Chloé Rossetti

  • picks February 12, 2016

    “The Value of Food: Sustaining a Green Planet”

    Lining the vaulted halls and nestled in the bays, chapels, and gardens of Saint John the Divine, a Gothic and Romanesque cathedral with a long history of interfaith services and social justice activism, is a bounty of visual art focused on issues of food security, sustainability, and accessibility. Curated by Kirby Gookin and Robin Kahn, and organized into seven sections—Water, Soil, Seed, Farm, Market, Meal, and Waste—the show reflects the cycle of food production. The mixture of well-known with lesser-known artists, and installations with documentation of past works, reflects the intermingling

  • picks December 23, 2014

    Katherine Hubbard

    “Four shoulders and thirty five percent everything else,” is a series of black-and-white gelatin silver prints of images shot within the desert landscape of southern Utah. Some pieces contain two, three, or four photographs in one print, three to five inches across or so, clustered together and bordered by the thick black of fully exposed photography paper. They were taken in an area marked by sight lines that delineate the field of vision between two facing cameras. Hubbard’s body moves throughout the picture planes, standing up, lying down, dressed, partially undressed, present, and absent.

  • interviews March 21, 2014

    Nancy Lupo

    Los Angeles–based artist Nancy Lupo is a participant in “Taster’s Choice” at MoMA PS1, a group show that examines the role of “choice” in art, both as process and as content. Below, Lupo ruminates on her new sculptures in the exhibition, and reflects on the location and circumstances of their production. “Taster’s Choice” is on view from March 23 to May 25, 2014.

    THE TACTILITY OF MY WORK traffics in a kind of erotics whose wires have been crossed and confused. Food is used in many of the sculptures—real food and also fake food. Cherries are bright and sexy, while nutritional yeast might remind

  • picks January 18, 2014

    G. T. Pellizzi

    The sculptures and paintings in G. T. Pellizzi’s latest exhibition, “Financial Times,” cast the global economic system as a ubiquitous and disembodied mythology, able to be manipulated by those few—financial analysts, gurus, stockbrokers, and pundits—who claim a special kind of mantic money power. In the center of the gallery are three sculptures, all jungle gyms of steel pipes rested atop stacks of finance-guru books, including classics like The 7 Habits of Highly Effective People. Taken together, the sculptures connote buzzwords like “networks,” “team building,” and “pipe dream,” as well as

  • picks September 26, 2013

    Charline von Heyl

    One may say a successful painting forces the viewer to keep looking, beset with an urge to understand some elusive trait that leaves an impression so fleeting that desire is set off again and again. This paradoxical quality is the crux of Charline von Heyl’s latest exhibition, which presents fourteen large-scale paintings created in the past year. Each is simultaneously form-driven and formless, leaving one with both a strong afterimage and a shifting after-impression. The result is a suite of works that is unfriendly to its beholder, provoking the impulse to look further while refusing to stay

  • film August 15, 2013

    Golden Gloves

    CUTIE AND THE BOXER (2013), a film that splits open the breast, depicts a complex, decades-long marriage between two artists living in close quarters. Far from a tribute to lockstep marital harmony, the film is a document of overlapping primary colors—of two crystalline, earnest characters that collide again and again, yet remain only subtly changed.

    Ushio Shinohara and his wife Noriko live in a catacomb of paint-splattered walls—part studio, part archive, part family home—somewhere in Brooklyn. For over forty years, through poverty, alcoholism, childrearing, and obscurity, the Shinoharas have

  • picks June 28, 2013

    “Vessels”

    Betty Woodman’s ceramic sculpture On the Way to Mexico, 2012, presides over the entrance “Vessels” as both gatekeeper to this group exhibition and harbinger for the display beyond. The fiery glazed red-and-orange front of the piece feels a world away from its back, a unified, muted surface where a thick cream-colored line meanders its way slowly around a black background shot through with fleshy pink. Moving around the work is akin to crossing a border, leaving one aesthetic realm for another.

