Corrine Fitzpatrick

  • interviews February 24, 2015

    Lucy Raven

    Lucy Raven is an artist living in New York. Her site-specific installation Tales of Love and Fear—which consists of a custom-built rig of rotating platforms, a stereoscopic photograph split between two projectors, and sound based on field recordings made in India—was commissioned by the Experimental Media and Performing Arts Center (EMPAC) at the Rensselaer Polytechnic Institute in Troy, New York, and will be presented there on Friday, February 27, 2015 at 8 PM.

    TALES OF LOVE AND FEAR is a cousin of Curtains, a work I finished a couple of months ago that uses a similar anaglyph technique of

  • performance December 11, 2014

    Corrine Fitzpatrick

    LAST APRIL, Cleopatra’s housed “Which arbitrary thing are you,” (April 6 to May 4, 2014) a two-person exhibition of sculpture and video by Sara Magenheimer and paintings by Sadie Laska. All of the works were from 2014, with the exception of Magenheimer’s seven-minute video, One Vast Focus, 2011, in which footage of a woman playing tuba before a grove of trees opens onto a quaalude-paced concert scene overlaid with text from Ada Lovelace’s megalomaniacal-Romantic musings to her mother—“I can throw rays from every corner of the universe into one vast focus”—which is then read aloud by the

  • picks April 27, 2014

    Urs Fischer

    Have you seen the Urs Fischer in the old Chase? That is what my friend asked as we walked up Delancey toward the bridge. No, I had not. We crossed over and entered the former bank through spray-painted doors. For the next twenty minutes, we proceeded (under the amiable gaze of two suited guards) to traipse through the branch like happy kids. The space still bears corporate insignia, institutional carpet, ghastly lighting, and the basic architectural skeleton of its past self.

    Into this capitalist graveyard—temporarily operated by Gagosian Gallery—Urs Fischer has deposited mermaid pig bro w/ hat,

  • picks March 20, 2014

    Moyra Davey

    In Moyra Davey’s new exhibition, “Ornament and Reproach,” two paintings bearing the artist’s name and the show’s title hang amid predominately photographic work. In lieu of standard opening and closing information is the curious timespan, “June 5 1647 to April 14 1730.” Funerary and historical, this modest preamble signals a layering of effects that requests an active reading.

    Vestiges of the artist’s earlier works populate the space; time—as subject and as tempo—is inferred and occurs in their re-configurations. Black-and-white prints from Davey’s “Bottle Grid” series, 1996-2000, portray empty

  • picks June 14, 2013

    Mathieu Lefevre

    “Irony as method” is how Mathieu Lefevre, the Canadian artist who passed away in 2011 at the age of thirty, once described his work. The ten pieces—indeed a litany of wisecracks and one-liners—included in his first posthumous solo exhibition, “The Stuff Things Are Made Of,” surefootedly pronounce the clear-sighted diligence of a skilled maker who consistently infused his own mischief and pluck into the structure, surface, and content of his artworks.

    Wash Me, 2009, spells its title out in the perfect layer of dust Lefevre applied over acrylic paint on canvas, evoking the obvious simile of one

  • interviews November 05, 2012

    YES! Association/Föreningen JA!

    The YES! Association/Föreningen JA! is an institution, an art worker, and a group of people working to overthrow heteronormative, patriarchal, racist, and capitalist power structures by redistributing access to financial resources, space, and time within the art world. The collective’s first aim was to help Sweden’s public art organizations tackle their inequality problems by offering the chance to sign an Equal Opportunities Agreement. Their new multipart work SMOKING AREA is on view through December 21 in the exhibition “Anti-Establishment,” at the CCS Bard Hessel Museum in Annandale-on-Hudson,

  • picks October 04, 2012

    Zoe Leonard

    The checklist for Zoe Leonard’s current solo exhibition lists the materials composing her twenty-three-by-twenty-nine-foot camera obscura, 453 West 17th Street, 2012, as “lens and darkened room.” As with the installation’s previous iterations in Cologne, London, and Venice, the inventory could very well extend to include sunlight, subjective time, bodies, optics, perception, and the outside world, offering its view. Here, just east of Tenth Avenue, Manhattan is the source of sight and sound. Footsteps on the floor above, honking cars, voices drifting from the High Line and street below—Leonard

  • interviews May 21, 2012

    Ulrike Müller

    Ulrike Müller is an Austrian-born, New York–based artist whose work investigates form as a mode of critical engagement. In 2007, Müller found an inventory list describing a collection of feminist T-shirts at the Lesbian Herstory Archives in Park Slope, Brooklyn. She distributed individual image descriptions from this list to 100 artists, inviting them to translate the texts into drawings. The result, Herstory Inventory: 100 Feminist Drawings by 100 Artists, is a collaborative rethinking of the queer, feminist archive. The project’s debut exhibition is at the Kunsthaus Bregenz in Austria through

