Boško Blagojević

  • Victor Burgin

    Victor Burgin is an artist who has persistently sought a kind of penetrating cultural analysis in his practice, whether you consider his wide-ranging, often-difficult theoretical writing, or the conceptual photography and video work for which he is also known. The target of that analysis has often been media itself, from his early efforts to reimagine advertising and photojournalism to more recent experiments with virtual worlds and three-dimensional rendering. Coming to prominence in the 1970s, Burgin is part of a generation of Conceptual artists with a special orientation to critical

  • picks July 15, 2016

    “The Highs of Everyday Life”

    The year in American media has been nothing if not a shrill, torrential fever dream: an obsessive and escalating news cycle reflecting a savage reality torn apart by killer cops, active-shooter rampage, virulent right-wing populism, and a looming American vote of world-historical consequence. A sardonic reversal of political discourse, then, arrives in the deliberately patchy whirring of this group exhibition during an election year, a time when many galleries exert themselves to prop up their best approximations of politically motivated art. This show is different. Organized by Monika Senz,

  • Ei Arakawa

    In 2008, Leopard Press published a slim black volume by artist Seth Price titled How to Disappear in America. Written in the paranoiac and antiestablishment tone of a 1970s anarchist manual or a ’90s how-to Internet text file, the work was a sort of instruction manual for shedding your identity and way of life. It gave a scattershot collection of advice on liquidating assets, severing social and professional ties, and going off the grid. The work was born of its stylistic references: Price appropriated much of it from a single semianonymous online guide to disappearance that has been available

  • picks April 15, 2016

    Maggie Lee

    In Maggie Lee’s solo debut here, a teen mausoleum crawling with early-to-mid-aughts moods and references, the artist presents a suite of dioramas centered on the Jenny doll, a fantasy avatar the artist dresses and entombs in, mostly, glass tanks. Each takes on the logic of the miniature world, inviting viewers to lean in at different angles, as all but one work rest on custom stands of various heights. With a decisive but sometimes frenetic hand, Lee revisits transitional periods in her life. Her exhibition re-creates many familiar coming-of-age experiences and sites: bedrooms, vintage shops,

  • picks February 05, 2016

    Cameron Rowland

    Few artists in recent memory have put more at stake so early in their careers than Cameron Rowland. His institutional debut here concerns itself with nothing less fraught than the persistent legacy of slavery within a thoroughly neoliberal twenty-first-century America. In the exhibition, Rowland presents a series of sculptures in the form of isolated, unmodified consumer and industrial goods whose histories of use, production, and acquisition are documented in their titles’ captions and a takeaway text available to visitors. A portion of the goods were sourced from Corcraft, a division of the

  • picks May 15, 2015

    Daniel Dewar & Grégory Gicquel

    If the Internet has come to bolster geographically dispersed tendencies and social groupings in the world of contemporary art, the price it has levied for this connectivity and acceleration has been the triumph of the image as the dominant vessel of influence. In their New York debut, Daniel Dewar and Grégory Gicquel present a precise body of sculpture that lays siege to that dominance in the Beaux Arts townhouse where the gallery recently reopened. In this building—once owned by nineteenth-century merchant and art collector Cornelius Bliss and on the same walls where his daughter would

  • picks March 13, 2015

    Hans-Christian Lotz

    In his New York debut, Hans-Christian Lotz presents two bodies of work as potent allegorical puzzles regarding questions of longing, nostalgia, and technical mediation. Near the entrance of the gallery, visitors encounter “Rain Over Water,” a series of eight framed works whose discrete but uniform titles imply a radical negation. Each piece is made of black screen-printed solar panels and inhabited, alternately, by either actual animal brains (from pigs) or zinc casts of the same. These facsimiles embedded in the panels sink into their substrate, the light reflected by the shiny chemical element

  • picks November 23, 2014

    Matt Hoyt

    Matt Hoyt’s sculptures resemble stones, sticks, shells, and geometric curios individually not much larger than a golf ball or quail egg. He presents these pieces in tidy museological arrangements of two or three (sometimes more) and rests the groupings on flat, hand-cast sheets of MDF and polyurethane bases that have been dyed in muted hues to amplify the objects’ organic-seeming patinas. Speaking in the historical vocabulary of the objet trouvé, these small sculptures are bits of sly fiction. What appear to be pebbles or exotic sea shells are actually constructions of various putties, tempera

  • picks August 05, 2014

    “Pleh”

    In “Pleh,” three very different artists—Gobby, Nick Buffon, Allegra Crowther—take up the onanistic tedium and thrills of obsession and boredom in dispirited urban desolation, a context familiar to New Yorkers resigned to spend long summer weeks in the city. Curator Alexander Shulan, who directs STL—the austere Chinatown satellite of Chelsea's Martos Gallery—presents a witty salon-style hanging of industrious and psychedelic comic-book illustrations and alluringly sloppy sculptural tableaux. The exhibition weirdly reminisces a certain generation of 1990s cable television cartoons—Rocco’s Modern

  • picks July 23, 2014

    Israel Lund

    For his debut at David Lewis, Lund presents only two of his in-demand abstract canvases. These works are an elaboration of earlier efforts at pushing low-quality iPhone photos of iconic works (by Daniel Buren and Martin Kippenberger, in this case) through several layers of distortion and final material realization via silkscreen. One of the work’s more interesting details is how the unprimed, raw canvas below the layers of paint restrains the tonal pop that might push the work into a cloyingly seductive direction.

