Jacob Proctor

  • Robert Grosvenor

    In a gutsy move for both artist and institution, Robert Grosvenor’s first museum exhibition in more than a decade consisted of a single work—and one created almost thirty years ago. Entering the exhibition space through a small vestibule, one immediately came face-to-face with Untitled, 1989–90, an enigmatic construction sitting, sphinxlike, in the Renaissance Society’s dramatically vaulted gallery. Two parallel walls of silver-painted cinder blocks, each six units high, were positioned directly on the gallery’s mottled gray linoleum floor. Extending from the leftward end of each wall was

  • Néstor Sanmiguel Diest

    Although he has been an active force in the Spanish art world since the late 1970s, Néstor Sanmiguel Diest has only recently begun to garner critical attention outside his home country. His recent paintings and works on paper are dense, palimpsestic constructions, built up of layer upon layer of found photographic and textual materials intermingled with passages of graphite, ink, and paint. In their obsessive detail and complex interplay of text, image, and geometric pattern—often across multiple panels—Sanmiguel Diest’s recent works enforce a temporal or durational experience akin to

  • Glasgow International

    Spread across more than seventy-five locations and fifty live performances, featuring work by 220 artists from thirty-three countries, the seventh edition of the Glasgow International—the second helmed by Sarah McCrory—lived up to its name as a biennial that is at once both deeply local and ambitiously international. This year’s commissioned Director’s Programme was organized around what McCrory described as “the legacy of industry and the relationship artists have to making, production, and craft.” Given Glasgow’s historical transformation from industrial powerhouse to postindustrial

  • “A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s”

    LONG MARGINALIZED in histories of both postwar art and experimental music, Charlotte Moorman has finally begun to receive the scholarly attention she deserves. In musicologist Benjamin Piekut’s Experimentalism Otherwise: The New York Avant-Garde and Its Limits (2011), Moorman figures alongside John Cage, Henry Flynt, and members of the Jazz Composers Guild as a prominent figure in the city’s flourishing mid-1960s music scene. Moorman moved from ensemble player to leading lady in former Walker Art Center curator Joan Rothfuss’s meticulously researched and engagingly narrated 2014 biography Topless

  • Shannon Ebner

    For more than a decade, Shannon Ebner has explored the shifting relationship between topographic and typographic form. Found patterns become accidental glyphs or pictographic systems, highlighting the simultaneity of seeing and reading, while homemade alphabets fashioned of cinder blocks or cardboard and wood probe the line separating sculpture from the written word. Ebner’s exhibition at the ICA will focus on the ongoing series “Black Box Collision A,” begun in 2013—thirty-one large-scale photographs, each depicting the letter A—shown all together here for

  • Than Hussein Clark

    It’s generally sound advice: Young artists should avoid curating themselves into group shows. Than Hussein Clark turned this adage on its head in “The Violet Crab at DRAF,” a presentation of seventy-six works by forty-one other artists—most from the David Roberts Collection—and one lab-grown alum crystal on loan from the University College London Geology Collection, along with forty-two of Clark’s own pieces. Under the tripartite rubric of “deviance, extravagance, and ventriloquism,” Clark mobilized the history of cabaret as a physical place and as a set of aesthetic practices. His

  • 1000 WORDS: SIMON DENNY

    THE TED TALK, the Meetup, the tech convention, the encrypted network: Alongside the emergence of new technology in the public sphere, we find the proliferation of novel spaces and cultures that facilitate that technology’s production and distribution. In recent years, these nebulous, venture-capital-saturated zones have been the focus of Simon Denny’s art. Such an emphasis marks a shift from the New Zealand–born artist’s earlier work, which tended to zero in on changes in technology itself, as in his early exhibitions that reflected on the evolution of television and video. Denny’s new, more

  • Jaime Davidovich

    Comprising eleven videos spread across three thematically organized screening programs, and curated for Threewalls by art historian and Artforum contributor Daniel Quiles, “Outreach: Jaime Davidovich, 1974–1984” provided a welcome point of entry into the Argentinean-born, New York–based artist’s pioneering work in video and cable-access television. Additionally on view were a re-creation of the 1970 tape installation Yellow Wall, a selection of early works on paper and television-related ephemera, and, in a nod to Davidovich’s historical role as a presenter of others’ work alongside his own, a

  • Simon Fujiwara

    In his recent exhibition “Peoples of the Evening Land,” Simon Fujiwara stepped away from the overtly autobiographical subject matter for which he is best known. While the new bodies of work presented here were related to the context of his adopted home country of Germany, they tend to speak more to general conditions of the present than to personal memories of the past.

