Gabriel H. Sanchez

  • Ginny Casey, Swept Away, 2021, oil on canvas, 24 × 22".

    Ginny Casey

    Painter Ginny Casey’s previous show at Half Gallery, in 2018, featured an assortment of household wares rendered in haunting shades of coral, cobalt, and marigold. These items—watering cans, shoes, kitchen chairs, and other things—have long been a part of the artist’s visual repertoire. While isolating during the pandemic, Casey burrowed deep into herself and into the vistas of her domestic environment, rendering the familiar wondrous, strange. The eleven oil-on-canvas works here explored the notion of “home” as a domain that is both safe and scary, a place in which life is not only lived but

  • Jen Catron and Paul Outlaw, How do we discuss a tragedy and a conspiracy?, 2018, resin and acrylic paint, 24 x 15".
    picks February 11, 2019

    Jen Catron and Paul Outlaw

    Jen Catron and Paul Outlaw’s “an idea of god, or a toothbrush” offers a shaded view of the American dream: full of sugar, laced with poison, and topped with a cherry for your tasting pleasure. The art duo, lauded for their ostentatious performances and installations, have targeted the dark heart of the United States in eighteen mixed-media sculptures that feature, among other things, depictions of delectable cakes, gooey slices of pizza, and one enormous ice cream sundae.

    This vision of America—the land of Pizzagate, The Jim Bakker Show, and WikiLeaks—is defined by unchecked paranoia, doomsday

  • Igor Hosnedl, I open into dark, 2018, handmade pigments in glue on canvas, 53 1/2 x 35 1/2".
    picks July 19, 2018

    Igor Hosnedl


    Painter Igor Hosnedl’s “The Opening of the Wells” takes its name from a 1955 chamber cantata by the composer Bohuslav Martinů. The composition celebrates the magical flourishing of spring throughout the Bohemian-Moravian Highlands of Czechia. Here, the Czech-born Hosnedl also embraces the season’s sensuousness and grand, mystical dimensions.

    In Emerald Twilight (all works 2018), one of five canvases on view, primavera has blossomed. A silhouette of a nude female figure reclines into a curtain of lush, leafy greenery. The scene is intoxicating—the picture’s rich absinthe hues seduce the psyche.

  • View of “Adriana Ramić: Machine that the larvae of configuration,” 2017.
    picks May 12, 2017

    Adriana Ramić

    A wall-to-wall landscape of fragrant herbs, green moss, and wildflowers fills the gallery with the sweet, aromatic perfume of a garden at morning. For her first solo exhibition, Adriana Ramić has built an ecosystem, titled Every time step that passes has a cost of one (all works 2017), specifically designed to entice ladybugs. In stark contrast to this natural scenery, hundreds of printed images—what the artist describes as flashcards—cascade down the gallery walls, depicting plants, mysterious diagrams, toxic-waste barrels, elephants, kitties, and balaclavas, among countless other things.


  • Erwin Wurm, Deep Snow, 2016, instruction drawing and Baker Copenhagen bench, dimensions variable.
    picks April 14, 2017

    Erwin Wurm

    Since the 1980s, Erwin Wurm’s “one-minute sculptures” have instigated artful absurdity within the gallery space by asking visitors to act out detailed, irrational tasks with a vast spectrum of common objects. In his latest exhibition, “Ethics demonstrated in geometrical order,” the artist employs midcentury modern furniture as elegant props for a new suite of sculptures that will make most modernist design aficionados squirm.

    Deep Snow (all works 2016) invites you to step into two wobbly, oblong holes that have been cut into a pristine Baker Copenhagen bench. In the artist’s own handwriting

  • Jeremy Couillard, Alien Afterlife (detail), 2016–17, mixed media, dimensions variable.
    picks March 10, 2017

    Jeremy Couillard

    On a dusty, slate-colored couch reeking of bong water and dirty laundry, Jeremy Couillard invites visitors to experience a multidimensional journey into the great beyond with Alien Afterlife, 2016–17. The installation’s centerpiece is a video game designed and engineered by Couillard, unfurling as a quest for reincarnation amid kaleidoscopic landscapes and eccentric extraterrestrials. When the player is killed, the game abruptly ends with a stern and graphic “NO!” Moments later, you are returned to a limbo/home-base level called the Mother, sans penalty, likely because the character was dead to

