Corrine Fitzpatrick

  • MPA, Initiation, 2011. Performance view.
    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

  • View of “Goldye,” 2011.
    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

  • View of “Wu Tsang,” 2011.
    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

  • View of “The Unfinished Film,” 2011.
    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

  • View of “I Apple NY,” 2011.
    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;

  • View of “Reflecting Abstraction,” 2011.
    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

  • Emily Roysdon with MPA, untitled from Sense and Sense, 2010, color photograph, 19 x 17”.
    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