Frank Expósito

  • Jim Hodges, Untitled (One Day It All Comes True), 2013, denim fabric, thread, 12 x 24’.
    interviews October 06, 2013

    Jim Hodges

    Jim Hodges’s “Give More Than You Take,” the New York–based artist’s first US museum retrospective, brings together more than twenty-five years of his early and recent works. Hodges speaks here about his use of drawing, sculpture, photography, and installation to convey the emotional potential that resides within materiality. The exhibition is on view at the Dallas Museum of Art from October 6, 2013, through January 12, 2014, and then travels to the Walker Art Center, Minneapolis, from February 15 through May 11, 2014; the Institute of Contemporary Art, Boston, from June 5 through September 1,

  • Left: Parrish Art Museum director Terrie Sultan with artist Josephine Meckseper. Right: Collector Kyle DeWoody and artist Richard Phillips. (All photos: Frank Expósito)
    diary July 25, 2013

    Stars and Stripes

    “I HAVE MY BIRKENSTOCKS in the car,” said Josephine Meckseper as she compared her high heels with Terrie Sultan’s. “The designer of my dress made me wear these,” replied the Parrish Museum director, looking down at her feet. Sultan’s dress was dark blue and had a print featuring celestial constellations. “I really wanted it to be a clear night so we could see the stars,” she said. It was 6:30 PM and already a thick fog was descending on the Parrish’s new Herzog & de Meuron building, set on fourteen acres off the Montauk Highway. But while the weather that Saturday threatened to shift the museum’s

  • Mel Bochner, Meditation on the Theorem of Pythagoras, 1972/2013, stone and chalk. Installation view.
    interviews June 24, 2013

    Mel Bochner

    Though the recent work of Mel Bochner has primarily explored relationships between color and language, a group of his early work in the 1970s utilized small stones to destabilize the monumentality and traditions of sculpture. Here, Bochner speaks about his use of humble materials in creating new systems of value. His current exhibition, “Proposition and Process: A Theory of Sculpture (1968-1973),” the largest survey of his sculpture to date, is on view at Peter Freeman, Inc. in New York until July 12, 2013.

    BEFORE ANYTHING ELSE, a sculpture is an object-in-the-world, something in our shared space.

  • Julie Mehretu, Invisible Line (collective), 2010-11, ink and acrylic on canvas, 11’ 2/5” x 24’ 9/10”.
    interviews May 26, 2013

    Julie Mehretu

    For her first exhibition in a New York gallery in over a decade, Julie Mehretu has strategically installed her new paintings to mimic the curatorial approach taken in her current show at White Cube in London, which terminates in the expansive vista of Invisible Line, 2013. This will in effect create a dialogue between the two spaces, pitting in situ experience against a broader, globalized consciousness. “Liminal Squared” is on view at Marian Goodman Gallery, New York, from May 11 to June 22 and at White Cube, London, from May 1 to July 7, 2013.

    I’VE BEEN RECENTLY thinking a lot about algorithms

  • David J. Merritt, Array vI.I,  2013, aluminum, victory wax, sculpting wax, Sex Wax. Installation view.
    picks May 07, 2013

    David J. Merritt

    For his latest exhibition, David J. Merritt brought in a utility locator employed by the city to spray-paint neon-orange lines demarcating the water pipes and electrical lines that run under and above the gallery. The markings evoke a construction site tailor-made for Merritt’s work, one which keeps his ambitious, boundary-breaking deployment of sculpture, painting, video, and photography from conceptually crumbling apart.

    Merritt’s “templates” on view are molds of a sort: negative impressions of experiences he has as he lets his hands and arms roam in rectangular boxes filled with ceramic clay.

  • Gene Beery, Untitled, ca. 1990s-2000s, C-print, 7 3/4 x 11 3/4”.
    interviews April 05, 2013

    Gene Beery

    Throughout his fifty-year career, California-based painter Gene Beery has been described as an expressionist, Pop artist, Minimalist, and Conceptualist. His text-based and earlier figurative canvases tend to show all of these strains of art, like the many walls of a museum, often by placing them in literal conversations with one another. His exhibition “Early Paintings and Recent Photographs” presents work from as early as 1961, and is on view at Algus Greenspon in New York from March 16 to April 27, 2013.

