Erica Dawn Lyle

  • View of “Sasha Wortzel,” 2021. Photo: Pedro Wazzan.

    Sasha Wortzel

    Sasha Wortzel’s unsettling art returns a sense of the uncanny to today’s ubiquitous images of climate collapse. Inside the entrance to this Miami Beach space, visitors encountered For those of us who live at the shoreline (sunrise), 2020, a looped video showing a fiery orange ball ascending majestically over the steaming swamps of Florida’s Big Cypress National Preserve. But there is a glitch: Each time it reaches a certain spot in the sky it slows to a halt and then lurches back down the horizon, ping-ponging back and forth, only to begin the process again. The work conjures an existential

  • SpaceX launch from Cape Canaveral, Florida, January 7, 2020. Photo: Erica Dawn Lyle.
    slant September 29, 2020

    The New World

    “You want to wake up in the morning and think the future is going to be great—and that’s what being a spacefaring civilization is all about. It’s about believing in the future and thinking that the future will be better than the past.” —Elon Musk

    I TRY TO GO SEE the SpaceX rocket launches whenever I am back home in Florida. I attended one in the very first week of this year, pulling off to the side of the road on a little sandbar between Titusville and the Cape and parking with a direct view across the water to the launchpad. It was a tradition that I knew from childhood on the Space Coast of

  • David Wojnarowicz, Susan Pyzow, and Paul Marcus, The Lazaretto: An Installation About the Current State of the AIDS Crisis (detail), 1990/2018, mixed media, dimensions variable.
    picks August 10, 2018

    David Wojnarowicz

    David Wojnarowicz’s ephemeral installations have long been the stuff of art-world legend. Take his “Cockabunnies,” elements of what the artist called an action installation. In 1982, Wojnarowicz let loose dozens of live roaches with glued-on bunny ears and tails at the opening of “Beast: Animal Imagery in Recent Painting” at the PS1 Contemporary Art Center in New York (now known as MoMA PS1). The gesture was a kind of revenge for not being included in the exhibition, as well as a fantastic moment of guerilla comedy. Here, the gallery gives us objects, documentation, and re-creations of many of

  • David Kennedy Cutler, Off Season, 2018, performance-produced installation, drywall, wood, paint, Plexiglas, ink-jet printer, ink-jet on fabric and PETG, tools, clothes, food, cooking supplies, moving blankets, artist’s body, dimensions variable.
    picks February 06, 2018

    David Kennedy Cutler

    Just one week into David Kennedy Cutler’s durational performance here—the artist is living in the empty gallery for ten weeks this winter, improvising makeshift shelter from materials on hand—Off Season, 2018, already feels like an eerie tableau of cabin-fever madness. An enormous white cube constructed on the show’s first day stood by week’s end with gaping holes in its tattered drywall after the artist, wielding two long vitrines, smashed through its walls à la Jack Nicholson in The Shining. Cutler’s clever internet-era reboot of the familiar trope of the artist facing down existential harm