Elizabeth Janus

  • Matthew Barney

    Matthew Barney opened this survey of his work from the past five years to spectacular effect—with an elaborate costume parade featuring the complete cast of characters from his films and videos. This event, which drew a crowd that overflowed into the museum’s courtyard, served both as a prelude to the exhibition inside and as a trailer for the screening of Barney’s latest film, Cremaster 1, 1995. His entire repertoire was represented in the parade—from the “anal warrior” of Mile High Threshold: Flight with the Anal Sadistic Warrior, 1991, coach Al Davis and football hero Jim Otto of OTTOshaft,

  • Raymond Pettibon

    This exhibition brought together a large selection of Raymond Pettibon’s work from the past eight years: primarily the pen-and-ink drawings for which he is best known but also his less familiar paintings, collages, artist books, videos, and fanzinelike booklets. The drawings, which combine fragments of text with images culled from American popular and underground culture, dominated the exhibition, due in part to the sheer number of them and in part to the appeal of familiar images drawn in a simple graphic style. They were grouped together in clusters of twenty or more, either framed, pinned

  • Hannah Villiger

    Hannah Villiger’s art combines a sculptural fascination with volume, space, light, and texture with an interest in photography’s mediation of perception. Beginning in the mid ’70s, Villiger made Minimalistinspired sculptures out of wood or Plexiglas while photographing process-oriented phenomena, such as the trajectory in space of a burning palm leaf or the action-reaction of metal balls hitting each other during a game of pétanque. Since 1980, she has concentrated primarily on photographing her own naked body with a Polaroid camera. Villiger enlarges these images to a uniform format, mounts

  • OPENINGS: VANESSA BEECROFT

    In her first exhibition, at a gallery in Milan two years ago, Vanessa Beecroft showed a group of drawings and a diary she had been keeping for over eight years. The diary contained obsessively detailed daily records of Beecroft’s eating habits, accompanied by notes about, among other things, guilt feelings, psychiatric visits, comments on her parents, and quotations from Karl Marx. Immediate and intimate, the drawings served as private therapeutic responses to her diary-keeping and were originally never meant to be seen publicly. When Beecroft finally did decide to present these traces of her

  • Markus Raetz

    This traveling retrospective of the work of Markus Raetz is a significant overview of the 30-plus-year career of one of Switzerland’s most respected artists. Included here are drawings ranging from the ’60s to today, small found-object sculptures, notebooks, and wall installations from the ’70s and ’80s, as well as a group of recent anamorphic sculptures made between 1990 and 1993. Curiously, the works are not presented in chronological order, nor are they grouped together by subject matter; instead, they are installed in a seemingly random fashion that successfully draws connections between

  • “5e Semaine Internationale De Video”

    For its fifth biennial festival of video, Saint-Gervais Genève organized the week’s activities around the theme of video in context. These activities included, among other things, a competition for new video works, two installations by Bill Viola and one each by Dan Graham and Vito Acconci, retrospective surveys of the videos of Viola and French artist Robert Cahen and the films and videos of Acconci, as well as a series of lectures by Acconci, Viola, Jean-Christophe Ammann of the Museum für Moderne Kunst, Frankfurt, and Philippe Grandrieux of the French/German-coproduced arts television channel

  • Anne Sauser-Hall

    For the past ten years Anne Sauser-Hall has been investigating how the interweaving of reality and fiction in childhood myths, fairy tales, and stories affects the formation of collective beliefs. She does this by subtly altering utilitarian objects usually found in a domestic space (such as kitchen shelves, mattresses, floor-polishing disks) and rendering them nonfunctional.

    An earlier piece consisted of low hanging shelves filled with cushions embroidered with the names of the domestic servants, all women, who had recounted many of the stories included in Jakob and Wilhelm Grimm’s famous

  • “Post Human”

    The premise of this traveling exhibition is an apocalyptic vision of a not-so-distant “post human” future when the planet will be populated by artificially perfected beings, genetically altered and surgically reconstructed. In this asocial world, one’s identity is not formed through a process of socialization but by computer-generated “mind exercises.” The catalogue essay, written by Jeffrey Deitch, who also organized the exhibition, portentously states: “Our children’s generation could very will [sic] be the last generation of ’pure’ humans.” While the effects of bio-technology and genetic

  • MATERIAL GIRL: SYLVIA FLEURY

    FASHION IS A MYSTERIOUSLY MUTABLE PHENOMENON that nevertheless supplies the visual cues that indicate a society’s conceptions of taste, class, power, and gender. For Swiss artist Sylvie Fleury, it is a singular preoccupation and a source of inspiration. Fleury is openly guided by the latest trends, reveling in the fascination that she and countless other women have with the artifacts of fashion, particularly clothing and its accessories. She lives her life much like that of a fashion victim, reading all the relevant magazines (Vogue, W, Elle, Glamour, etc.), shopping whenever possible, and never

  • Urs Lüthi

    In light of the resurgent interest in the body as a subject in art, this retrospective look at the work of Urs Lüthi seems fitting. One of the most important Swiss body artists during the ’70s, Lüthi differed markedly from his American and European counterparts in that he was more a recorder than performer. Lüthi used his body to investigate the formation of the individual and the social selves by physically transforming himself—his age, his sex, his demeanor—and photographically recording the process. As such, his art seems more in tune with younger artists like Cindy Sherman, whose manipulation