    I GUARDED MY OWN PAINTING at MoMA in the early 1960s. I wasn’t the only artist working as

  • Lundahl & Seitl, The Memory of W. T. Stead, 2013. Performance view, Steinway Hall, London.
    interviews March 30, 2013

    Lundahl & Seitl

    Swedish duo Lundahl & Seitl’s most recent installation, The Memory of W. T. Stead, in a collaboration with experimental pianist Cassie Yukawa, places the visitor inside the structure of classical music by enhancing the experience of listening through the amplification or nullification of tactile and visual senses. Produced by NOMAD and co-commissioned by NOMAD and the Montblanc Cultural Foundation with support by Steinway & Sons and Arts Council England, The Memory of W. T. Stead will run at Steinway Hall in London from March 27 to April 6, 2013.

    FOR ABOUT A YEAR AFTER GIVING BIRTH to our daughter,

  • Mark Dion, Curator’s Office, 2013, mixed media, dimensions variable.
    interviews March 22, 2013

    Mark Dion

    New York–based artist Mark Dion has moonlighted as an amateur geologist, ichthyologist, and archaeologist, while working with a wide range of research material. His recent work, Curator’s Office, 2013, is currently set among the many period rooms at the Minneapolis Institute of Arts—a departure from the confines of the artist's now famous Wunderkammern. Here books, furniture, and personal effects do not reveal their collector’s taste or knowledge (as traditional curiosity cabinets would have it) but rather spin a fictive tale about a curator gone missing in the 1950s in a period of American

  • Deborah Kass, Red Deb, 2000, silk screen and acrylic on canvas, 40 x 40 x 1 1/2".
    picks February 18, 2013

    Deborah Kass

    Deborah Kass’s “My Elvis +” consists of a collection of works made by the artist in the 1990s, works that are on view together for the first time in this gallery’s new space (in a building that recently housed Bungalow 8—a celebrity hangout known for its exclusive guest keys and palm-tree wallpaper). It is fitting that we see so many images of Barbra Streisand on these once-famed walls, and perhaps even more so since the works directly evoke Andy Warhol’s silk-screened output. Printed in ink that looks as if it could smudge your fingers, works such as Double Red Yentl (My Elvis), 1993–2012, and

  • interviews February 05, 2013

    Karole Armitage

    Self-professed rebel Karole Armitage leaped into fame when she worked with Madonna on the pop star’s music video for “Vogue” in 1990. Born in 1954 in Wisconsin, Armitage was exposed to ballet at an early age and went on to dance for George Balanchine in the Ballet du Grand Théâtre de Genève in Switzerland at nineteen. Armitage later joined the Merce Cunningham Dance Company in 1976, and began to work with dancer-choreographer Michael Clark and artist Charles Atlas in 1983. Armitage’s first prominent choreographic piece, however, the bombastic Drastic-classicism from 1981, established her signature

  • Tracey Emin, I Don’t Believe in Love but I Believe in You, 2012, neon, dimensions variable.
    interviews January 19, 2013

    Tracey Emin

    In the second segment of this two-part interview conducted during Art Basel Miami Beach, Tracey Emin addresses the fictions of being an art celebrity. Her first interview delved into her new self-portraits, which are drawn from photographs, not memory. Emin’s first solo museum exhibition in the US will open in December 2013 at the Museum of Contemporary Art North Miami.

    I HAVE A FANTASY DREAM PERSON. He’s a writer—a novelist. He dresses like a writer would, with cozy clothes. And he works out every day. He’s fit. He can walk for miles and he’s not vain. He absolutely adores me. He’s really pleased

  • Tracey Emin, Reversable, 2012, gouache on paper, 40 x 54".
    interviews December 22, 2012

    Tracey Emin

    In simultaneous shows at the Museo de Arte Latinoamericano de Buenos Aires, White Cube São Paulo, and at Galleria Lorcan O’Neill in Rome, London-based artist Tracey Emin is exploring new territory, and she hasn’t been back home in over a month. One year from now, she will have her first US solo museum exhibition at the Museum of Contemporary Art, North Miami. Emin spoke with artforum.com in Miami during Art Basel, just after the opening of her solo exhibition at White Cube São Paulo, which inaugurated the space and closes February 23, 2013. Sitting poolside at the Soho Beach House, as bare models