Marie. A series of slides reveal posed photographs Von Bruenchenhein took of Marie in various guises—pinup girl, exotic princess, cheerful domestic—and her apparent joy in posing indicates not only a trusting sincerity but also the fun that the couple seem to have experienced creating these pictures together. The slides feel intensely private, a boudoir collection made for the Von Bruenchenheins’ clandestine appreciation—respite,