Catherine Taft

  • Raúl de Nieves, Psychopomp, 2018, vintage millinery trim, rhinestones, plastic beads, thread, glue, cardboard, mannequin, zipper, 44 × 15 × 25".

    Raúl de Nieves

    The work of Mexican-born, New York–based artist Raúl de Nieves owes much of its sensibility to early-1970s glam: its artifice, excess, and glittering attitude toward gender. But there was nothing nostalgic, ironic, or retro about the seven figurative sculptures, four mosaiclike wall works, and three drawings that comprised this show. Rather, the works’ dazzling, obsessive surfaces seemed earnestly drawn from some collision of nature, Pop, and fantasy in the service of pure theater. The actors here were six three-foot-tall bodies, each a construction of fiberglass, glue, and multicolored plastic


    Curated by Rudolf Frieling, Lucía Sanromán, and Dominic Willsdon

    In the field of social practice, Suzanne Lacy is a pioneering and deeply respected figure, having worked for nearly five decades to define this mode of production through activism, performance, community outreach, and pedagogy. With fearlessness, urgency, and, at times, humor, she has tackled complex and vital issues, from rape and systems of violence to international borders, environmental sustainability, and women in leadership. Presented jointly at the Yerba Buena Center for the Arts and the San Francisco Museum of Modern Art,

  • Harry Dodge, Pure Shit, 2017 sock, urethane resin, A-clamp, Plexiglas, aluminum, pine dowel, 41 × 31 × 7".

    Harry Dodge

    Harry Dodge’s recent works might well be the love children of the machine age and the digital revolution; his exhibition at the nonprofit space JOAN, “Works of Love,” comprised twelve new sculptures seemingly generated via intertechnological commingling, or perhaps through the tinkering of some ham inventor. Objects such as Pure Shit Hotdog Cake and Black Transparency (The Cloud Polis draws revenue from the cognitive capital of its Users), both 2017, looked like homespun satellites, teetering structures of wood, aluminum, resin, and other found hardware (Black Transparency even counts a “rocket

  • Todd Gray, Purnima, 2018, ink-jet prints, found frames, UV laminate, 55 × 48 × 3 1⁄2". From the series “Exquisite Terribleness,” 2013–.

    Todd Gray

    Writing in these pages in 2013, critic Bruce Hainley asked, “Aren’t the ‘life,’ ‘body,’ and ‘face’ of Michael Jackson in the running for some of the most abstract events of the last century?” Indeed, in his lifetime, Jackson complicated notions around his own race, gender, and cultural identity, and his transformation (what Hainley pointed to as “transgendering”) took place before a critical public eye. Todd Gray was Jackson’s exclusive personal photographer in the late 1970s and early 1980s—and thus enjoyed a proximity that allowed him a privileged view of the celebrity in construction—and many

  • Nicole Eisenman, Heading Down River on the USS J-Bone of an Ass, 2017, oil on canvas, 10' 7 1/4“ x 8' 9”.

    Nicole Eisenman

    If history painting aims to convey the course of empire through the depiction of mythic or moralistic episodes, then Nicole Eisenman’s canvas Heading Down River on the USS J-Bone of an Ass, 2017, is likewise a tribute to recent American history, our country’s progress allegorized as a one-way trip down a swampy cataract. More than ten feet tall, the work depicts a sailing vessel—the impossibly large jawbone of a donkey—with a torn sail, manned by a solemn piper, a ghoulishly pasty sailor, and a politician-like fat cat, who lurks in the shadows. Perhaps an update to Emanuel Leutze’s

  • Simone Forti, Big Jump on Back, 1975–78, integral hologram, 56 3/4 x 20 x 13".

    Simone Forti

    Musing on virtual reality in the pages of this magazine in 2017, Douglas Coupland remarked, “When a new technology triumphs, it allows the technology it’s rendered obsolete to become an art form.” Surprisingly, in that same text, Coupland characterized the use of holograms in art—except “by Simone Forti and a few others,” whom he characterized as deploying them “to great effect”—as a “flash in the pan.” While holography has only hesitantly been embraced as a valid art medium (and rarely as a triumphant technology), the question is not so much about novelty as about the depth of an

  • Gary Simmons, Law of the Jungle, 2017, mixed media on canvas, 12' 1/4" X 18'.

