Annie Godfrey Larmon

  • Beverly Pepper at an Italian foundry, ca. 1960s.


    BEVERLY PEPPER’S TENSILE, totemic sculptures often register an acute sense of contingency. Over her nearly six-decade-long career—which has evaded recognition commensurate with her contributions to the development of public sculpture since its proliferation in the 1970s—the American-born, Italy-based artist has bodied forth a semiotics of flux, one playing out everywhere from the precarious angles of her cantilevered steel to her mutable surfaces of rusted iron.

    Already established as a painter, Pepper turned to sculpture in 1960, following a transformative visit to Angkor Wat, where the sinewy

  • interviews July 02, 2018

    Bracha L. Ettinger

    The most comprehensive museum exhibition in the United States so far of artist and theorist Bracha L. Ettinger’s work is on view at the UB Anderson Gallery in Buffalo, New York, until July 29, 2018, featuring four decades of paintings, notebooks, and drawings, as well as three video works. Additionally, “Bracha’s Notebooks,” a solo show curated by Carolyn Christov-Bakargiev at Castello di Rivoli in Turin, will be on view in 2019. Here, Ettinger discusses the eclipse of the female subject in historical abstraction, the relationship between abstraction and compassion, trauma, and the remedial

  • Cosima von Bonin, HERMIT CRAB, 2018, steel cement mixer, fabric, rubber, 52 x 50 x 38".

    Cosima von Bonin

    In the paintings gallery at Kunsthaus Zürich, there is a wonderfully odd work from 1892 by the Swiss symbolist Arnold Böcklin titled Saint Anthony Preaching to the Fish. It depicts the Franciscan friar addressing a beached, slack-jawed shark, grumpy groupers, and confounded barracudas; a couple of crabs raise their claws in praise. A poem by the seventeenth-century Augustinian priest Abraham a Sancta Clara tells the story of the friar, who found his church empty and went to the river to preach to more willing subjects. The poem was set to music by Gustav Mahler in 1893, and in 1979 Glenn Gould


    IF WE WANTED to pin down an operation that tethers together Patricia L. Boyd’s work across media, it might be inversion. In the London-born, New York-based artist’s somatic, industrial work, objects turn inside out, oppose themselves, or reveal their other possible natures.This happens via form: sculptural molds hung as reliefs (in her untitled works from 2017 recently exhibited at the CCA Wattis Institute for Contemporary Arts in San Francisco), photograms (in her “Impressions” series, 2015–), and video footage presented in the negative (in Operator, 2017). But it also happens on the level of

  • Oliver Laric, Hundemensch, 2018, polyurethane, pigment, 20 7/8 x 20 1/2 × 22 3/4".

    Oliver Laric

    Oliver Laric’s iterative video treatise “Versions,” 2009–12, defined a certain moment of “post-internet” discourse during which the status of the image seemed bleak. It was as though the digital world and its posse of copies, avatars, and remixes were hunting down the conventions of originals and authors. Sutured together from uncredited fragments of texts by Gilles Deleuze, Heraclitus, and RZA—and read by an actress who seems to be imitating Siri—the voice-over narration for 2010’s Versions begins: “Degradation followed display; reified and emptied, the image was treated like the

  • “Analia Segal: Contra La Pared”

    Ever since Charlotte Perkins Gilman set her protagonist against the walls of the room that provoked her hysteria in “The Yellow Wallpaper” (1892), we’ve been reckoning with the Janus face of domestic design. Haven or prison, the interior is fodder for Argentine artist Analia Segal, who remembers her childhood home in Buenos Aires as decorated with the paranoia of living under a military dictatorship. The title of her exhibition at the Aldrich Contemporary Art Museum—which will feature an installation comprising works in sculpture, furniture, and textiles alongside

  • Channa Horwitz, Sonakinatography Composition # 9 0 To the Top diminished, 2011, casein on Mylar, 20 x 13 3/4".

    Channa Horwitz

    “I hope I didn’t lose you in this minutia,” concludes Channa Horwitz in a 2002 description she wrote of “Sonakinatography,” her method of graphic notation. This statement’s air of self-deprecation makes it easy to disregard, but I’d wager its inclusion warrants its significance. It was the Los Angeles artist’s intention not to lose anyone who might be inclined to engage the series of polychromatic scores she produced for five decades, from 1968 until just before she died in 2013. She used an explicitly simple language to chart time and motion for any discipline that might find it useful, and

  • Barbara T. Smith, Xerox, Birth, 1965–66, Xerox, 14 x 8 1/2".

    Barbara T. Smith

    Barbara T. Smith, and her definitively SoCal brand of corporeally oriented Conceptualism, has until recently been underrepresented on the East Coast. In 2015, the artist’s first exhibition with Andrew Kreps Gallery centered on her work in resin, a medium she was drawn to in 1968 for its seemingly contradictory qualities of transparency and resilience. This, her second exhibition with the gallery, examined these qualities in regard to her visionary engagements with technology in the 1960s and ’70s. Archival materials documenting three cultish performances were shown alongside a suite produced

  • View of “Meriem Bennani,” 2017.

    Meriem Bennani

    Hafida, presumably a baby boomer, wears a hijab and is leathery and principled. Siham, unquestionably a millennial, totes a Yves Saint Laurent bag and has perfected her selfie angle. Both are chikhas—female singers of the Moroccan aita musical tradition—and each sits on one side of a generational rift as wide as neoliberalism’s reach. For her thirty-minute video Siham & Hafida, 2017, Meriem Bennani arranged for the performers to meet at a café in Morocco. The resulting document weds a Bravo-bitchy feud with an empathetic account of the intergenerational complexities of a country

  • Nicolas Party, Red Portrait, 2017, soft pastel on pastel card, 31 1/2 x 22 1/4".

    Nicolas Party

    Ingrid Sischy once located a disjunction in the critical response to the doughy imps of Fernando Botero’s paintings—there didn’t appear to be a consensus as to whether the Colombian artist’s work was a parody of the bourgeoisie or a bourgeois parody. A similar ambiguity might be attributed to the comely chalk pastels of Swiss artist Nicolas Party. With crisp, saturated graphics, Party moves through the genres of portraiture, landscape, and still life, keeping each categorically distinct, and keeping it all contemporary by borrowing art-historical styles with post-internet abandon. We see

  • View of “Olga Balema: None of the beauty of the landscape can reach her pupils anymore,” 2017.
    picks November 14, 2017

    Olga Balema

    Fifteen of Olga Balema’s modular foam-and-vinyl sculptures—bubble-gum pink, mint green, gender-neutral yellow—form a dissembled matrix spanning the rococo molding of this gallery’s walls. Composed to first draw the eye to discrete spaces and then cohere, the attenuated shapes recall the pixilation of a degraded image, producing the illusion of a big picture but offering up instead the reality of missing information. The works function not unlike Richard Artschwager’s “blps”—sculptural lozenges that reconfigure space into the viewer’s vertical and horizontal coordinates. But where Artschwager

  • Ellie Ga, Strophe, a Turning, 2017, two-channel video projection, color, sound, 37 minutes 33 seconds.

    Ellie Ga

    In the opening lines of narration in Ellie Ga’s two-channel video installation Strophe, a Turning, 2017, the artist discusses Russian poet Osip Mandelstam’s comparison, in a 1912 essay, between writing a poem and lobbing a bottled message into the sea. Both acts, Ga suggests, level distance between the self and some unknown receiver—but to what end? Ga’s discussion of Mandelstam, who was persecuted by the Communists for his nonconformity, exiled, and later left to die in a Soviet work camp, is characteristically dexterous. It economically introduces the work’s ostensible subject—the