Cathryn Drake

  • David Claerbout

    Belgian artist David Claerbout illuminated the relative and shifting nature of perceptual time—geological, historical, episodic, linear, emotionally and culturally mediated—in his striking exhibition “Background Time.” Together the dynamically changing city of Berlin, with its transparent historical strata, and the Akademie der Künste, seemingly frozen in time among other modernist icons of the Hansaviertel district, made an uncanny setting for this ensemble of six works. The gallery’s expansive layout also provided an effective time sequence between the two-part video installation American

  • picks December 28, 2004

    Giuseppe Capitano

    In this remarkable debut, thirty-year-old self-taught artist Giuseppe Capitano exhibits a series of sculptures that express the enduring conflict between the spirit and the body. Each of the show’s six rooms holds only one or two pieces, set off by the historic palazzo’s vividly frescoed ceilings. An expressionless marble mask is draped with long natural hemp braids that dangle toward a flat steel gate representing a balcony. Perhaps meant to be Shakespeare’s Juliet, it has the austere rawness of an African ceremonial mask. A bodiless hemp foot suspended on a mirrored step—which seems to disappear

  • picks June 22, 2004

    Stefania Di Marco

    Like forensic detail shots from a crime scene, Stefania Di Marco’s vivid frameless photographs of hair draped on snow or suspended in liquid show only part of a story. In some, flowers add further mystery to scenes hinting at death. The contrast between three bloodred blossoms and a shock of dark hair against a background of pure white bubbling milk creates a riveting tension between the suggestion of foul play and a striking, ominous beauty (Ibiscus, 2004). The thirty-year-old Turin-based artist says she is attempting to “deromanticize and yet glamorize death” in this series. Another series in

  • picks June 04, 2004

    Peter Flaccus

    Shortly after arriving in Italy eleven years ago, American painter Peter Flaccus abandoned oil paint and began using encaustic to form his gestural imagery on wood. Although Flaccus describes his new work as a natural evolution, visually it is a distinct departure from the pale and delicate palette of his previous encaustic experiments with transparency and opacity, and with the natural tones of wax and wood. His current, more dynamic experiments in color combination, as well as a completely different method of handling the encaustic, appear as silent explosions of celestial orbs with delicate