Emily Weiner

  • Jacco Olivier, Revolution, 2010, still from a single-channel video animation in HD, 24 minutes.
    picks March 22, 2010

    Jacco Olivier

    Dutch artist Jacco Olivier’s latest exhibition melds conventional gestures of painting with video animation to bewitching effect. On view in the gallery’s darkened front room are four wall projections (each under four minutes long), composed of his repeatedly reworked impressionistic paintings, which were photographed at different stages of composition. Strung together frame by frame, the stills morph into dreamy moving pictures that eschew any singular influence.

    While Olivier surprises with this hybrid form, he also puts a sly spin on art-historical themes through his handling of subjects. The

  • View of “Matthew Ritchie,” 2009. From left: Augur, 2008; Line Shot, 2009; Itself Surprised, 2009.
    picks November 03, 2009

    Matthew Ritchie

    In this exhibition, Matthew Ritchie gives new meaning to William Blake’s “eternity in an hour.” Line Shot, 2009, the show’s titular focus, is an animated opus that guides viewers on a dreamlike tour of space and time, meandering from creation to apocalypse, submicroscopic realms to infinite vastness (think Powers of Ten on acid)—in just more than sixty minutes.

    Projected into the gallery’s corner, with the image split across two walls, the video is matched by an oscillating, out-of-sync score by Aaron and Bryce Dessner of the National (who performed live with Ritchie’s video work October 28–31

  • Cheyney Thompson,
Chromachrome 12 (5P/5YR) lozenge, 2009,
 oil on canvas, 
34 x 34".
    picks May 23, 2009

    Cheyney Thompson

    Cheyney Thompson’s fourth solo exhibition at Andrew Kreps Gallery, “Robert Macaire Chromachromes,” is as multilayered as the artist’s previous exhibitions and as evasive of any signature surface aesthetic. (His works differ notably from show to show.) Here, thirteen variously shaped canvases poke fun at traditional painting: One takes the shape of a diamond; another––long and ruler thin––slants up the wall at a forty-five-degree slope; meanwhile, a wide rectangle looms high above customary, eye-level view. Each canvas is primed stark white and detailed with rows of tiny, multicolored patterns.

  • Julianne Swartz, Terrain, 2007–2008, speakers, wire, electronics, computer software, 12-channel recorded and composed sound track, dimensions variable.
    picks March 13, 2009

    Julianne Swartz

    “Words come first from here and then from there. The situation is not linear. It is as though I am in a forest hunting for ideas,” John Cage said of his late experimentations with language. This explanation just as easily describes a viewer’s experience of Julianne Swartz’s own word-centric work Terrain, 2007–2008, a lyric sound installation comprising 104 tiny speakers strung from the gallery ceiling. Standing below this web of electronics and multicolored wires, the visitor discerns tender utterances spoken by both male and female voices —“I love you” stated in a whisper; a hum of pleasure;

  • Thomas Hirschhorn, Universal Gym, 2009, mixed media, dimensions variable. Installation view.
    picks March 04, 2009

    Thomas Hirschhorn

    Thomas Hirschhorn’s Universal Gym is far more hospitable to thin-skinned viewers than his last exhibition at this gallery. Gone are the excessive images of war victims and the brutal newspaper headlines. Instead, he presents a droll mock gym, replete with workout equipment rigged from common objects, cardboard, and packing tape. Nearly a dozen makeshift fitness machines dominate the floor, while cardboard mats and empty water bottles are scattered throughout. An ersatz shower, stockpiles of provisional weights, and several mounted fans span the gallery’s periphery, all adding to the theatrical,

  • View of “Nick Cave,” 2009.
    picks January 20, 2009

    Nick Cave

    Stepping into Nick Cave’s second solo exhibition at this gallery is a bewitching experience, akin to visiting the Metropolitan Museum of Art’s Costume Institute while hallucinating. Cave has converted the main space into a strange showroom that displays almost two dozen mannequins outfitted with sequins, buttons, and elaborate embroidery that make them look like alien priests, psychedelic Sasquatches, or hybrid harlequins.

    Called “Soundsuits” because of the clatter the original prototype––a costume adorned with vast bundles of sticks––made while worn in an early performance, Cave’s subsequent

  • Judith Eisler, John, 2008, oil on canvas, 48 x 60”.
    picks October 29, 2008

    Judith Eisler

    Fifteen minutes of fame may seem fleeting to some, but for Judith Eisler, mere instants on the big screen are epic. For nearly a decade, Eisler has taken snapshots of art-house films from the 1960s and ’70s—most often stills of motion—and recaptured them in blurry large-scale paintings. The results are images thrice removed from the original scene of action; to the viewer’s eyes, the canvases seem to toggle between photorealism and abstraction.

    Eisler’s process in this exhibition, titled “I don’t believe it. I won’t let it happen” (a line appropriated from Jean-Luc Godard’s 1982 film Passion),