Canada Choate

  • Breyer P-Orridge, Untitled (In Thee Beginning), 2004, marker on paper, sheet size 24 × 18".


    “WE ARE BUT ONE,” a presentation of art by Genesis and Lady Jaye Breyer P-Orridge, focuses on the couple’s Pandrogyne project, a nearly two-decade-long effort by the pair to transform their bodies via plastic surgery into one “pandrogynous” creation: a singular being they refer to as Breyer P-Orridge. Organized by Invisible-Exports proprietor Benjamin Tischer, this paean to love in its highest state—a narcissism that rises above the self to encompass the beloved—displays relics from the pair’s reciprocal metamorphoses in the form of photographs, sculptures, collages, and handwritten concrete

  • Lynn Hershman Leeson, Logic Paralyzes the Heart, 2022, 4K video, 13 minutes 53 seconds. Joan Chen (Cyborg 1) dressed by Nina Hollein.


    THE TERM CYBORG turned sixty in 2020. I realized this just last year, so my project, Logic Paralyzes the Heart, is about a sixty-one-year-old cyborg, played by the actress and filmmaker Joan Chen, who is reconsidering the trajectory of her life. She was made by NASA, and since her birth robotic devices have populated the world. The difference is that new technologies of surveillance are directed not at an enemy out there but at people in our own country. The cyborg goes on a retreat, which inspires her to meet her human avatar and explain what she’s discovered. She wants to find ways she can be

  • Colette Lumiere, Notes on Baroque Living (Installation), 1978–83/2021, reconstruction of Living Environment with original wall fragments, lamp, and perfume box; carpet, mirrors, shelves, Colette-size CRT monitor, selections from Colette’s 1978 “Records from the Story of My Life,” 2021 Living Colette sculpture made in collaboration with Cajsa von Zeipel, 8' 6" × 11' 8" × 11' 1".

    Colette Lumiere

    In a 1991 review of Colette Lumiere’s work for this magazine, painter and critic John Miller declaimed: “[Her] contribution to feminist esthetics has been underrated. Perhaps this is due, in large measure, to the fact that her frankly narcissistic posture unleashes several traits—self-indulgence, childishness, and seduction—that are anathema to mainstream feminism.” At that time, Lumiere—who, as part of her ever-evolving performance of self, has taken on many different names since then—had just returned to New York, where she began her career in 1971 after a seven-year period of living and

  • Helen Pashgian, Untitled, 2020, cast epoxy on custom artist pedestal, 60" diameter. Installation view, Lehmann Maupin, New York, 2021. Photo: Daniel Kukla.
    interviews November 15, 2021

    Helen Pashgian

    At New York’s Lehmann Maupin, Helen Pashgian showed me around “Spheres and Lenses”—her first exhibition in the city since 1971—while mesmerizing me with her eyes, as glowing and multihued as the prismatic orbs on display. Though Pashgian has been making art since the late ’50s, her moment is now: On November 19, SITE Santa Fe will open the fifty-year retrospective “Helen Pashgian: Presences”; six days later, her work will be featured in Copenhagen Contemporary’s “Light and Space,” a survey of the titular California-based movement Pashgian was instrumental in defining. 


  • Lynn Hershman Leeson, CyberRoberta, 1996, doll, clothing, glasses, webcams, surveillance camera, mirror, telerobotic hardware, programming, approx. 17 3/4 × 17 3/4 × 7 7/8".
    April 14, 2021

    “Lynn Hershman Leeson: Twisted”

    Curated by Margot Norton

    Roberta Breitmore is coming to town, back at long last after her 1978 exorcism at the hands of her creator and double, San Francisco’s own Lynn Hershman Leeson. This summer, the New Museum will give over its second floor to this OG media artist’s first New York solo exhibition, which will focus on significant projects from across her fifty-year career: “Roberta Breitmore,” 1973–78, an iconic performance of dual identity taken to abject extremes; the wax-cast “Breathing Machine” sculptures, 1965–68; the ersatz genetics lab Infinity Engine, 2014–; and many more pioneering

  • View of Martha Diamond’s “1980–1989,” 2021. Magenta Plains, New York.
    interviews February 05, 2021

    Martha Diamond

    Over the course of her fifty years as a painter in New York, Martha Diamond has applied her love of place and structure to canvases that capture the architecture of the five boroughs in striking hues and energetic, wet-on-wet brushstrokes. On the occasion of “1980–1989,” an exhibition of oil paintings and studies on Masonite made during the titular decade—on view at Magenta Plains in New York through February 17—Diamond looks back on her childhood in the city, her affiliation with the New York School, her informal education in painting, and her artistic community.


