Camila McHugh

  • View of “Pietro Consagra,” 2022. From left: Variazione n. 1 lenzuolo azzurro (Variation n. 1 Blue Bedsheet), 1974; Lenzuolo bianco (White Bedsheet), 1969. Photo: Riccardo Gasperoni.

    Pietro Consagra

    The shadow of art critic and feminist activist Carla Lonzi loomed large in “Immagini Vaganti” (Wandering Images), an exhibition of sculptures and other works by her longtime partner, Pietro Consagra (1920–2005). The show opened with two nearly life-size photographs of Lonzi taken by Ugo Mulas in a 1967 exhibition in Milan of Consagra’s cut-and-painted aluminum plates. A selection of the flat wall works depicted in the enlarged pictures were installed alongside them, including Alluminio rettangolo orizzontale (ocra) (Horizontal Aluminum Rectangle [Ocher]) and Alluminio spirale (grigio) (Aluminum

  • Frank Walter, Untitled (The Eye), undated, oil on cardboard, 10 1⁄4 × 22 1⁄4".

    Frank Walter

    “A couple of Oil-drums welded together, / A nozzle fussilage [sic]; and a rare fuel’s charge! / An Electronic Eye to see for it, / Radar to hear from it, / Velocity beyond the Acceleration of Gravity, / A Steering Mechanism; and a Spaceman’s Lot of Courage,” wrote late Antiguan artist Frank Walter in an undated typewritten text, Man on the Moon. This note was displayed alongside a small selection of other writings, including letters, manifestos, and part of a six-thousand-page autobiography, contextualizing the sixty or so paintings and handful of wooden sculptures that comprised “Frank Walter’s

  • Anna Ciba, “Prezentacje Galerii Dziekanka” (Presentations of the Dziekanka Gallery) (detail), 1987, Wielka 19 Gallery, Poznań. Photo: Włodzimierz Kowaliński.
    picks November 24, 2022

    Anna Ciba

    The almost-emptiness of this exhibition eerily befits an artist who disappeared without a trace in 2018, nearly three decades after she stopped making art amid struggles with schizophrenia diagnosed in the mid-1980s. Titled “When you look into my eyes, you see what?,” the show includes documentation of Ciba’s brief output as a student at the Academy of Fine Arts in Warsaw from 1982 to 1987, as well as a handful of photographs of her at the time and two pictures taken not long before she went missing. Most intriguing is a selection of exhibition shots displayed inside a vitrine: bold, glyphlike

  • Fred Eversley, Untitled, 1976, opaque black cast polyester, 19 3/8 x 19 3/8 x 7".
    interviews November 09, 2022

    Fred Eversley

    Fred Eversley has dedicated his five-decade career to abstract sculptural meditations on energy. Working in Venice Beach since the early 1970s, Eversley drew upon his experience as an engineer and elements of the Light and Space movement prevalent in Southern California at the time to develop the lens-like parabolic objects for which he is best known. The survey exhibition “Fred Eversley: Reflecting Back (the World),” on view through January 15, 2023, at the Orange County Museum of Art, provides an occasion to reflect on the work of the octogenarian artist, who recently relocated to New York

  • Bruce and Norman Yonemoto, Made in Hollywood, 1990, 35 mm, 16 mm, and video transferred to digital video, color, sound, 56 minutes 12 seconds.

    Bruce and Norman Yonemoto

    At the end of Bruce and Norman Yonemoto’s film Made in Hollywood, 1990, Patricia Arquette, who plays a Dorothy-like aspiring actress looking for Oz in Los Angeles, earnestly addresses the camera: “We’ve been lost, Matt, we’ve been trying to find our way home down the wrong path. I don’t want to be in movies. There’s only one place where I can find the world I’m looking for. . . . It’s the commercials!” This concluding punch line—suggesting that TV advertising is the place of “real families and real love”—is emblematic of the Yonemoto brothers’ campy and deadpan subversion of narrative structures,

  • Dadamaino, Volume a moduli sfasati, 1960, perforated plastic film on wooden stretchers, 27 1/2 x 19 3/4".
    picks October 11, 2022

    Dadamaino

    An orange plane stands apart from the array of black-and-white in this exhibition of mostly early works by Dadamaino. A rare foray into color for the late Italian artist, this piece from her 1960 series “Volume a moduli sfasati” (Volume of Displaced Modules) asks how a tangerine tone might inflect the tension between uniformity and contingency enacted by these wall works, each comprising two layers of stretched, hole-punched, translucent plastic. The orange plastic prompts associations with the hue’s stylishness throughout the 1960s—these sheets were repurposed shower curtains, after all—while

