Gregory Williams

  • Nils Norman

    For the past decade Nils Norman has been devising a series of imaginative proposals for improving urban living conditions through community-based initiatives. He is no starry-eyed utopian, however: Norman is all too aware of how blind devotion to social progress under modernism has often been misguided and destructive. The foibles of dogma provide abundant material for an artist keen on uncovering hypocrisy. Norman has struck a careful balance between parodying visionary zeal and maintaining faith in alternative solutions to contemporary civic malaise.

    Typical of his approach was the recent show

  • Rainer Ganahl

    FOR THE PAST SEVERAL YEARS, Rainer Ganahl has been lurking in the corridors of higher learning, monitoring the often unglamorous sites where knowledge is acquired and transmitted. He's produced long-term projects on the instruction of foreign languages and documented academic conferences and lectures by photographing speakers at the podium. His most recent efforts shed more light on the social spaces in which intellectual discourse is formulated, reworked, and introduced into everyday life.

    In 1998, Ganahl formed the first in a series of reading groups focused on the writings of Karl Marx, the

  • Phyllis Baldino

    Video’s ability to highlight the elasticity of time has fascinated artists for over thirty years (consider Bruce Nauman’s Video Corridor of 1968–70 or Nam June Paik’s 1974 TV Buddha). Phyllis Baldino’s two recent video installations (both 2000) further this tradition by exploring the negative consequences of the compression of time. Lie the structuralist filmmakers of the ’60s and ’70s, Baldino imposes strict temporal and conceptual limits on her investigations yet extends her project well beyond a medium-specific critique.

    16 minutes lost is based on science writer James Gleick’s theory, put

  • Jude Tallichet

    If Buckminster Fuller had got his way, midtown Manhattan today would find itself under a giant geodesic dome. The utopist engineer’s 1962 proposal for such a structure (meant to protect urban dwellers against smog and, given the cold war, perhaps even nuclear fallout) represents the kind of vision—partly idealistic, partly pragmatic—to which Jude Tallichet pays homage in her recent show “Left.” Architecture is presented here as being equally capable of accommodating forward-looking theories and pure utilitarian necessity. A wide swath of its history—from the low-lying Mongolian yurt to Ted

  • Documenta 11

    THESE DAYS IT'S TRULY CHALLENGING to make a resonant curatorial statement amid the chaotic conversation that surrounds proliferating megaexhibitions and regional biennials. Okwui Enwezor, artistic director of Documenta 11, and his cocurators (Carlos Basualdo, Ute Meta Bauer, Susanne Ghez, Sarat Maharaj, Mark Nash, and Octavio Zaya) have found a new way to make their voices heard, turning Documenta into a series of events that will crisscross the globe for over a year before settling in Kassel, Germany, the show's traditional host city, in June 2002. Enwezor says of the uprooting: “Kassel, of

  • Sharon Ya'ari

    LIVING IN ISRAEL, a country with a painfully acute sense of the mutual dependency of geography and national identity, Sharon Ya'ari is particularly aware of the socially constructed character of the landscape. His new series of photographs, “Last Year,” 2000, portrays the environment beyond the city limits, where the Israeli terrain is open and only sparsely populated. Those few individuals who do appear in the images manage to destabilize what would otherwise be a fairly classical depiction of verdant pastures and rolling hills.

    Ya'ari sets up his shots with a plein-air painter's sensibility

  • Renée Green, Marion von Osten, and Peter Spillmann

    This show presupposed that mythical beast, the gallery-goer willing to part with a bit of time—a highly valued commodity in New York. Outgoing Swiss Institute director Annette Schindler assembled these three separate installations around the idea of cultural labor. Projects by Renée Green, well known to the New York audience, and Marion von Osten and Peter Spillmann, Swiss artists who have often collaborated, encouraged a hands-on approach and devoted relatively little attention to questions of aesthetics. This relaxed attitude toward the conditions of display only lent more weight to the theme