  • Page from Cornelius Cardew’s score for Treatise, 1963–67.
    books May 06, 2020

    Red Score

    STOCKHAUSEN SERVES IMPERIALISM, BY CORNELIUS CARDEW. New York: Primary Information, 2020. 126 pages. 

    CORNELIUS CARDEW’S SOLO PIANO INTERPRETATION of the Chinese Cultural Revolution anthem “Sailing the Seas Depends on the Helmsman,” from his 1974 record Four Principles on Ireland and Other Pieces, is spry and cheery, a toe-tapping minute-and-a-half frolic across the ivories. Though its folky character shines, Cardew’s featherweight playing belies the song’s heavy ideological underpinnings. Its lyrics: “The revolutionary masses cannot do without the Communist Party / Mao Zedong Thought is the sun

  • View of “Ballerina: Fashion’s Modern Muse,” 2020.
    picks March 10, 2020

    “Ballerina: Fashion’s Modern Muse”

    Even for the balletomaniacs among us, the material history of the art form—one caught up in interpretation, rigor, tradition, and, most of all, practice—can be hard to grasp, hidden as it is in theater archives and the closets of prima ballerinas past. Curator Patricia Mears’s exhibition here dusts off bejeweled costumes, pointe shoes, and modest rehearsal ensembles from the twentieth century, placing them in conversation with contemporaneous couture and prêt-à-porter by masters such as Yves Saint Laurent, Elsa Schiaparelli, and Christian Dior. The drool-worthy garments, organized into groups

  • View of “Elizabeth Enders,” 2019–20. From left: Battle of Lepanto 1571, 2019; Untitled—Fields, 2019.

    Elizabeth Enders

    The last battle fought almost entirely between rowing vessels occurred nearly five hundred years ago. The mechanics, not to mention horrors, of such a confrontation are nigh unimaginable today. History paintings depicting the Battle of Lepanto tend to portray its maritime setting, in the Gulf of Patras off western Greece, as stuffed full of masts, prows, flags, cannons, and oars. Little order emerges from these chaotic scenes. In “Elsewhere,” Elizabeth Enders’s exhibition at Betty Cuningham Gallery—a fantastic, transtemporal, and world-spanning journey that unfolds across twenty-one works on

  • The Residents performing God in Three Persons at the Museum of Modern Art, New York, January, 2020. All photos: Julieta Cervantes.
    music January 31, 2020

    Resident Evil

    IN HIS 1846 TREATISE “The Philosophy of a Composition,” Edgar Allen Poe contended that “the death . . . of a beautiful woman is, unquestionably, the most poetical topic in the world.” The Residents, San Francisco’s most famous anonymous art collective-slash-band, offer a rejoinder: The death of beautiful conjoined twins of indeterminate gender is more poetic still. Such is the narrative of God in Three Persons, a rock opera of sorts—written in the extremely uncommon trochaic octameter, just like Poe’s “The Raven”—in which Mr. X, a roving talent manager, plainly narrates his fraught relationship

  • Phill Niblock, China 88 110, 1988, archival pigment print.
    interviews December 24, 2019

    Phill Niblock

    Experimental music doyen Phill Niblock has been making photographs since his 1958 arrival to New York, where he cut his teeth documenting the performances of jazz greats like Duke Ellington. A decade later, Niblock began the work for which he is best (if still under-) known: multiscreen audiovisual installations scored by drones, built around microtones generated by instruments from cello to bagpipe to saxophone. “Working Photos,” a solo exhibition at New York’s Fridman Gallery on view through Janury 5, 2020, draws on over a half-century of artmaking triangulated between photography, cinema,

  • Herbert Zangs, Plus-Minus, 1953, paint on cardboard, 55 1⁄2 × 51 1⁄8". From the series “Whitenings,” 1952–54.

    Herbert Zangs

    The late German artist Herbert Zangs (1924–2003)—who worked primarily with cardboard, staples, wood, and white paint in the years following World War II—generated a sorely underrecognized oeuvre that’s as blissfully meditative as it is dense with painterly innovation. “Plus Minus” at Blain|Southern—the first New York exhibition of Zangs’s work in fifty years—unearthed yet another example of the white monochrome’s presence during the early 1950s. When Robert Rauschenberg was showing his 1951 White Paintings to audiences both dubious and offended and Robert Ryman was observing the modernist canon