  • Maren Karlson, Sigil I, 2022, oil on canvas, 23 1/2 × 35 1/2".
    picks August 11, 2022

    Maren Karlson

    Maren Karlson uses Simone Weil’s concept of the void as a guiding principle for her exhibition “Cyphers” at Soft Opening, particularly the late French philosopher’s suggestion that “Grace fills empty spaces but it can only enter where there is a void to receive it, and it is grace itself which makes this void.” Tracing rounded orifices in shades of blue, green, and bone-gray oil on canvas, Karlson probes the potency of emptiness. Her visual language initially evokes something extraterrestrial, as constellations of oblong shapes reveal a strange affinity between automobile parts—such as a car

  • View of “Stabler Horizon.”
    picks July 11, 2022

    Whitney Claflin, Rochelle Feinstein

    There was a strange solace in visiting Whitney Claflin and Rochelle Feinstein’s duo show on the Fourth of July. As the United States’ tragic devolution has ramped up in recent weeks, it felt apt to spend the country’s Independence Day amidst these New York-based artists enduring engagement—personal and political, abstract and hyper-specific—with living in America. Feinstein stitched worming lines of hand-dyed, rainbow yarn into a group of drop cloth paintings that include American Sampler / 2020 (all works 2022), in which she uses the threads to trace the contours of a puzzle of light-washed

  • Lygia Pape, Divisor (Divider), 1968/1990. Performance view, Museo de Arte Moderna, Rio de Janeiro, 1990.
    picks July 05, 2022

    Lygia Pape

    Lygia Pape’s retrospective “The Skin of ALL” spans the late Brazilian artist’s five-decade career, homing in on her varied methods of abstraction and the evolving sociopolitical context from which they emerged. Pape employed angular shapes or intersecting lines not as geometric vehicles for transcendence or purity, but as modes of responding to the patterns that structured her surroundings. Attention to wood’s natural grain, for instance, instigated her woodcuts of the 1950s and ’60s, while the negative space between bodies was made tangible in Divisor (Divider), 1968. The exhibition’s title

  • Frank Bowling, Up a Tree (detail), 2021, acrylic, acrylic gel, and plastic insect additions on canvas with marouflage, 112 1/4 x 73 x 2 3/8".
    interviews June 28, 2022

    Frank Bowling

    For six decades, Frank Bowling has experimented with how personal and political memory can be sustained within the constraints of late-modernist abstraction. A solo exhibition, “Penumbral Light,” is on view at Hauser & Wirth in Zurich through August 20, and a major survey, “Frank Bowling’s Americas,” will open at the Museum of Fine Arts, Boston, in October. Below, the Guyana-born, London-based artist discusses his abstraction as an encounter with something simultaneously familiar and unexpected, compelled by an enduring fascination with what a painted surface can be.

    I’M WORKING THROUGH WATERY

  • View of “Feliza Bursztyn,” 2021–22. Photo: Annik Wetter.

    Feliza Bursztyn

    A frenzied jangling echoes intermittently throughout the Feliza Bursztyn retrospective in the converted twelfth-century monastery and brewery that houses the Muzeum Susch. The sounds made by the Colombian artist’s kinetic sculptures, which are activated on a timer for conservation purposes, seems to beckon one through the large-scale exhibition that spans Bursztyn’s oeuvre from 1964 through to her abrupt death in 1982 at the age of forty-eight. Propelled by electric motors attached to constructions in metal and fabric, this rattling encapsulates the drive to provoke that undergirded Bursztyn’s

  • Teresa Gierzyńska, Tęsknota (Longing), 1986, gelatin silver print, aniline, 11 3⁄4 × 15". From the series “O niej” (About Her), 1979–.

    Teresa Gierzyńska

    “Women Live for Love,” announced the title to Teresa Gierzyńska’s exhibition, broadcasting an essentialist declaration in order to complicate it. Curator Joanna Kordjak offered a decidedly feminist take on Gierzyńska’s oeuvre, bringing together works from three series dating to the 1970s and ’80s consisting of photographs, photomontages, and press prints portraying women. At that time, the Warsaw-based artist was particularly interested in material experimentation, messing with mechanical reproducibility by tinting her black-and-white photographs with synthetic dyes or pressing images cut from