Grant Johnson

  • Keith Mayerson, The Wizard of Oz Quintet, 2006, oil on linen, 48 x 80".

    Keith Mayerson

    Disparate faces in the crowd—those of the Dalai Lama, Anne Frank, and LeBron James among them—peered out from the more than 140 paintings dating from the late ’90s to the present that filled the walls of “My American Dream,” the first solo museum exhibition of Los Angeles–based artist Keith Mayerson. Mayerson’s compositions, which appropriate images from found photographs, films, and comic books, as well as document personal events from the artist’s own life, might be aptly described as “faux folk” for their familiar, pop subject matter and naive approaches to naturalism and figuration.

  • Xavier Cha, Buffer, 2017. Performance view, Brooklyn Academy of Music, November 1, 2017. Cassandra Freeman and Babs Olusanmokun. Photo: Rebecca Smeyne.
    interviews November 02, 2017

    Xavier Cha

    Xavier Cha is a New York–based artist. Her latest work, Buffer, 2017, was made during her Harkness Foundation for Dance residency at the Brooklyn Academy of Music (BAM) this year, as part of Performa 17. The piece is on view at BAM through Saturday, November 4, 2017.

    IN A STRUCTURAL SENSE, Buffer is an analog representation of consuming digital media, but it doesn’t have to be that specific. That’s just the surface structure of how it’s built. It alternates between three channels, or switches between tabs on a viewing device, and some of the scenes buffer or pause or loop or freeze. Then it

  • View of “Barbara Chase-Riboud: Malcolm X: Complete,” 2017.
    interviews October 24, 2017

    Barbara Chase-Riboud

    In addition to her work as an artist, Barbara Chase-Riboud is an acclaimed poet and novelist, recognized for her historical novel Sally Hemings (1979), which challenged official American history. In 1969, Chase-Riboud began her series of twenty “Malcolm X” stelae, monumental sculptures made up of metal and fibers such as silk, rayon, and cotton. She completed the series in 2016. Fourteen of those works are currently on view in her solo show at Michael Rosenfeld Gallery in New York through November 4, 2017.

    BY THE TIME I began the first four “Malcolm X” stelae in 1969, I was already past my

  • May Wilson, Slunk, 2017, vinyl, carbon fiber, steel strapping, 3 x 3 x 7'.
    picks July 21, 2017

    “Material as Metaphor”

    In a shop window, an assortment of quirky, fuzzy spindles that recall drawings by Ernst Haeckel or Dr. Seuss dangle and sprout in Joel Allen’s Hooked on Svelte, 2017. Inside, Lloyd Hamrol’s Cascade, 2017, a stack of flat disks cut from gray industrial felt, slips from standing to lying supine, recalling the tension and release of Robert Morris’s work. The sharp contrast between these pieces exemplifies the diversity of the exhibition as a whole. Surveying recent work in fiber art by eleven artists, the show demonstrates how the variety of practices under its umbrella has always made the genre

  • Peter Shire, Scorpion (Black) Teapot, 1996–2013, ceramic and steel, 13 x 31 1/2 x 12".
    picks May 19, 2017

    Peter Shire

    In an iconic 2001 essay by Jules Prown, the careful study of a teapot reveals the values of the Revolutionary War–era United States, a “symbol of the act of giving, of charity,” not to mention serving as “a structural metaphor for the female breast.” What would happen if we took Scorpion (Black) Teapot, 1996–2013, or any of Peter Shire’s many other teapots here, not only as evidence of an artistic repetition compulsion but as psychic condensations of our own cultural unconscious, soothing decanters for our postmodern hangover? The artist’s titles often index a modernist legacy, as in Early

  • View of “Greg Ito,” 2016.

