Frances Richard

  • Frances Stark

    Frances Stark's aesthetic might be thought of as eponymous. Her drawings are evocatively austere: white paper, areas of hand-lettered text, the occasional collage. A writer as well as a visual artist, Stark has also taught critical theory and played in lo-fi bands, and if these details are relevant to a discussion of her art, it's not because they compose a scruffily glamorous picture (though they do) but because they suggest the scope and subtlety of her interest in language and the visual patterning of communication. This show—the LA-based artist's third in New York—comprised twelve

  • Juan Muñoz, Hotel Declercq, 1986.

    Juan Muñoz

    Juan Muñoz’s series of cast-resin and bronze tableaux occupied a full floor of the Dia Center in New York in 1996–97, but the Hirshhorn exhibition comprises the Spanish sculptor’s first career survey in the States. It also takes on added poignancy in the wake of the artist’s untimely recent death at the age of 48. A cluster of Borgesian tropes—the balcony, the trompe l’oeil floor, the dwarf—run through Muñoz’s strange theatrical settings, featuring figures enigmatically assembled as if for conversation. The catalogue to the exhibition, which includes work made since the mid-’80s, includes essays

  • Hélio Oiticica, Neyrótika, 1973.

    Hélio Oiticica: Quasi-cinemas

    In this survey organized by the Wexner and coproduced by the Kölnischer Kunstverein and the New Museum in New York, curator Carlos Basualdo focuses on Hélio Oiticica’s “quasi-cinemas,” photo-based work like the “Block-Experiments in Cosmococa”— projected images of pop figures (Monroe, Hendrix, Buñuel) superimposed with drawings executed in cocaine.

    In this survey organized by the Wexner and coproduced by the Kölnischer Kunstverein and the New Museum in New York, curator Carlos Basualdo focuses on Hélio Oiticica’s “quasi-cinemas,” photo-based work like the “Block-Experiments in Cosmococa”— projected images of pop figures (Monroe, Hendrix, Buñuel) superimposed with drawings executed in cocaine. The Brazilian Conceptualist’s only film, Agripina e Roma Manhattan, and the slide show Neyrótika, shot in New York, are also being screened. The catalogue offers essays by Basualdo, Brazilian film historian Ivana Bentes, and New Museum senior curator

  • Theresa Hak Kyung Cha, Aveugle Voix (blind voice), 1975.

    Theresa Hak Kyung Cha

    Though Theresa Hak Kyung Cha’s artist’s book–cum-novel Dictee commands cultlike enthusiasm to this day, her visual work remains largely unknown. Now, twenty years after her murder, this full retrospective provides an overview of Cha’s lyrical oeuvre. The performance artist, filmmaker, poet, and sculptor investigated geographic exile and linguistic displacement, drawing on influences from feminist psychoanalytic theory to Catholicism and Korean history. A catalogue with essays by Lawrence Rinder, Trinh T. Minh-ha, and curator Constance Lewallen is planned.

  • Shirin Neshat, Fervor, 2000.

    Shirin Neshat

    Given her high-profile gallery career and participation in omnibus vehicles like the 2000 Whitney Biennial, it’s surprising that Shirin Neshat had, until now, yet to receive a major museum solo. All that has changed as six film installations and sixteen related photographs investigating the intensities of women’s lives in strict Islamic cultures are on view in Montreal. A catalogue with essays by curator Paulette Gagnon, critic Shoja Azari, and filmmaker Atom Egoyan is available.

  • Takashi Murakami

    ON THE WALL FLANKING THE ENTRANCE to Takashi Murakami's “Mushroom” exhibition was posted a long list of names and titles, like credits of a feature film. This team (mostly young artists who work as acolyte-assistants at Murakami's Hiropon Factory studio in the suburbs of Tokyo) spent months bringing the show's fourteen large-scale paintings through production, from sketch to computer animation to painstakingly old-fashioned brushwork. Gleaming and seamless, the final canvases betray no trace of individual hands. Murakami's trademark motifs-garlands of smiley-face flowers, happy mushrooms with

  • Robert Watts

    It’s been a good year for Fluxus. With elegant shows recontextualizing the art of Yoko Ono and Ray Johnson in all its freewheeling experimentation and intelligence, George Maciunas’s anarcho-good-time movement has been inscribing its details ever more precisely in the history books, where it serves as accomplice and antidote to the more lurid self-consciousness of Pop. Given the total institutionalization of the latter. It’s useful to keep in mind that during the late-’60s in New York, Fluxus and Pop were growing up together as twins born of the same ironic, iconoclastic impulse. It was only

  • “Art at the Edge of the Law”

    The fact that artists respond to and intervene against legal structures is not exactly groundbreaking news; the mores of legalistic bourgeois societies—and the transgression of them—have been central (if not the central) subjects of art since earliest modernism. Today even the least engagé abstractionist operates against a cultural backdrop littered with agitprop, and a number of recent and not-so-recent censorship cases still rankle. Thus, to make their show compelling, Aldrich assistant director Richard Klein and associate curator Jessica Hough faced two imperatives: They needed to focus

  • Ray Johnson

    THE MONIKER HAS STUCK since Grace Glueck coined it in 1965, but Ray Johnson's days as “New York's most famous unknown artist” are numbered. In the six years since his death, the reclusive collagist has been the subject of a traveling retrospective and featured in two exhibitions devoted to postwar experimentalism, “Beat Culture and the New America” at the Whitney and “Hall of Mirrors: Art and Film Since 1945” at LA MoCA. This recent show at Feigen presented eighty-eight pieces from Johnson's estate, many never before seen by the public.

    The sheer volume of good work is noteworthy. But even more

  • Ellen Gallagher

    SLYLY LOVELY AND PERVERSELY INDIRECT, Ellen Gallagher's work concerns inscription and sign systems and addresses the fragmentations and provocations of racialized identity. She belongs to a generation of young artists who infuse Minimalist form with corporeal, social, and emotive content: The apparent serenity of her large, airy paintings exists in tension with the marginalia yielded by a closer look—snippets of nasty minstrelsy, secret doodles, and ragged grids of grade-school penmanship paper. In these nine canvases, comprising the artist's third exhibition in New York all this and more

  • Paul Pfeiffer

    A SMASH AT BOTH the Whitney Biennial and P.S. 1's “Greater New York” and the inaugural recipient of the Whitney's Bucksbaum Award, Paul Pfeiffer is on everybody's shortlist of discoveries. Expectations were predictably high for his first solo exhibition since last spring's double triumph—but the results were mixed. Like any artist. when Pfeiffer is mediocre, he's mediocre. Unlike most, however, when he's good, he's brilliant.

    The show opened with an oversize bathtub installed complete with tiled walls, plastic curtain, and running shower (all works 2000). The 1:1% scale brought on a pleasant

  • Alexander Ross

    WITH TWO ACCLAIMED solo shows in two years, Alexander Ross has become his own hard act to follow. Of course, given his highly developed imagery and the reception it has enjoyed, he could have coasted through this exhibition. But Ross is too smart to make the same painting over and over. So while he has not abandoned the tenets of his practice, he has pushed and distorted them in subtle but significant ways. The changes do not entirely work: This group of nine paintings and seven drawings (all Untitled, all except two from 2000) did not fully cohere, and there was an agitated buzz in the images,