Gabriel H. Sanchez

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


    “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

  • Jon Rafman, Still Life (Betamale), 2013, HD video, color, sound, 4 minutes 54 seconds.
    interviews July 03, 2014

    Jon Rafman

    Jon Rafman is a Canadian artist whose work explores shifting boundaries between the virtual and the real while acknowledging fading distinctions between the two. Here, he discusses his recent work and debut solo exhibition in an American museum. “Jon Rafman: The end of the end of the end” is on view at the Contemporary Art Museum St. Louis from June 27 to August 10, 2014.

    I BEGAN TO KNOW the fighting game community of New York while I was doing interviews for my 2011 film Codes of Honor, which is about a lone gamer recounting his past experiences in professional gaming. That work generally deals

  • Paulette Phillips, The Floating House, 2002, 16 mm, color, sound, time TK.
    picks May 06, 2014

    “Home Sweet Home: À propos de l'inquiétude”

    For the inaugural exhibition at this space, curators Olivia Boudreau and France Choinière have assembled a selection of photographs, films, and a site-specific installation that posit the concept of “home” as a place of impossible equilibrium, a space that balances precisely between comfort and catastrophe. Among works by its twenty-seven exhibiting artists, the psychosomatic provisos for residential living are at times as enchanting as they are traumatic.

    Joseph Ismail’s video Beyond the Pleasure Principle / High Wire, 2010, depicts the artist balancing upon the hind legs of a dining room chair,

  • View of “Thousand Year Old Child,” 2014. Background: Glen Baldridge, I cannot lie, 2012. Foreground: Ian Cooper, Missing (briefs), 2014.
    picks April 23, 2014

    “Thousand Year Old Child”

    A thousand years later, the eponymous child evoked by this group show has apparently not learned any manners. Participating artists Glen Baldridge, Ian Cooper, and David Kennedy Cutler present an exhibition that personifies our unwavering pursuit of eternal youth—that crown jewel of vivacity we feverishly crave (as evidenced by today’s abundant health-food supplements, probiotic treatments, and quick over-the-counter cures). Astutely, the twenty-eight works on view—sculptures, prints, and installations—have all anticipated the dystrophic consequences of pursuing the unobtainable.

    As if this child

  • Laurie Simmons, Blonde/Pink Dress/Green Room/Close-Up, 2014, pigment print, 28 3/4 x 21 1/4".
    picks April 18, 2014

    Laurie Simmons

    If Laurie Simmons’s early works from the late 1970s function as a microcosm of repressed societal woes, many depicting miniature figurines of apprehensively posed housewives, she has today a poignant commonality in Japanese cosplay. A subculture of “costume play” known as Kigurumi, the hobby brings together men and women who prefer to socialize while dressed as their favorite Anime characters. They are depicted here in thirteen photographs as physical apparitions of Simmons’s previous dollhouse muses.

    Simmons here equates “Dollers” with our own personal experiences with social media—in which the

  • Letha Wilson, Colorado Purple, 2012, concrete, C-print transfer, C-print, wood frame, 21 x 21 x 2".
    picks February 24, 2014

    “What Is a Photograph?”

    Many of the artists in this expansive exhibition place an emphasis on the physicality—or lack thereof—of photography rather than on its capacity to represent the outside world. As a whole, “What Is a Photograph?” might be taken as a diagnostic inquiry, with the title reading as a rhetorical question. Curated by Carol Squiers, the exhibition includes twenty-one artists, ranging from Gerhard Richter and James Welling to Liz Deschenes and Eileen Quinlan, and has tasked itself with surveying the medium since the 1970s.

    The work of both Matthew Brandt and Letha Wilson exhume a long-standing tradition

  • Thomas Struth, Mountain, Anaheim, California, 2013, chromogenic print, 80 9/16 x 128 1/8".
    picks January 22, 2014

    Thomas Struth

    For his first solo exhibition in the United States in some four years, Thomas Struth debuts a collection of photographs that depicts sites of fantastic technological innovation. Of the fourteen works on view, which include an image of the medical facilities at Charité in Berlin and a lab at Georgia Tech, nearly half were taken at the Anaheim, California, theme park, Disneyland. A choice subject considering Struth’s rebus of late—to depict what the artist describes as “the processes of imagination and fantasy.”

    As is typical of the artist’s repertoire, several photographs occupy a gallery

  • Barbara Probst, Exposure #106: N.Y.C., Broome & Crosby Streets, 04.17.13, 2:29 p.m., 2013, ultrachrome ink on cotton paper, dimensions variable.
    picks December 11, 2013

    Barbara Probst

    A single work by Barbara Probst may contain as many as a dozen perspectives of a single subject, captured simultaneously by triggering a radio-controlled release system. Her latest exhibition expands upon her two-plus-decade practice, during which she has confronted the limitations of the photograph—specifically as an isolated incident inherently flawed in its singular perspective of reality—calling upon the capacities of the photographic machine to create a more omnipotent if objective eye.

    See one of the largest works here, a grid of twelve photographs that tile one wall from floor to ceiling.