David Pagel

  • Linda Roush-Hudson

    Moonlight served as the model for the light that emanated from, was reflected by, and shone through the human-scaled, domestic-inspired devices in Linda Roush-Hudson’s show, “Lamp Light,” which consisted of found objects, blown glass, translucent fabric, and printed Plexiglas. Like moonlight, the luminosity of her discreet works is derived from an invisible source: it is, in a sense, recycled light. But Roush-Hudson’s meticulously crafted objects are less concerned with environmental consciousness than with peripheral vision. With impressive consistency, the young Los Angeles-based artist

  • “From Brancusi to Bourgeois, aspects of the Guggenheim Collection”

    Pairing Constantin Brancusi with Robert Ryman, Wassily Kandinsky with Carl Andre, and Jospeh Beuys with Louise Bourgeois, the inaugural exhibition at the Guggenheim Museum Soho reveals an institution caught between an outdated (but not yet dead) Modernist order and an emergent, more open-ended reconfiguration of its collection. WAC’s (Women’s Action Coalition) vociferous protest over Director Thomas Krens’ original plan to mount an exhibition that would include only male artists polarized critical response. While WAC has positioned itself as the new and improved conscience of the artworld,

  • Carl Ostendarp

    Carl Ostendarp makes a joke of painting that, like the most biting kinds of humor, works by occupying two positions at once. His 3-D paintings (it’s impossible to suppress a smirk when calling them “reliefs”) dutifully fulfill the obligation of formalist abstraction: they’re frank about their framing edges, keenly aware of the difference between depicted and literal form, and determined to pack as much punch as possible into the diminished space of pictorial illusionism without violating the integrity of the picture plane. Evidence of their maker’s hand is inessential to their effect, as is the