Chloe Wyma

  • Ulrike Ottinger, Das perfekte Ebenbild und seine unaufthaltsame Mechanik  (The Perfect Image and Its Unrelenting Mechanics), 1977, C-print, 35 3⁄8 × 23 5⁄8".

    Ulrike Ottinger

    Taken on the set of filmmaker Ulrike Ottinger’s swashbuckling s/m fantasy Madame X: An Absolute Ruler (1977), the photograph Das perfekte Ebenbild und seine unaufthaltsame Mechanik (The Perfect Image and Its Unrelenting Mechanics) captures a saucy tableau on board the corsair Orlando. A female pirate—sporting fetishy, elbow-length gloves; a black bralette; and an irrepressibly blonde, Boris Vallejo–worthy mane—wields a stake over actress Tabea Blumenschein, cast as the flesh-and-blood, leather-clad figurehead bedecking the ship’s bow. Moments later, the pirate will ecstatically plunge her blade

  • Corentin Grossmann, Jeux de femmes (Women’s Games), 2018, graphite, colored pencil, and airbrush on paper, 41 1⁄2 × 63".

    Corentin Grossmann

    The graphite drawing The main gate, 2017, welcomed visitors to Corentin Grossmann’s first US exhibition with an architectural fabulation of elephantine columns, ball-shaped ornaments, and massive vaults enclosing depthless shadows. As the title suggested, we were looking at a threshold between two places. Behind the titular structure, the tops of palm trees were silhouetted against the sky, placing us in the tropics. In front was the nebulous gray void of our immediate foreground. The hazy gray scale, flat tonality and grainy surface texture of the drawing unsettled the exoticism of the scenery

  • Leonor Fini, Divinité chtonienne guettant le sommeil d’un jeune homme (Chthonian Deity Watching over the Sleep of a Young Man), 1946, oil on canvas, 11 × 16 1⁄4".

    Leonor Fini

    “Theatre of Desire, 1930–1990” is the first American retrospective devoted to the Argentinean-Italian painter and illustrator Leonor Fini (1907–1996). Across two floors and sixty years, precious Italianate portraits of friends and lovers morph into macabre fantasies of witches’ sabbaths and half-flayed bodies, crystallizing at last into kinky, acrid-pastel paintings of women and girls locked into flattened, compressed spaces and ambiguous erotic relations. Pornographic illustrations for works by Jean Genet and the Marquis de Sade, costume designs for operas and ballets, and extravagant photo

  • Gray Foy, Untitled (Illuminated Exterior with Morphing Dancers), ca. 1946, graphite on paper, 13 1⁄4 × 10 1⁄2".

    Gray Foy

    Gray Foy (1922–2012) didn’t require the aid of a magnifying glass to produce his intricate drawings—exquisite, Surrealist-inflected pieces made between 1941 and 1975—but they were handily on offer during the artist’s first major survey at Francis M. Naumann Fine Art. In a charming throwback to old-fashioned modes of sustained attention, delectation, and connoisseurship, visitors were encouraged to pore over his scrupulously rendered botanical and biomorphic images, many on view for the first time in fifty years. Yet even as they seemed to dwell in some etiolated genteel past, these

  • Dorothea Rockburne, “Ineinander Series,” 1972, crude oil and tar on twelve paper sheets, each 40 × 30". Photo: Bill Jacobson Studio.

    Dorothea Rockburne

    THE MORE ONE LOOKS at the deviously serene, austere works of Dorothea Rockburne, the more baroque and optically destabilizing they become. Locus, 1972, features six unframed sheets of white paper, marked by sharp orthogonal creases, which here hang across two of the gallery’s white walls. At various points, their monochromatic yet multiplanar surfaces appear to project into relief and recede into depth, throwing into doubt whether the eye is perceiving actual volumes in space or a restrained trompe l’oeil illusion. Made of folded paper run through a printing press, the Locus suite numbers among

  • Simone Leigh, Cupboard VIII, 2018, stoneware, steel, raffia, Albany slip, 10' 4 3⁄4" × 10' × 10'.

    Simone Leigh

    A ceramic female head crowned by a hollow receptacle met the viewer as she entered Simone Leigh’s exhibition. This hybrid object, 102 (Face Jug Series) (all works cited, 2018), conflates portraiture with functional pottery, playing on essentialist notions of the female body as a reproductive vessel and symbolic container. Themes of anthropomorphism and embodiment were amplified in Cupboard VIII, the largest of this exhibition’s three sculptures. More than ten feet tall, bare-breasted, and arrayed in a capacious, multitiered raffia skirt, the figure quotes the architecture of Mammy’s Cupboard,

  • Cecilia Vicuna, Leoparda de Ojitos (Leopard of Little Eyes), 1976, oil on canvas, 55 3⁄8 × 35 1⁄2".

