Anthony Hawley

  • Connor Marie, Vita, 2022, oil on canvas, 36 × 36".

    Connor Marie

    Each of Connor Marie’s slick quadrangular canvases here showcased a young female face, closely cropped, the surfaces of the paintings pressurized by the subjects’ glazed-over eyes, their expressions at turns kittenish, vengeful, or Vecna-afflicted. Some of her femmes exhibited facial features reminiscent of prefab anime action girls. Others evinced a prepubescent softness, à la Nabokov’s Lolita. Together, the brood stood guard over an aquamarine fiberglass slab at the gallery’s center: the sarcophagic sculpture Cavity (all works 2022), inside of which rested a hollowed-out cast of a doll-like

  • Itziar Barrio, Stella a Roma, 2021, 4K video, color, sound, 19 minutes 40 seconds.

    Itziar Barrio

    An assemblage of three IKEA chairs rises up from a stark-white cement plinth. Rubber cuffs bind the folding furniture’s legs, suspending the trio in a tilted balletic pose. Swaths of buttery stygian latex cover each end of the metallic structure, evoking something between soaking-wet laundry hung out to dry and s/m garb in shiny sumptuous black.

    The closing iteration of Itziar Barrio’s twelve-year project THE PERILS OF OBEDIENCE, 2010–22, was all about the dialectics of sex, labor, and style. Visitors experienced this interplay throughout the gallery with a selection of photo-based works, sculptures

  • Michelangelo Frammartino, Il Buco, 2021, DCP, color, sound, 93 minutes.
    film May 12, 2022

    Descent Proposal

    LISTEN CAREFULLY inside the cavernous dark of the theater and you’ll hear the gossamer symphony accompanying the opening sequence of Michelangelo Frammartino’s newest feature, Il Buco: interstitial beads of water echoing softly as they fall into pools; the hushed stridulation of crickets; a crescendo of insects buzzing about as night yields to nautical dawn; and, eventually, a chorus of cowbells, followed by something like a distant cry. Only as the sun rises does it become apparent where the camera rests: nestled inside a hole in the ground, peering up at the sky, rocks, and weeds, and then at

  • Pat O’Neill, The Decay of Fiction, 2002/2018, single-channel 35 mm and 35 mm transferred to digital, five-channel digital edit, color, sound, 11 minutes 30 seconds.

    Pat O’Neill

    How does one capture a sense of time bedeviling itself? Experimental filmmaker and artist Pat O’Neill’s show here, “The Decay of Fiction,” interrogated this notion. The first time I visited, I felt as if I were witnessing a palimpsest of hauntings—decades of ghosts sealed inside a building’s many surfaces roaming freely. Yet the second time around I experienced an additional sensation: a sustained feeling of displacement caused less by the spooks’ presence than by an uncanny sense of their being both stuck inside a specific historical moment and forever pushed outside it.

    For The Decay of Fiction

  • Nicole Miller, The Borrowers, 2014, digital video, color, sound, 16 minutes 52 seconds.
    picks July 16, 2021

    “Density Betrays Us”

    Gnarled somatic terra and chimeric aberrations fill “Density Betrays Us,” this deeply felt group exhibition. Didier Williams’s painting Koupe Tet, Boule Kay, 2021, features a weightless being ablaze with fluorescent color, while Yasue Maetake’s sculptural fusions of barnacle, bone, metal, and crystal are displayed as if they were interspecies fossils. Elsewhere, the phantoms are less speculative, though just as menacing: In Nicole Miller’s video The Borrowers, 2014, a man describes how he lost his left arm during a violent confrontation. In this harrowing scene, we see parts of his other,

  • View of “Patty Chang: Milk Debt,” 2021.
    picks May 07, 2021

    Patty Chang

    Perhaps our ability to be consumed by fears that are, all at once, deeply felt, minute, planetary, violent, and occasionally absurd is what genuinely separates us Homo sapiens from other species. And few artworks possess the ability to reflect this aggregation of terror as poignantly and forcefully as Patty Chang’s ongoing, multichannel video installation, Milk Debt, 2018–. In this work, the artist compiled a list of anxieties from a diverse group of women and turned them into a script for female actors to recite on camera while pumping breast milk. The performers discuss a range of worries in

  • Lemohang Jeremiah Mosese, This Is Not a Burial, It’s a Resurrection, 2019, DCP, color, sound, 120 minutes.
    film March 31, 2021

    Terra Infirma

    “TODAY WE ARE KNOCKING at the door of the modern world,” says the politician to the villagers of Nazaretha, bloviating into a megaphone’s detachable mic. “Your voice has been heard,” he reassures them, as if they’d asked for this, as if he, this bloated hype-man, their elected official, were doing them a favor. But representation is tricky when you stand out from the masses, clad in a sports coat, button-down shirt, and shiny gold belt buckle. “I assure you it will be worth it.” His constituents gaze at him silently. Meanwhile, throughout this bombast, the camera tracks a petite elderly woman,

