Gabriel H. Sanchez

  • 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

  • Lele Saveri, The Newsstand, 2013–14, mixed-media installation, dimensions variable.
    picks January 15, 2016

    “Ocean of Images: New Photography 2015”

    “Ocean of Images: New Photography 2015,” featuring the work of nineteen artists and artist collectives, invades sundry realms outside of the strictly photographic, such as sculpture, installation, and performance. The exhibition places a strong emphasis on the networks of communication that connect us all, while highlighting themes of image ownership, branding, and visual syntax.

    Using tactics that feel satirical but border on the freakily earnest is DIS, whose installation Related by Contour, 2015, exists as an enormous stock image of a “multiculti” family, plastered to the gallery wall and

  • Gabriel Sierra, Untitled (o(op(ope(open)pen)en)n), 2015, MDF and burlap, dimensions variable. Installation view, SculptureCenter, New York. Photo: Kyle Knodell.
    interviews October 01, 2015

    Gabriel Sierra

    Gabriel Sierra is a Colombian-born artist whose site-specific installations and performances aim to create environmental “intrusions” within space. “Numbers in a Room,” a solo exhibition of his work, is on view at SculptureCenter in New York from September 20, 2015, through January 4, 2016. He will also have a solo show at the Kunsthalle Zurich from November 21, 2015, through February 7, 2016.

    I’VE BECOME OBSESSED with how we experience the present. For example, I can’t help but think of how this interview is happening in real time, for something that will be transcribed and read at a later date

  • View of “Lucas Samaras: Album 2,” 2015.
    picks May 08, 2015

    Lucas Samaras

    Written in a small, clinical typeface near the gallery entrance are the words “Start Here,” which introduce seven hundred digitally manipulated photographs by Lucas Samaras, collectively titled XYZ 1550 - PLACEBO 97, 2015. From there, a biographical narrative unfurls, which finds Samaras revisiting his family photo album in a manner that recalls his early Polaroid manipulations of the 1960s and ’70s. In the room’s center stands Doorway, 1966 (constructed 2007), a monumental mirrored cube that reflects the gallery’s contents and greets visitors with their unavoidable reflections. Despite the

  • Benoit Aquin, Exclusion Zone, 2013, ink-jet print, 41 x 60".
    picks April 17, 2015

    Benoit Aquin

    On the evening of July 5, 2013, a freight train carrying two million gallons of crude oil escaped from its overnight resting station, and after traveling unguided for seven miles, it derailed at the town center of Lac-Mégantic in Quebec. Forty-seven locals, some sleeping comfortably, unaware in their homes, tragically lost their lives in what would become the deadliest non-passenger train derailment in Canadian history.

    That same night, photographer Benoit Aquin traveled to the site and began documenting the aftermath. Despite the ensuing chaos, his pictures, which are now on view at the Montreal

  • Philip-Lorca diCorcia,  Cain and Abel, 2013, ink-jet print, 39 1/2 x 49".
    interviews March 27, 2015

    Philip-Lorca diCorcia

    Philip-Lorca diCorcia is a celebrated American photographer whose well-known images blur the distinctions between documentary and staged tableaux. Here, diCorcia discusses his ongoing project “East of Eden,” 2008—, a series of fictional scenarios dealing with disenchantment and loss that will be on view at David Zwirner in New York from April 2 to May 2, 2015, and he offers his own perspective on the ever-shifting climate of contemporary photography.

    I WAS STUCK IN A RUT AS A YOUNG ADULT. Not even of age—and I think I had been drafted already for the Vietnam War, since I was kicked out of high

  • Alec Soth, Lil’ Jay J and the Spiritual Boys. Rochester, New York, 2015, black-and-white photograph, 30 x 40".
    interviews January 27, 2015

    Alec Soth

    Alec Soth’s photographs capture an intimate vision of contemporary Americana. He begins 2015 with the release of Songbook (2015), now available from MACK, as well as accompanying exhibitions this winter and spring, beginning with Sean Kelly Gallery in New York, followed by Fraenkel Gallery in San Francisco, Weinstein Gallery in Minneapolis, and Loock Galerie in Berlin. Here, he discusses the making of Songbook and its relationship to the music industry. His latest New York exhibition runs January 30 to March 14, 2015.

    MY LAST PROJECT, Broken Manual, was about the desire to disengage from society

  • Timur Si-Qin, Premier Machinic Funerary: Prologue, 2014, 3-D-printed bones, Plexiglas vitrines, tension fabric display, flowers.
    interviews September 09, 2014

    Timur Si-Qin

    In Timur Si-Qin’s recent work, commercial and stock photography, as well as displays like those often found in malls and stores, are presented as biological relics. The first part—aptly titled “Part One”—of the Berlin-based artist’s series “Premier Machinic Funerary,” 2014–, is featured in the latest edition of the Taipei Biennial, curated by Nicolas Bourriaud and on view at the Taipei Fine Arts Museum from September 13, 2014 through January 4, 2015.

    “PREMIER MACHINIC FUNERARY” is made up of installations that resemble a form of hypercommercial ancestor worship. Essentially, they are funeral

  • View of “Slip,” 2014.
    picks July 14, 2014

    “Slip”

    “Slip” acts as a sort of pharmaceutical downer, sedating our immediate realities into a meditative blur. Brock Enright’s Secret 3 (all works cited 2014) exists as a pair of immaculate Dorito chips sheathed in gold leaf and accompanied by three equally luminous Doritos “flavors.” Here, snack-food banality is sculpturally propelled into extraordinary circumstances, gratifying the most fantastical potential of an otherwise lackluster commodity. A corpse of an actual house cat is installed on the rear wall of the gallery—appearing curiously tranquil despite its gaping stomach cavity and grotesque