Brian T. Leahy

  • Robert Lostutter

    Robert Lostutter’s exhilaration with drawing—“Nothing excites me more than a sharpened pencil and a clean white sheet of paper,” he has said—was abundantly evident in “Kyōsei,” his third exhibition at Corbett vs. Dempsey. Twenty-six meticulously crafted graphite-on-paper images lined the gallery’s walls. In each of the smaller, ten-inch-square works that hung on one wall, a single masculine head occupied the center of a delicately hatched ground. Facing them, two larger drawings—Kyōsei 1 Deep Night Garden and Kyōsei 2 Deep Night Garden, both 2018—depicted figures from the chest up. This intimate

  • Bethany Collins

    “I’ve been told that my mother’s name was Millie.” So wrote Lula Montgomery in an 1898 newspaper ad filled with half-remembered names, which Montgomery paid for in hopes that a reader might reconnect her with the family she lost when she was sold, as a baby, into the hands of a different slave owner in Richmond, Virginia. Adopting the heading of this ad for the work Do You Know Them? (1898), 2018, Bethany Collins embossed Montgomery’s words twice over on a fragile sheet of crimson newsprint, resurrecting their haunting refrain; the other nine sheets that comprise this work echo the words written

  • Elana Herzog and Luanne Martineau

    Elana Herzog and Luanne Martineau echo familiar parries to modernism’s vainglorious legacies. Their works substitute common materials, including textiles, for oil paint; involve craft techniques such as papermaking and needle felting; and focus on the domestic, the gendered, and the everyday in place of the grandiose and the utopic. Yet, though they are invested in these critiques, both artists happily provide more than admonitions, as their recent pairing for “COMPRESSION” emphasized.

    Herzog’s medium-size works in the show—they were not quite collages, since the textile fragments were