Gregory Williams

  • Reporting from São Paulo, I’m from the United States,1998. Still from a video installation.

    Andrea Fraser

    Organized by Kunstverein director Yilmaz Dziewior, this sampling of roughly forty works produced by Andrea Fraser since the mid-’80s is the artist’s largest show to date.

    Organized by Kunstverein director Yilmaz Dziewior, this sampling of roughly forty works produced by Andrea Fraser since the mid-’80s is the artist’s largest show to date. With a catalogue containing essays by Dziewior, George Baker, and Anke Kempkes and a compilation of Fraser’s own extensive writings, the last fifteen years of one particularly versatile strain of institutional critique is open to scrutiny. Fraser’s work, which ranges from the quietly cerebral to the spectacularly performative, has had a lot to say about how this genre evolved through the ’90s. Typically characterized by an

  • Romantic Landscapes with Missing Parts, 2002-2003.

    Nedko Solakov

    Having spent over a decade demonstrating a flair for the absurd and the marginal, Nedko Solakov has long resisted the ordering impulse inherent in the midcareer survey. Curators Charles Esche (Rooseum, Malmö, Sweden), Enrico Lunghi (Casino Luxembourg), and Martin Sturm (O.K. Centrum für Gegenwartskunst, Linz, Austria) will most likely witness a show whose form changes as Solakov responds to each venue. Along with essays by the artist and curators, the accompanying catalogue will contain contributions by Saul Anton, Carolyn Christov-Bakargiev, and Jordan Kantor, among others, that should shed

  • Ann Lislegaard

    In a passage from The Poetics of Space (1958) in which he discusses the solitude and passivity to be experienced in the corner of a room, Gaston Bachelard urges poets to “designate the space of our immobility by making it the space of our being.” Ann Lislegaard’s Corner Piece—The Space Between Us, 2000–2003—two freestanding, white-painted facades meeting at a right angle a short distance from the gallery walls—seemed to respond directly to Bachelard. Though the piece offered little information on a visual level, the space-shaping presence of recorded voices, emanating from speakers installed at

  • Isa Genzken

    When Isa Genzken concluded work on her roughly six-year series of concrete sculptures in 1992, her turn to glass and mirrors might have signaled greater rationalization of her practice. The heavy slablike structures mounted on metal stands, which had defined much of her work in the late ’80s, were unruly, their pockmarked walls often suggesting buildings on the verge of collapse. The hard-edged, smooth surfaces of glass implied more stable forms, a cleaning up of her act. This new survey of work from the past decade, with its focus on recent projects, revealed that her practice has continued to

  • Michael Krebber

    Ten years after his last New York solo show, Michael Krebber returned with an installation called Flaggs (Against Nature), 2003, that might have been a bit perplexing for an audience unfamiliar with his work. Krebber has been well known in Germany since the mid-’80s as an erstwhile assistant to Martin Kippenberger; he might even be considered the latter’s alter ego. If Kippenberger was the brash, satirical commentator on art-world politics, the description goes, then Krebber was the quiet but influential Conceptualist behind the scenes. But as Merlin Carpenter, another former Kippenberger studio

  • Donald Moffett

    As critics increasingly lament video art’s dependence on the “black box,” many artists have been trying to revise the shopworn standards, technical and formal, for projecting images. Donald Moffett’s tactic has been to allow the distinct representational strategies of painting and video to collide in ways that highlight certain historical preconceptions about each medium. For his latest New York show, Moffett eschewed the kind of relatively direct digital analogy to painting seen recently in the work of artists like Jeremy Blake; instead, he took on painting’s familiar visual field as a support

  • THE HAPPY END OF KIPPENBERGER’S AMERIKA

    MARTIN KIPPENBERGER SPAWNED A WEALTH OF ART-WORLD legends in his truncated career. His practice seemed specifically designed to maintain a steady buildup of anecdotes, many of which continue to circulate today, six years after his death. On the occasion of the fiftieth anniversary of Kippenberger’s birth, this month sees the opening of a major retrospective of his entire career at the Museum für Neue Kunst ZKM in Karlsruhe, with additional stops in Vienna and Eindhoven. Though his influence in Europe will be debated and discussed for a long time to come, there is no question that he is one of

  • Rosemarie Trockel

    First encounters with Rosemarie Trockel have often left American viewers puzzled. The many narrative routes into her work, plus the specificity of her German-language references, can appear unfathomable. Yet this didn’t prevent a favorable critical consensus from emerging here in the 1990s. Indeed, the very notion of missed signals is at the heart of her practice, as demonstrated by a sub-installation in her latest appearance in New York. Two cases displayed maquettes for about two dozen unrealized book and catalogue projects conceived between 1983 and 2000. One book, Looking at Idols, 1984,

  • Jonathan Podwil

    The art historian Gertrud Koch once characterized Gerhard Richter’s famously fuzzy-edged technique as the “Richter-scale of blur.” I thought of this phrase when viewing Jonathan Podwil’s recent exhibition of painting and film. The artist’s still and moving images feature scenes in which people and objects make their way across the expanse of the frame, with the “blur” factoring heavily in determining a moment between motion and stasis. Yet Podwil’s images operate within a plodding register of animation that calls attention to the tactile qualities of film rather than commenting on painting’s

  • Venedig, 1993.

    Isa Genzken

    Fans eager for an overdue Genzken retrospective will have to settle for this survey of her work since 1992, the year the artist took a break from concrete and shifted her material focus to polyurethane (more recently she has also worked in glass). The show takes up where Portikus (Frankfurt) and the Renaissance Society (Chicago) left off a decade ago in their jointly produced look at Genzken’s career. Kunsthalle director Beatrix Ruf has gathered approximately thirty works—and commissioned several installations—that update the artist’s long-term investigation into sculpture’s dialogue with

  • Beat Streuli

    In his photographs of people on the street, Beat Streuli has since the early ’90s straddled the line between portraying anonymity and individuality. More recently, his videos of transient urban life have expanded his repertoire, and the viewer’s patient consideration is rewarded as scenes gradually unfold with rows of people passing through the frame, imparting the sensation of long temporal flows. Streuli’s latest projects explore international city streets in four two-channel videos, which were installed on a rotating basis in projections. In The Pallasades 05-01-01, 2001, shot in Birmingham,

  • Jim Shaw

    Since first exhibiting his Thrift Store Paintings more than a decade ago, Jim Shaw has routinely tapped the abundant resources of Sunday painters in order to undermine the prerogatives of taste and connoisseurship. Continuing his investigation into forgotten or overlooked American culture, Shaw has now invented his own religion, O-ism, and dated its origin to the mid–nineteenth century, around the time of the Mormon westward migration. In The Goodman Image File and Study, 2002, Shaw locates the birth of this denomination in the Finger Lakes region of upstate New York, keeping it within striking