Charlie Markbreiter

  • picks February 23, 2018

    Jesse Darling

    If the post-internet era uses new technology to position itself as a unique, irreparable break from the past, Jesse Darling’s practice situates this move within modernism’s theological underpinnings and legacy of progress. Instead of focusing on particular trend cycles, Darling investigates how the radically new became a market demand. “Atrophilia,” the artist’s 2016 show with Phoebe Collings-James at Company Gallery, interrogated the “desire for collapse or stasis,” according to the press release. In that exhibition, a candle and a toy airplane became a fleeting shrine; two blue busts of St.

  • picks October 06, 2017

    Barbara Kasten

    “My underlying question,” said Barbara Kasten in a 2012 interview, “is whether it is possible to make an abstract photograph.” Influenced by Bauhausian interdisciplinarity, which sought to combine all visual mediums into “total artworks,” the eighty-one-year-old Chicago-based artist trained as a painter before shifting to photograms, painted with liquid developing chemicals or the photo’s emulsion. For her first studio photography pieces, Kasten made sculptures of found industrial materials such as mirrors, Plexiglas, and sheet metal. These temporary “constructs,” as the artist calls them, were

  • picks July 21, 2017

    Gogo Graham

    Gogo Graham studied evolutionary biology before switching to fashion and starting her own line exclusively for trans women. Because most clothes aren’t made for trans women’s bodies, Graham’s one-off pieces are fitted to the person who wears them. The clothes are gifted to the models post-show. Two weeks prior to the opening of the artist’s exhibition here, Graham presented “Dragon Lady,” a one-night sculpture show at Romeo Gallery. Pushing against her experiences of being exoticized as a “dragon lady”—a white Western stereotype of Asian women as stubborn and manipulative—Graham presented drywall

  • picks May 26, 2017

    Sylvia Plimack Mangold

    In a kind of durational performance, Sylvia Plimack Mangold has painted the trees surrounding her home in Washingtonville, New York, for the past thirty years. Her painting routine, like tree growth, is seasonal. In winter, she paints from inside her studio; otherwise, she paints outdoors. Not merely relying on shadow and sunlight, Mangold creates depth and volume through variations in leaf color and multiple vanishing points. The artist enters her paintings, she declares, as if she were a “flying creature,” perhaps a hummingbird or a gnat. Early in her career, Plimack Mangold painted deadpan