  • Cory Arcangel, /roʊˈdeɪoʊ/ Let’s Play: HOLLYWOOD, 2017–21, custom-built high-performance-computer rig (AMD Ryzen 9 5950X 16-core 32-Thread Unlocked Desktop Processor central-processing unit, Rog Crosshair Viii Dark Hero motherboard, G.SKILL 64GB [2 x 32GB] Trident Z Neo Series DDR4 PC4-21300 2666 MHz 288-Pin Desktop Memory Model F4-2666C18D-64GTZN random-access memory, [x2] EVGA 24G-P5-3975-KR GeForce RTX 3090 XC3 Ultra Gaming graphics-processing units and Corsair Professional Series AX 1200 Watt Digital ATX/EPS Modular 80 PLUS Platinum [AX1200i] power supply, various peripherals), custom-built Deep-Q Learning RPG playing software bot with system sounds by Daniel Lopatin (aka Oneohtrix Point Never), Kim Kardashian: Hollywood casual free-to-play role-playing Android game, Android phone, amplifier, speakers, and various cables, dimensions variable.
    picks March 30, 2021

    Cory Arcangel

    Stand in front of Cory Arcangel’s giant video wall long enough and you’ll get spammed with an array of offers: “Seven day free VIP trial,” the opportunity to “turn up your jam,” invitations to connect with a virtual “celebrity psychologist,” online-sofa-sale coupons. You’ll even get to go to the executive lounge at LAX with a skinny-jeaned Brat Pitt wannabe forever styling his hair. But all of this is filtered through a complex machine clunkily reading the screen area. After all, Arcangel’s work /roʊˈdeɪoʊ/ Let’s Play: HOLLYWOOD, 2017–21, is actually a live feed of a custom computer navigating

  • Jason Moran, Bathing the Room with Blues 2, 2020, pigment on gampi paper, 25 1/4 x 38".
    picks February 09, 2021

    Jason Moran

    Jazz pianist and composer Jason Moran’s new pigment-on-paper abstractions in this show, created during the pandemic, greatly broaden the relationship between the body and sound. The impressions captured by the artist in these images are, in some sense, acoustic: Moran made these works by laying sheets of paper on a piano keyboard, coating his hands with color, and then playing the instrument, producing a frottage of mechanical and musical activity. These indexical, machinic imprints function as several things at once: a performance record, a sensory stamp, and perhaps even an ex post facto

  • Roger White, May, 2020, oil on linen, 28 x 18".
    picks December 28, 2020

    Roger White

    I could have stayed inside Roger White’s new solo show here until 2038. Or 2086. Or 2021. From canvas to canvas, time and how we contain, categorize, and dwell within it suffuse this stellar exhibition. There are paintings of lists; paintings of disposable food containers; a portrait of a pigeon; and one glorious fusion of moods that features a Decameron-era figure writing out what appears to be sex-room bot chat in a Late Middle Ages script. All of the works are modest in scale, unassuming.

    Three rectangular and vertically oriented pieces have been made to look like mass-produced flip calendars.

  • Hélio Oiticica, Tropicália, 1966–67, mixed media, dimensions variable.
    picks December 03, 2020

    Hélio Oiticica

    A well-manicured terrain of white sand and pebbled paths stretches across the cement floor of Lisson Gallery’s 504 West Twenty-Fourth Street location. A land mass made of gentle geographic curves, Hélio Oiticica’s islet is home to a trio of shed-like structures and clusters of large tropical plants in terra-cotta pots as well as hand-painted signs on wood and clay with delicate script. Two of the makeshift constructions possess walls crafted from variously colored fabrics, tarps, and boards. The one in the back of the space, however, is a cage housing two live macaws.

    Conceived in 1966 and

  • Ina Archer, Hattie McDaniel: or A Credit to the Motion Picture Industry, 2003, four-channel video, photograph, handkerchief, tissue paper, doily, glass beads, dimensions variable.
    picks September 08, 2020

    Ina Archer

    Murmurs of old Hollywood echo across the gallery in Ina Archer’s first solo exhibition here. But two entrancing noises stand out—a tolling bell and a percussive snap, which almost resembles a synth drumbeat. The former hails from a scene in the film Gone with the Wind (1939), when a pair of enslaved young men ring a giant bell signaling the end of day in the cotton fields. The latter, stretched out and on a loop, is the sound of Sidney Poitier slapping a “genteel” bigot across the face in In the Heat of the Night (1967).

    Archer masterfully samples America’s racist history in film and print while