    This transmogrification is, on a base level, a metonym for the process of creating a vessel from clay,

  • picks December 14, 2012

    Carroll Dunham

    Carroll Dunham, master of the solid form, man of the (mostly) closed edge, presents a new suite of nudes, and some trees. Brazen as ever, the scopophilic––verging on misogynistic––treatment of the subject matter belies Dunham’s technical proficiency: The afterimage of these trunk-legged, facing-away deities lodges in the mind long after the viewer has turned her back.

    Next Bathers, five (dive), 2012, features the backside of a nude, diving, sliding, along a sumptuous linen canvas into open-edged water, beneath a burning football of a sun. Sex pervades this painting: Everything from the testicle-shaped

  • picks December 12, 2012

    Phong Bui

    Phong Bui’s studio in the Greenpoint neighborhood of Brooklyn fell victim to a flash flood last August, claiming 20 percent of his art. Lining the floor of that space, Bui’s life work, accreted, became an unsalvageable bog, detrital and waterlogged. His current solo show is dedicated in part to Shoja Azari, who, during a post–flash flood visit to Bui’s studio, quasi suggested that Bui title his upcoming exhibition “After the Flood.” Unbeknownst to all was the prescience of this title for a show whose opening was held on October 29—the night before Sandy, and a mere day before Bui’s studio

  • picks November 19, 2012

    Nathlie Provosty

    Nathlie Provosty’s intimate works on paper, linen, and sheepskin, on view in her debut solo New York exhibition, are as much a meditation on the lineage of materials as they are a visually compelling investigation into the history of recurring geometric forms. In eight diptychs of walnut ink on tea-stained paper, titled A Week and Its Seven Days: The Merging of Reason and Optical Intuition (all works 2012), Provosty boldly juxtaposes orderly images—all on the left-hand sides of the pairs—with freeform ones on the right. The left-hand semicircles, squares, and rectangles evoke the

  • picks October 31, 2012

    Richard Gordon

    Richard Gordon was a very “slow” photographer, a patron of the patient viewer. His many subjects were often quotidian, well framed, and densely layered with meaning. So slow is the impact of his work that it may take a long time after Gordon’s recent death, on October 6, for him to assume his rightful place in twentieth-century photographic history, alongside fellow Leica wielders such as Robert Frank, Lee Friedlander, and Helen Levitt, all of whom have been the subjects of Gordon’s prolific art criticism. This exhibition of black-and-white photographs from the 1970s emphasizes the slow, subtle

  • picks September 19, 2012

    “Interior Visions”

    The Paul J. Schupf Wing for the Works of Alex Katz, at the Colby College Museum of Art, is a wing dedicated to, as its name suggests, a permanent, rotating display of Colby’s considerable collection of Katz’s work. Currently on view is an impressive mini-retrospective, “Maine/New York,” showcasing Katz’s expansive landscapes and fashion-forward figures. To accompany the show, Katz has tried his hand at curating, installing a small selection of paintings, drawings, and photographs from the museum’s holdings in an unassuming little room adjacent to his custom-built wing. Surprisingly, this side

  • picks August 22, 2012

    Janet Cardiff & George Bures Miller

    Enter the Park Avenue Armory in the next month to encounter a near-empty Drill Hall, populated only with a barely-there sound installation so surprisingly sonorous that it fills the immense darkness with a clamorous density, bearing down on the crowd at a moment’s notice and then retreating, like the ebb and flow of a tide. In a pool of light at the center of the cavern, one desk supports one horn speaker, surrounded by a makeshift amphitheater of wooden folding chairs. Emanating from the gramophone-like horn speaker is a woman’s voice—Janet Cardiff’s—narrating a dream in which she finds herself

  • interviews August 22, 2012

    Marisa Jahn

    Marisa Jahn is a New York–based artist, writer, and executive director of the arts organization REV-. Here, she discusses her 2010 project El Bibliobandido, which she created with the support of nonprofit Un Mundo for the largely illiterate village of El Pitál, Honduras. The work is on view at the Studio Museum in Harlem as part of “Caribbean: Crossroads of the World” through October 21.