  • picks November 23, 2011

    Deville Cohen

    The five aluminum-mounted ink-jet prints on view in Deville Cohen’s first New York solo exhibition seem like souvenirs from the main event: a nineteen-minute video playing on a large screen in the gallery’s basement. Combining photographs of set pieces from the video with stock images of outer space, the decontextualized photomontages fall flat as isolated works. Within the first thirty seconds of Poison (all works 2011), a pair of hands reaches across what appears to be a book. The “book” is pried open to reveal a pop-up paper sculpture depicting rows of parking meters. One seamless edit later,

  • picks October 26, 2011

    MPA

    “To perform is a request for witness,” states MPA. Since 2005, the self-labeled feminist and exhibitionist has garnered attention for her live performances, often pushing her body through hypersymbolic physical thresholds in an ongoing engagement with dynamics of power and resistance. MPA uses the two-month run of “Directing Light onto Fist of Father,” her solo gallery debut, to extend the framework of her performances––collapsing the line between daily practice and live act.

    The exhibition opened with Initiation (all works 2011) on September 15. The artist stood with eyes closed, silent amid

  • picks September 22, 2011

    Glen Fogel

    For “Goldye,” his second New York solo exhibition this year, Glen Fogel backed his white 1991 Cadillac Seville into Callicoon Fine Arts’ new storefront space—inaugurating the Lower East Side location with a flourish of logistical heft. Visitors enter through one-way-mirrored doors to encounter the sedan head-on, with just enough room to circle and inspect, à la browsing a dealership lot. “Shit.” “Sh-i-i-i-t.” “Sh-i-i-i-i-t,” Fogel’s prerecorded voice loops plaintively from inside the car while the head, tail, and interior lights flare on and off in ghostly cadence with the verbal tics. The

  • picks July 20, 2011

    Wu Tsang

    The Silver Platter, a decades-old Los Angeles queer bar and safe space to Latina immigrant transgender women, provides pretext and content for LA-based Wu Tsang’s first New York solo exhibition. Site-specific video installation, sculpture, and photocollage evoke the MacArthur Park bar’s physical structure and internal culture while framing the intersectional concerns of gender, race, and class that shape Tsang’s constellation of event organizing and legal-advocacy pursuits.

    A U-shaped bar with twelve stools bisects the gallery. Suspended before a wall of gold lamé curtain, a monitor screens Damelo

  • picks July 12, 2011

    “The Unfinished Film”

    At the heart of this exhibition is a 1,100-square-foot cinematheque where, every day at 3 PM, rarely screened prints of films and working fragments by auteurs ranging from Sergei Eisenstein and Maya Deren to David Gatten are projected. Curator Thomas Beard’s monthlong invitation to this experience pays credence to—in the words of Hollis Frampton, whose Magellan, 1969–80, anchors the program—“the temporal plasticity proper to an art that subsists at once within the colliding modes of memory, absolute ‘presentness,’ and anticipation.”

    Among the ephemera displayed are Monsieur Phot (seen through

  • picks June 05, 2011

    Matt Keegan

    A great amount of work—research and its resulting material objects—has been put into Matt Keegan’s latest and meticulously thought out solo exhibition at D’Amelio Terras. With the cool remove of a cultural anthropologist and the pragmatic aesthetic of a designer, Keegan has amassed a visual archive–cum–love song to the city under the moniker “I [Apple] NY,” which he created with David Reinfurt—a wink to the ubiquitous “I [Heart] NY” logo whose creator, Milton Glaser, is interviewed by the artist in lieu of a press release.

    The main gallery can be experienced as a microcosm of the built environment;

  • picks May 02, 2011

    “Reflecting Abstraction”

    “Reflecting Abstraction” signals a permutation of terms even with its title. Guest curated by Dean Daderko, Vogt Gallery’s first exhibition offers a kaleidoscope of discourse. The variety of materials, processes, and timbres at play carries the term “abstraction” toward an energized chat about human form and formations. The cyborg manifested over twenty years ago—how can the body now be represented to evoke contemporary dialogues surrounding blackness, genderqueerness, sexual variance (née deviance)?

    First, you face a body. Trash bags heat-shrunk over wire mesh doves hurricane up a dressmaker’s

  • picks April 27, 2011

    Emily Roysdon

    For “Positions,” her debut solo exhibition in New York, writer, artist, and curator Emily Roysdon brings together three independently commissioned projects produced over the last six months. Multifaceted and intermingled, the works activate what Art in General deems a “dialectic consideration of language, choreography, and political representation.” Viewers are immediately let in on the discourse via three Constructivist-esque posters (designed with Studio SM) delineating the conceptual and iconographic DNA of each project.

    The cumulative core is Roysdon’s investigation into how people move