    Lund is an artist whose name appears more often in cynical, link-bait journalism

  • picks June 02, 2014

    Andrei Koschmieder

    In “Iodine Poisoning,” Andrei Koschmieder presents a body of beguiling works that suggest a young artist ready to realize museum-scale ambitions. Stacked against one wall of the gallery are his corrugated metal boxes, tricky sculptures (or paintings) that may resemble steel heating units or perhaps just evoke “industry.” Their striking realism and rusty patina invites closer viewing with a readymade’s fetishistic appeal. But keen observers will quickly note their material lightness: Constructed from paper, these fake steels are sturdy, but their rusty exteriors are hand-painted facades. In

  • picks May 19, 2014

    Jason Loebs

    As New York lurches out of a punishing winter into a temperamental if not completely aborted spring, Jason Loebs focuses his second solo exhibition at this gallery on the evanescent properties and manifestations of heat. In a briskly poetic essay on the topic—distributed at the gallery—Loebs meditates on the symbolic harmonies between thermal energy and Bataille’s notions of Marxian surplus value, networked economies, and hot microprocessors mining exotic cryptocurrencies, thermographic imagery, and recycling programs for “waste” heat.

    In the back room, Loebs turns mats of carbon-heating

  • picks January 15, 2014

    Whitney Claflin

    Whitney Claflin dresses her deadstock prestretched canvases with a flip attitude that borrows as much from 1980s painting out of Cologne as it does from the craft of the makeup artist. For “Crows,” her second solo exhibition at Real Fine Arts, Claflin returns brushstrokes to her abstractions for the first time in several years—her recent shows have presented works in which paint was applied by less conventional means, such as by squeegee, transfer via paper, or sticks. Here, she uses carefully mixed oil colors alongside gouache, melted candle wax, red wine, and cosmetic products to create complex,

  • picks November 23, 2013

    Sam Anderson

    Sam Anderson’s sculptures are displayed in multitude, relating to one another as much as they invite viewers into their unresolved connective logic. This effect is particularly strong at “Flowers and Money,” Anderson’s current exhibition, where her aggressively diminutive sculptures are spread over the very limited floor space of Chapter NY, a new gallery situated in a tiny storefront on Henry Street (formerly Bureau). In both scale and arrangement, each resembles figurines in a board game—some, like two pairs of red and black horseshoes, smaller than a child’s fingernail.

    Among the thirty-nine

  • picks November 01, 2013

    Tom Holmes

    For “Piss Yellow / Bars and Stars,” Tom Holmes’s second solo exhibition at this space, the artist presents three similar silver-foiled reliefs cut to evoke the Cheetos logo that has haunted his previous works. Each is composed of several interlocking parts, joined by generic hardware-store fasteners and bolts, and made of oriented strand board (OSB), a common insulating component in residential construction. The reliefs are a most fitting substrate in the artist’s larger body of work, which often aims cool-eyed Pop techniques at “hot” commercial illustration designed to get mass-produced junk

  • picks October 03, 2013

    Ben Morgan-Cleveland

    In the late summer of 2012, Ben Morgan-Cleveland brought the street into Real Fine Arts—the Brooklyn gallery he cofounded with Tyler Dobson five years ago—by turning the space into a camera obscura, projecting a kind of live-stream image of Greenpoint’s busy Meeker Avenue into the blacked-out exhibition site. His latest show, “The Men in Gray Suits,” elaborates this gesture by bringing the streets into the gallery again as an augmented version of the sprawling reality outside its doors. To create the heavy maltreated paintings that constitute the show, Morgan-Cleveland made nightly sojourns to

  • picks September 14, 2013

    Loretta Fahrenholz

    In Loretta Fahrenholz’s film Ditch Plains, 2013, the sole work on view in her latest show, the artist creates a kind of anticity-symphony about a post-Sandy, post–Silicone Alley New York. Walter Ruttmann’s Berlin: Symphony of a Great City, (1927), is perhaps the genre’s most prominent example, presenting 1920s Berlin as a bustling industrial metropolis. Fahrenholz shows New York as a ruinous temple to capitalism—the city’s economic inequities and racial divisions made manifest around the havoc wreaked by Hurricane Sandy, especially within the working-class communities of the Rockaways and East

  • picks July 18, 2013

    Bradley Kronz

    In Bradley Kronz’s New York solo debut, a group of six works crowd together on one wall of the gallery like guests who arrived early at a house party. The remaining walls are blank, with only two other works on the floor. Somewhere between drawing and sculpture, these pieces become increasingly complex with prolonged engagement. One of the wall-bound works is a marker drawing of a stripped Jeep logo that was based on a photograph of a car the artist’s father was repainting. Kronz has reduced the image to a few swift lines, leaving marks of where the Jeep logo would go, a placeholder waiting to