Jeff Nagy

  • Andrei Koschmieder, Untitled #03 (Plant on radiator series), 2012, spray paint, ink-jet dye, paper, metal, 43 × 31 × 4". From the series “Plants on Radiators,” 2012–15.


    THE PATH from the Epson tray to the gallery wall to the museum collection has never been shorter. Over the past decade or so, we’ve seen scanners, plotters, and all manner of digital-reproduction devices become thoroughly naturalized as tools for art production, and artists who engage directly with postphotographic reproduction technologies have become canonical at midcareer. Today, a younger generation has moved on from flatbeds and ink-jets, now as tinged with nostalgia as a slide carousel or a bank of CRT TVs, to emerging technologies whose problems and implications are not yet fully articulated

  • Ed Atkins, Ribbons, 2014, three-channel HD video, color, sound, 13 minutes 19 seconds.

    Ed Atkins

    The end of a night like any other, facedown on the bar with a cigarette turning to ash between two fingers, singing a perfectly acceptable rendition of the aria “Erbarme dich” from Bach’s St. Matthew Passion before your head deflates and everything goes dark. We’ve all been there, right?

    This blackout into canonical bathos is the repeated fate of the computer-animated protagonist of Ed Atkins’s video work Ribbons, 2014, the centerpiece of his recent solo exhibition, a triptych of simultaneously projected roughly thirteen-minute-long video works. These played on a synced loop along the back wall

  • Ken Okiishi, gesture/data, 2014, oil paint, flat-screen television, VHS transferred to digital video, color, sound, 73 minutes 35 seconds, 36 3/8 x 21 3/8 x 4 3/4".

    Ken Okiishi

    In the eleven paintings that were in this show, all equal in size and in identical thin black frames, densely expressionist or allusively calligraphic brushstrokes bunch or stutter across shimmering color fields. You had to dip your head ninety degrees toward your left shoulder to read the name of the Old Master, stamped in silver and running up each frame’s right-hand edge: SAMSUNG.

    For his first solo show at Reena Spaulings, Ken Okiishi executed a series of oil paintings on the surfaces of upturned flat-screen televisions. (A group of related works hung concurrently in the 2014 Whitney Biennial.)

  • Quentin Meillassoux presenting The Number and the Siren: A Decipherment of Mallarmé’s “Coup de dés,” Sequence Press, New York, May 6, 2012.

    Quentin Meillassoux’s The Number and the Siren

    The Number and the Siren: A Decipherment of Mallarmé’s “Coup de dés,” by Quentin Meillassoux. Falmouth, UK: Urbanomic/Sequence Press, 2012. 298 pages.

    IN MAY OF THIS YEAR, the latest contribution to the philosophico-literary genre known as “speculative realism” appeared: an English-language translation of The Number and the Siren: A Decipherment of Mallarmé’s “Coup de dés. In this rip-roaringly paranoid, critical fantasia by way of The Da Vinci Code, we follow not Robert Langdon but one Quentin Meillassoux—a youngish and meteorically successful student of Alain Badiou’s and professor at