Blair Cannon

  • picks July 28, 2017

    “Sticky Fingers”

    This exhibition views the human body through its dehumanization. The show’s title alone, “Sticky Fingers,” evokes all manner of flesh, tainted and tantalizing. Caroline Mesquita’s carnival of sheet-metal monsters, displayed here as sculptures, also surrounds the artist in her video The Ballad, 2017, where they engage in standoffs and sexual acts. An Te Liu’s sensual skull-like bronze abstractions (unexpectedly carved and cast from Styrofoam packaging and domestic artifacts) perch atop skinny plinths, while a dismembered body by Piotr Łakomy—multiple works composed of casts of himself and articles

  • picks June 16, 2017

    “Body, Self, Society: Chinese Performance Photography of the 1990s”

    A major performance-art exhibition opened in Beijing on February 5, 1989, with a bang—the young artist Xiao Lu pulled out a pistol and fired two shots at a mirror in her own installation, prompting her arrest. Thereafter, the government cracked down on all unauthorized public performances, a move that was exacerbated by the Tiananmen Square demonstrations, which started only two months later.

    The artists’ colony that formed in the wake of these events (called the Beijing East Village, after their New York counterpart) used private performances to illustrate the political situation and recorded