    I IDENTIFY AS AN ARTIST AND A WRITER. Sometimes in the past, I’ve identified as an activist, although I find the term activist a little problematic. The Bibliobandido work is one in which all of those habits

  • picks August 07, 2012

    “Anti-Establishment”

    “Anti-Establishment,” curated expertly by Johanna Burton, is a group exhibition dedicated to those whose artistic practices playfully interrogate, reinterpret, and reinvent the notion of “the institution.” Comprising video, painting, installation, sculpture, text, and performance, this show, with its cacophony of opinion, provides a pleasurable, and often surprising, journey through the thought processes of thirteen twenty-first-century artists and groups, and their struggle to hold their space in a fluctuating landscape of outmoded institutions and their discontents.

    The most overt and extreme

  • picks July 15, 2012

    Caro Niederer

    The popping fuchsias, marigold yellows, and burnt reds that percuss through Caro Niederer’s latest canvases create a rhythm of coherence across wildly diverse subject matter, bouncing across dinner tables, penetrating through sex, and landing lightly on fields and beaches. To achieve this color repetition in her paintings, Niederer typically lines up a row of canvases in her studio and paints them simultaneously, from the same palette. Niederer is so dedicated to the pervasiveness of her hues that for this solo exhibition she sent cans of bright pink house paint to the gallery: Work from her “

  • picks June 01, 2012

    Hélio Oiticica

    Upon entering this show, viewers pass by a monograph on the receptionist’s desk titled Hélio Oiticica: Painting Beyond the Frame, by Brazilian artist and writer Luciano Figueiredo; those words are an appropriate enough introduction to the show. In the rectilinear Penetrável Filtro (Filter Penetrable), 1972, for example, the viewer walks through a series of narrow corridors across which hang curtains of lurid primary colors—framed, translucent color fields that the viewer tentatively parts along the way to a painterly scene beyond. Revealed there, among other treasures, are blaring radios,

  • picks April 25, 2012

    Valerie Hegarty

    Valerie Hegarty’s “Altered States” is a faux-historic collection of Ameri-ephemera that has been flooded, degraded, and more or less loved to death. The foam core replicas of replicas on view send a very clear message: What may at first seem like heavy-handed irony is in fact a humorous and tender gathering of deeply familiar objects and experiences. Take, for instance, the decapitated Washington portrait melting into his surroundings in Headless George Washington with Table (Lansdowne Portrait) (all works 2012). Tracing the co-opted contour of Gilbert Stuart’s 1796 original is at once a gleeful

  • interviews January 17, 2012

    Ira Sachs

    Ira Sachs is known for his mining of various communities: queer culture, art culture, film culture, literary culture. His previous films include Last Address (2010), Married Life (2007), The Delta (2007), and the Sundance Grand Jury Prize–winning Forty Shades of Blue (2005). His latest effort, the semiautobiographical Keep the Lights On, will have its world premiere at the 2012 Sundance Film Festival. Here, Sachs discusses his various personal motivations for creating the film.

    THE FILM COMES OUT OF THE DESIRE to tell our story honestly, without judgment and with a certain transparency. There’s

  • picks January 09, 2012

    Massimo Vitali

    Massimo Vitali’s large-scale photographs of beachgoers in Turkey, Greece, and Italy are, in a word, lighthearted. The title of the show hints at a pastoral other-place, loosely mapped onto the locations of the photographs themselves. What remains of this Arcadia, however, is a humorous yet fragile assortment of backpack-wielding, rock pool–squatting, parasol-opening, color-coordinated tourists, in various hues of bronze.

    The scale of the coastlines in Vitali’s enormous, saturated C-prints dwarf their fleshy inhabitants, creating a Where’s Waldo–type effect; a patient viewer is handsomely rewarded