    Five sculptures took the forms of trash cans with pull-out rubbish separators, which are a common feature of German kitchens. Usually concealed within a kitchen cupboard, they were here placed atop white plinths. Their elevated

  • Zak Prekop

    The nine new paintings in Zak Prekop’s third solo exhibition at Shane Campbell Gallery carry on the artist’s idiosyncratic project of process-based abstraction. Notably absent were the collaged paper elements and painted references to stretcher bars that had become familiar motifs in the artist’s recent work. This is not to say that Prekop has abandoned his recto/verso investigations, however. The majority of the paintings in the show were begun by applying passages of paint to one side of the canvas—or, in most cases, muslin—which Prekop then turned over and restretched so that the

  • Paul Chan

    AFTER A SERIES of increasingly high-profile solo exhibitions between 2003 and 2009, Paul Chan took a hiatus of sorts from the world of gallery and museum exhibitions to focus instead on writing and on his publishing imprint, Badlands Unlimited. This summer, Chan emphatically returned to public view with an exhibition that—despite its understated subtitle, “Selected Works”—looked and felt very much like a full-dress midcareer retrospective. Installed in twenty-four discrete spaces spread across Schaulager’s two main floors, and accompanied by an ambitious screening program of single-channel

  • Simon Starling

    “Metamorphology,” the economical survey of Simon Starling’s work at the Museum of Contemporary Art, comprised just eleven works. But complementing the artist’s first retrospective at an American museum, an affiliated show that ran concurrently at the neighboring Arts Club of Chicago (titled “Pictures for an Exhibition”) additionally presented a major new, site-specific installation. Only a dozen works all told, yet each represents such a dense network of material, geographical, social, and historical narratives that one hardly needed more. The MCA exhibition began, appropriately enough, with

  • 2014 Glasgow International

    Although officially themeless, this year’s Glasgow International was nevertheless woven together by some common threads. It was the sixth edition of the festival and the first under the artistic direction of Sarah McCrory; as one has come to expect from such biennial undertakings, exhibitions and installations were spread throughout the city, occupying spaces ranging from major public institutions to such quirky, out-of-the-way venues as an underground parking garage, a vendor’s stall in a dilapidated shopping center, and a crumbling Edwardian community bathhouse.

    In many ways, Glasgow itself

  • Simon Denny

    From the television set’s changing form to the switch-over from analog to digital broadcasting, up through the evolving culture of the tech industry itself, Simon Denny mines the intersecting histories of media technology and cultural production, making sculptures, videos, installations, and events that often reflect in unexpected ways on the context of their exhibition. At Portikus, Denny—who is representing New Zealand in the 2015 Venice Biennale—revisits a pivotal moment in the history of Samsung Electronics known as the Frankfurt Declaration. In June

  • Paul Cowan

    In 1999, the writer of a letter published in the British magazine New Scientist claimed that reorganizing the letters in the middle of a word has little effect on its legibility, as long as the first and last letters are in the correct position. “The resaon for this,” the author suggested, “is suerly that idnetiyfing coentnt by paarllel prseocsing speeds up regnicoiton.” In his first solo outing at Shane Campbell Gallery, Paul Cowan brought this (incorrect) thesis and its textual demonstration to bear in the visual realm.

    In “Pallarel Procssieng,” Cowan presented seventeen paintings—fifteen

  • Amalia Pica

    Argentinean-born, London-based artist Amalia Pica has spent the past decade examining the ways in which personal and collective histories are perceived, transmitted, and represented in different cultural contexts, in particular the ongoing political and intellectual repercussions of European imperialism in South America.

    Argentinean-born, London-based artist Amalia Pica has spent the past decade examining the ways in which personal and collective histories are perceived, transmitted, and represented in different cultural contexts, in particular the ongoing political and intellectual repercussions of European imperialism in South America. Pica approaches such heavy-duty topics, as well as the uncertainties of communication at large, with a keen wit and an infectious sense of play, quietly undermining cultural myths and clichés and poetically exploiting the perpetual