    Cecilia Vicuña

    Entering “La India Contaminada” (The Contaminated Indian), Chilean artist Cecilia Vicuña’s first survey in New York, the viewer encountered Quipu Viscera (Visceral Quipu), 2017. Numerous swaths of unspun wool—dyed various shades of pink, peach, and heliotrope—cascaded from the ceiling, amassing in a fibrous, flesh-colored forest. While the first word of the work’s title refers to the intricate system of knotted cords used by pre-Columbian Andean cultures for accounting and record keeping (a concept that has motivated much of Vicuña’s fiber-based art since the mid-1960s), the second

  • Domenico Gnoli, Curl, 1969, acrylic and sand on canvas, 54 3⁄4 × 47 1⁄4".

    Domenico Gnoli

    “A commodity seems at first glance to be a self-evident, trivial thing,” Karl Marx famously wrote in Das Kapital. “The analysis of it yields the insight that it is a very vexatious thing, full of metaphysical subtlety and theological perversities.” “Detail of a Detail,” Luxembourg & Dayan’s second exhibition devoted to the late Italian realist painter Domenico Gnoli, was riddled with superficially innocent, deeply vexing items: the prim knot of a red necktie, a tooled-leather brogue, a starchy white collared shirt, a floral damask duvet. Violently uprooted from their respective milieus and

  • Miyoko Ito, Heart of Hearts, Basking, 1973, oil on canvas, 44 x 31".

    Miyoko Ito

    In the painting Heart of Hearts, Basking, 1973, the viewer finds herself in an immensurable yet sensuous concrete space. In the extreme foreground, two molten pools of red paint swell upward, dammed on either side by brown embankments and above by a barrier of stacked elongated cylinders. A sweeping, prohibitive diagonal line girdles the picture, its upper register marked by a rectangular aperture that opens onto contiguous passages of tan and translucent blue that reflexively read as sand, sea, and sky. As this distant, elusive beach materializes, and categorical distinctions of abstraction

  • View of “Nick Mauss: Transmissions,” 2018. Left to right, front: George Platt Lynes, Tex Smutney, 1941; George Platt Lynes, Paul Cadmus and Jared French (artists), 1937; George Platt Lynes, Laurie Douglas Harvach (model), 1944; George Platt Lynes, Nicholas Magallanes (dancer), c. 1938; George Platt Lynes, Diana Adams (dancer), 1951. Left to right, back (dancers): Kristina Bermudez; Brandon Collwes; Matilda Sakamoto; Quenton Stuckey. Photo: Ron Amstutz.
    interviews May 09, 2018

    Nick Mauss

    For “Transmissions,” his first museum solo exhibition, New York–based artist Nick Mauss juxtaposes his own works with those from public and private collections to reinterpret New York modernism during the first half of the twentieth century. On view through May 14 at the Whitney Museum of American Art, the show encompasses dance and visual art. Here, Mauss considers the connections to be found across artistic histories.

    I CONCEIVED OF TRANSMISSIONS as a new work for the museum that is continually in process. I wanted a title that immediately signaled away from received ideas about ballet, to open

  • PROJECT: EBECHO MUSLIMOVA

    IN THE FIRST IMAGE of this project, Fatebe emerges from the bivalve mold a disheveled, decidedly immodest Venus. She reclines in the nude, legs akimbo and pudenda proudly displayed, her rumpled flesh impervious to reification or containment. Born in 2011, Fatebe is the precocious child and loose-jointed alter ego of artist Ebecho Muslimova. Muslimova draws her perpetually naked, pleasantly zaftig second self into innumerable graphic scenarios, her elastic body functioning as a vehicle for dirty jokes and insuppressible energies. In a recent exhibition at Magenta Plains in New York, Fatebe

  • Jacolby Satterwhite, Blessed Avenue, 2018, 3-D video, color, sound, 19 minutes 20 seconds. Installation view. Photo: Lance Brewer.

    Jacolby Satterwhite

    Leather queens, club kids, and bare-breasted femmes writhe and vogue in crystalline enclosures overlooking churning purple galaxies. Bound to one another and to sinister machines by a network of multicolored intestinal tubing, pliable virtual bodies pleasure and punish each other in acrobatic scenarios, their mechanical gyrations powered by a sovereign libidinal clockwork. The factory and the dance floor, Fordism and fetishism, play and werk, collapse into undifferentiated opalescence. Across a torpid twenty minutes, titillation yields to monotony, anhedonia, alienation. In a rapacious feedback