    Gary Simmons

    Since the early 1990s, Gary Simmons has brandished the act of erasure as a means to visualize race and the history of its representation and misrepresentation. To employ this technique, the artist would first draw on a chalkboard, then smear the image, leaving faded traces of the drawing surrounded by chalky, gestural streaks. Although these marks seemed violent, the image refused to disappear.

    In his six large, mixed-media works at Regen Projects (all works 2017), Simmons built on his early chalkboard drawings, utilizing the formal aftereffects of erasure—forceful blurring—in the service of

  • William Leavitt, Virtual Reality, 2017, acrylic on canvas, 36 × 60".

    William Leavitt

    It’s difficult to tell if William Leavitt’s work reflects an imprecise past or a strange, near future, and it’s exactly this temporal blurriness that makes his work so compelling. Comprising eleven paintings and three theatrical, flat-like sculptures, his recent exhibition “Cycladic Figures” proposed alternate realities in which the stuff of the past—for example, rotary phones, Polaroid cameras, and Greek statuary from 2500 BCE—collided with fantastic technologies, both real and imagined. As with much of Leavitt’s oeuvre, this pileup of images was set in a distinctly Californian

  • Elizabeth Axtman, Run Nigga, Run, 2017, acrylic and collage on paper, 18 x 26".

    Elizabeth Axtman

    In her 2003 essay “Pimp Notes on Autonomy,” Beth Coleman writes, “The fame of black people . . . is a fame based on the foresight that race does not exist anymore, which does not necessarily make a body right.” O. J. Simpson’s infamous claim, “I’m not black, I’m O. J.,” could be read as a similar assertion, a cultivated self-definition of Simpson as a public figure pointedly outside of racial politics. But after the former NFL running back’s dramatic fugitive flight, “trial of the century,” and murder acquittal, he would never again be exempt from race in America (as if such an idea was possible).

  • Amalia Pica, In Praise of Listening, 2016, granite, marble, oil paint, silicone tubing, dimensions variable. From the series “In Praise of Listening,” 2016.


    Pica’s sculptures and performances are calls to action: They implore us to look, listen, and participate. Political subtexts—addressing everything from military dictatorship to governmental bureaucracy—inform the London-based artist’s practice; for this show, she mines the architecture of war and the obsolescence of technology. Building on her 2010–12 sculpture Acoustic Radar in Cardboard, Pica will exhibit new works in the same material, these based on early sonic equipment used by the British after World War I. The series “In Praise

  • View of “Jennie Jieun Lee,” 2017. Photo: Jeff McLane.

    Jennie Jieun Lee

    Among the torso-like, vertically oriented ceramics placed at deliberate intervals throughout “Seizure Crevasse,” Jennie Jieun Lee’s first solo exhibition in Los Angeles, a pair of small sculptures situated in and near the gallery’s eponymous pit were the most ominous and compelling. At the bottom of a five-foot-deep, roughly eight-by-four-foot rectangular recess in the gallery’s cement ground (an architectural leftover from the space’s former days as a car repair shop), a modest abstract ceramic piece with a glossy, multihued glaze rested like a decapitated head in a grave. Hovering over the

  • View of “Michael Decker,” 2016. Photo: Lisa Anne Auerbach.

    Michael Decker

    In 1968, brothers Wallace and Russ Berrie manufactured and sold a line of kitsch plastic objects known as Sillisculpts. The Sillisculpt served as a kind of 3-D greeting card that reflected the popular sentiments of Vietnam-era America; each featured a small, trophy-like figure, typically cast in off-white resin and fixed to a base stamped with a saccharine or humorously lewd phrase: I LOVE YOU THIS MUCH; WORLD’S BEST MOTHER; UP YOURS!; THERE’S NO PLACE FOR SEX IN THE OFFICE . . . SO LET’S MAKE ONE. As subtitles for the upward gazing dopey, doe-eyed figures, the phrases spoke alternately to