Gwen Burlington

  • Garrett Pruter, The Birds (part 2 of 3) (still), 2022, digital video projection and sound (stereo), 26 minutes, 42 seconds.
    picks May 30, 2022

    Garrett Pruter

    In his ongoing work The Birds, 2022, Garrett Pruter revisits Alfred Hitchcock’s classic, painstakingly removing the attacking crows frame by frame. Currently clocking in at almost twenty-seven minutes, Pruter’s cut of the film focuses on key scenes related to the development of Tippi Hedren’s character, Melanie Daniels, an outsider who becomes a target of mass hysteria. The artist leans into the over-the-top acting of Hitchcock’s era, offsetting the tension with humor.

    At first, Pruter’s edits appear seamless. In the playground segment, children and adults dive and scream, flapping about as they

  • Jill McKnight, Vacuum Cleaner Hydra, 2021, chicken wire, copper, plaster, polyurethane foam, wood, acrylic paint, heat transfer prints on fabric, wheels, dimensions variable.
    picks February 15, 2022

    Jill McKnight

    In Jill McKnight’s debut exhibition in London, “A room in which many of the parts of our lives were placed,” the artist, who hails from the port city of Sunderland in the north of England, draws on the personal histories of her working-class lineage. The exhibition feels loose and informal, consisting of a series of unruly sculptures and drawings populating a glass storefront that can only be viewed from outside. A multitasking housekeeper, Vacuum Cleaner Hydra (all works 2021), boasts six tubular appendages, each holding an everyday object: a cake tin, a mobile phone, a mug of tea, a vacuum

  • Chioma Ebinama, Petting a bumblebee, 2021, watercolor, coffee and turmeric on paper, 55 x 39 1/2".
    picks November 30, 2021

    Chioma Ebinama

    There may be no mollusks in Chioma Ebinama’s solo exhibition “A Spiral Shell,” but there is a radial symmetry to the forms that populate the Athens-based Nigerian American artist’s watercolors. Suspended from the ceiling in the center of the gallery are three large watercolor works. In the most striking of these, The Empress (all works 2021), a multibreasted female figure curls around both sides of the paper, a slender tail tucked between her legs. White liquid seemingly drips from each of her many nipples, manifesting in the tiny peaks of rice on the floor below. My life as a seed in the wind

  • View of Pamela Rosenkranz’s “Healer,” 2021. Photo: Benjamin Westoby.
    picks November 11, 2021

    Pamela Rosenkranz

    Pamela Rosenkranz’s solo exhibition “Healer” turns the street-level gallery space of Sprüth Magers into a terrarium. The titular work, Healer (Anamazon) (all works 2021), takes the form of an animatronic snake swathed in a soft green light that bounces off the mirror and aluminum surfaces of the artist’s “Anamazon” paintings. For long stretches of time, the mechanical serpent lies dormant. Its inorganic character is emphasized by the semiconductors, servo motors, and sensors clearly visible through its scales, which have been produced through the traditional Japanese paper-cutting technique of