    Greg Ito

    Behind an arch made from a plywood room divider whose patterned incisions gave the effect of palm fronds, candles flickered in a purple haze created by the tinted tubing that lined the rim of the pink gallery walls cradling Greg Ito’s “Soothsayer.” The screens prepared one to see the exhibition as a rebus. They evoked the folding screens of a psychic’s reading room and made a sculptural pun on the mystical art of “palm” reading. With a sleight of slender white hands and decorative élan, this glamorous installation, grounded by three handsome paintings, made fashion of fate. Out to Sea (all works

  • Jon Pestoni, Accordion, 2015, oil and mixed media on canvas, 10' x 90“ x 2”.
    picks June 28, 2016

    Jon Pestoni

    Look at any one of Jon Pestoni’s funky abstract paintings by itself and you’re likely to miss the point. Luckily, this small survey offers thirty-one works that demonstrate the value of repeating oneself and the playful charge between repetition and difference. In Underbite, 2014, a brushy rectangular field of royal purple fills the center of the canvas. Obscuring the shapes below it, only brief passages of color show through its veil. At the edges we get snatches of figuration, such as leaf and tooth shapes described by graphic black outlines. To the right of that painting Accordion, 2015,

  • View of “Roberto Burle Marx: Brazilian Modernist,” 2016.
    picks June 24, 2016

    Roberto Burle Marx

    At the entrance to this exhibition, one is seduced by a real garden of yellow bromeliads and pulsating, patterned walls, inspired by the Brazilian landscape architect Roberto Burle Marx. Burle Marx is known for his animated biomorphic designs, such as the graphic pavement along Miami’s Biscayne Boulevard, and the scintillating, verdant discotheque that is the Kuala Lumpur City Centre Park—gigantic modernist arrangements that simultaneously disrupt and compliment their surroundings.

    Burle Marx’s site plans, such as Design for the Minister’s Rooftop Garden, Ministry of Education and Health, Rio De

  • Alice Könitz, Pantry, 2016, bamboo, copper, wood, plastic crate, plastic cups, aluminum can, string, nuts, pickles, dimensions variable.

    Alice Könitz

    The black foamcore neck of Periscope, 2016, extended out of the skylight of an otherwise empty room, its mirrors visible thanks to a circular cutaway at the base of the tube, which rested atop a spindly pedestal with thin metal legs and two royal-purple shelves. The pedestal indicated the work was a tool and a sculpture, and neatly summarized the ambivalent status of all of the objects in Alice Könitz’s “Commonwealth,” named for the gallery in which it was situated. Könitz used this loaded term as a springboard to assemble a collection of “social sculptures” that echoed the artist-run gallery’s

  • Scott Anderson, French Exit, 2016, oil on canvas, 40 x 32".
    picks May 03, 2016

    Scott Anderson

    Near the bottom of Scott Anderson’s Salsa Wash, 2016, what appear to be a yellow apple, a black tomato, and a plaid pear congregate atop translucent blue and flumes of opaque green. They are the most recognizable elements in a work that is otherwise tantalizingly unresolved in its figurations. For instance, two polygons cut out of a brown ground suggest ambling slippers. The incoherent forms that consume the rest of the painting—hairy teardrops, black leaves, cerulean triangles—are open to anyone’s interpretation, and that’s the fun. Given the title, this work’s imagery is both as distinct and

  • Rafaël Rozendaal, 15 05 02 Gmail, 2015, jacquard weaving, 57 x 105".
    picks January 20, 2016

    Rafaël Rozendaal

    The product of two translations, Rafaël Rozendaal’s six tapestries materially fix the Internet’s fleeting forms into pulsing, vibrant abstractions. In 15 05 02 Gmail (all works 2015), for instance, the myriad cells and boxes of the familiar inbox architecture become a bold spectrum of solid-color rectangles rendered as a stunning Jacquard weaving. Twitter, Instagram, and Pinterest are also beautifully obscured until they become largely unrecognizable in the final works. Threaded looms, now notably powered by computers, warm up the cold interfaces of the Internet and spin them into comforting

  • View of “Giorgio Morandi and Robert Ryman: Object/Space,” 2015.
    picks October 09, 2015

    Giorgio Morandi and Robert Ryman

    In what feels like an inevitable, predestined union, small, quiet works by Giorgio Morandi and Robert Ryman come together in a vast white room. And yet they are not swallowed. Careful studies, these works dramatize and depict the melodrama that small details within a much larger whole can command.

    In Morandi’s Still Life, 1948, six vases bob atop the vast surface area of a table, thick and gray as a slab of concrete. Their casually sketched edges hum, playing with our expectation of symmetry. Blue slate, coral earth, fluorescent white, and bone china hues compliment and calm the eye, allowing