  • Aneta Grzeszykowska, Selfie #12b, 2015, pigment ink on cotton, 19 x 23". From the “Selfie” series, 2014–15.
    picks September 23, 2016

    Aneta Grzeszykowska

    Skin, with all of its imperfections, wraps itself around the core of Aneta Grzeszykowska’s two-venue exhibition, “No/Body.” At 11R Gallery, a series of macabre photographs, “Selfie,” 2014–15, depicts bizarre lumps of stylized flesh—pigskin that’s been realistically modeled after (mostly female) body parts. Each sickening, deftly produced picture offers up a mongrel kind of beauty, straight from the cinematic annals of horror and science fiction. A hypnotic video, Bolimorfia, 2008–2010, shows the artist, nude, engaged in a surreal ballet, choreographed to a score by Maurice Ravel. Additional

  • View of “Liz Deschenes,” 2016. Photo: John Kennard.
    interviews July 25, 2016

    Liz Deschenes

    Since the early 1990s, Liz Deschenes has made photographs stripped bare, focusing on elements of light, material, and space to expose the aesthetic and conceptual boundaries of the medium. Here, Deschenes discusses her current midcareer retrospective at the Institute of Contemporary Art, Boston, as well as her fascination with the histories and challenges of photography. The show is on view through October 18, 2016.

    PHOTOGRAPHY IS still being historicized and I’m happy about that, but I’m no historian. What I am most interested in is how long it took for certain discoveries to be worked out. For

  • Adam Broomberg and Oliver Chanarin, Rudiments, 2015, HD, color, sound, 12 minutes.
    interviews June 14, 2016

    Adam Broomberg and Oliver Chanarin

    Adam Broomberg and Oliver Chanarin are a collaborative duo whose photography-based practice explores themes of institutional authority, surveillance, and consent in an era of rapid technological advances. Here they discuss their recent book, Spirit Is a Bone (Mack, 2015), as well as their first US solo exhibition, which is on view at the Baltimore Museum of Art through September 11, 2016.

    IN MARK TWAIN’S 1905 pamphlet King Leopold’s Soliloquy, he assumes the persona of King Leopold bemoaning the arrival of the camera, the “incorruptible Kodak.” This new technology is able to bear witness to the

  • Duane Michals, Tickets to Heaven, 2016, chromogenic print with hand-applied text, mounted on board, 13 x 22”.
    picks May 27, 2016

    Duane Michals

    Duane Michals thrives when pitted against an unfamiliar medium. And having waited over four decades to approach filmmaking, he does so now with the wide-eyed sincerity and innocence of a first-timer. A theater within the gallery looks like a seedy Times Square peep show from another era. A flashy electric arrow guides you toward an entrance with a red velvet curtain. Right outside is a small handwritten note, listing all twelve of the short videos made by the artist over the last two years. Michals describes these pieces as “mini-movies,” and they are as thoughtful and as cosmic as his photos,

  • View of “Carlos Reyes,” 2016.
    picks April 22, 2016

    Carlos Reyes

    For “Feather Belly,” Carlos Reyes’s solo exhibition here, the peephole in the gallery’s door has been reversed, allowing visitors to peek into the space before entering. What you witness gazing through it is a fisheye perspective on an ominous scene: An enormous, spiky deathtrap occupies the entire entrance floor. In a corner, an orb, colored black and blue like a bruise, shines a beam of white light in the direction of the peephole, signaling the work’s menacing presence to any potential voyeur. An anxiety-inducing sight, to say the least.

    The scene unravels, however, once one is inside the

  • Jack Early, Tubes and Pubes, 2015, oil on silk-screened canvas, 46 x 79 1/2".
    picks March 04, 2016

    Jack Early

    In the center of a large star-spangled podium is a yellow phonograph, its title painted out in black letters across the front: “Jack Early’s Life Story in Just Under 20 Minutes!” The tune that plays from this 2014 work is a slapstick jazz number, spoken by the artist, about growing up gay during the Nixon administration in Raleigh, North Carolina. Early’s solo exhibition here is an autobiographical, Technicolor-drenched journey into a childhood that was a little bit sweet and a little bit saccharine, with a whole lot of sexy roiling just beneath.

    In Jack, Mr. Early and Friends, 2016, thirty canvas