print December 2018

Hannes Schmid

The seventy-two-year-old Swiss artist Hannes Schmid—the subject of a compact, fascinating show at Mitchell Algus Gallery—is not a household name, but he can lay claim to a pair of intriguing distinctions in the postwar-image canon. First, he was among a select group of commercial photographers responsible for the pictures of handsomely weather-beaten cowboys in wide-open spaces in the iconic Marlboro Man ads, a campaign that turned a languishing brand originally pitched to women into the echt embodiment of consumerist masculinity and, not coincidentally, the best-selling cigarette in

print November 2018

Fred Wilson

Intelligent, expansive, and elegantly trenchant, Fred Wilson’s exhibition at Pace was a clarion announcement of conceptual sophistication during the dog days of the summer gallery season. “Afro Kismet,” a sprawling collection of objects, images, paintings, and text, was shown in New York after being presented in slightly different forms at both the 2017 Istanbul Biennial (where it originated) and Pace’s London outpost earlier this year. The innovative strategies of research-based reappropriation and museological critique that Wilson employed in “Mining the Museum”—his landmark 1992 intervention

print September 2018

Peter Roehr

A fascinating—and, at least as far as the conventional canon goes, mostly missing—link between Pop art and Minimalism, Peter Roehr’s work identified a vein of astringent poetry in the image world of an emergent global consumer culture. An exhibition at Ortuzar Projects provided a bracing overview of the five-year career of the German Conceptualist, who died of cancer in 1968, only weeks before his twenty-fourth birthday. Focused on his rigorously ordered photomontages, and featuring a revelatory suite of film montages, the show presented a practice very much in dialogue with the dominant conceptual

previews September 2018

57TH CARNEGIE INTERNATIONAL EXHIBITION

Five years after its previous iteration, America’s oldest international contemporary art survey—inaugurated in 1896 by industrialist Andrew Carnegie to acquire, as he put it, “the old masters of tomorrow”—opens its fifty-seventh edition, this time under the curatorship of the innovative Ingrid Schaffner. Organized in collaboration with a group of five international curatorial “companions,” who traveled with Schaffner, a Pittsburgh native, to far-flung locales, the show was conceived as a sprawling, multivocal research project. It features thirty-two artists and

previews September 2018

“ENRICO DAVID: GRADATIONS OF SLOW RELEASE”

Across the past two decades, the provocatively ecumenical Italian-born, London-based artist Enrico David has forged a singular practice that proceeds from drawing to a dizzying array of other media. The human body is almost always present—whether considered in works on paper, paintings, tapestries, installations, or the difficult-to-pigeonhole sculptures for which the artist is perhaps best known—but his figural forms inevitably gesture as much to the psychological as to the corporeal. This major survey will include some fifty works showcasing both David’s mastery of

print Summer 2018

Mariko Mori

The indelible avatars for which Mariko Mori gained fame in the early years of her shape-shifting practice—cyborg teenybopper, anime ingenue, extraterrestrial geisha, digital mermaid, 3-D empress—were, despite the outsize way they figure into most accountings of her career, actually a fairly short-lived aspect of her conceptual program. Mori’s celebrated masquerades gave way after only a half decade or so, following which she withdrew as a subject of her own work and redirected her pursuit of extravagant otherworldly hybridities into seamlessly finished structures and sculptures. The

print May 2018

Alex Da Corte

Over the past dozen years, Alex Da Corte has developed a highly distinctive practice, one focused primarily on fashioning (and/or refashioning) overripe bits of commodity culture and then putting conceptual pressure on them until whatever uncanniness they contain starts leaking out. Da Corte is both a maker of boldly strange objects and a designer of the psychically disorienting immersive settings in which he presents them. He’s also crazily prolific: In the past half decade, he’s mounted some twenty solo shows featuring sculpture, video, and installations for which he created the lighting and

interviews March 2018

YINKA SHONIBARE MBE

IN A 2005 INTERVIEW, British-Nigerian artist Yinka Shonibare MBE reflected on the questions around the fluid nature of identity—racial, national, cultural—that dominate his practice. “What I do is create a kind of mongrel,” he said. “In reality most people’s cultures have evolved out of this mongrelization, but people don’t acknowledge that.” The word may initially seem an inapt one for Shonibare’s sumptuous, baroquely elegant sculptures, videos, and installations, but it does conjure the fraught conditions of postcolonial identity, increasingly defined by discourses of globalization,

print March 2018

Survival Research Laboratories

It was a brutally frigid Saturday afternoon in early January, but a few hundred people were nevertheless gathered on a blocked-off stretch of West Twenty-Fifth Street in New York’s Chelsea. They were huddled against the cold in front of Marlborough Contemporary’s story-high garage door like a class at recess ringing a pair of schoolyard combatants, their focus on a gaggle of jerry-rigged machines that had been let loose to brawl between the dirty curbside snowbanks. The contraptions—including a tall wheeled carriage with a swinging articulated arm that terminated in a grasping claw and a

print February 2018

Gerard Byrne

Gerard Byrne’s brilliantly imagined and rendered film In Our Time proceeds from a concept that is, in its basic shape, so simple and straightforward that it almost eludes description. Set in a commercial radio station, the film—originally commissioned for Skulptur Projekte Münster in Germany in 2017—focuses on a DJ with a graying goatee and a magnificently fugly cardigan performing his duties in a cozily cluttered control room: introducing pop songs, cuing commercials, reading news and traffic reports. Meanwhile, on the other side of a soundproof window, a few men and women fiddle with

print January 2018

Omer Fast

In the autumn of 2016, Omer Fast had a solo exhibition in his adopted hometown of Berlin. Mounted by the Martin-Gropius-Bau, the show included a number of the elegantly perplexing, serious-minded video and film works the artist has made across his fifteen-year practice, including his newest, August, 2016, an impressionistic elegy for the early-twentieth-century German portrait photographer August Sander. In something of a departure for Fast, the show also featured a series of spatial interventions, with three of the show’s seven works set in installation environments meant to simulate transitional

previews January 2018

“Artaud 1936”

“I came to Mexico to look for a new idea of man,” wrote Antonin Artaud in the summer of 1936, a few months into his year-and-a-half-long sojourn in the Americas. Financially strapped and strung out, the poète maudit had arrived from Paris on a grant; while in the country, he wrote prolifically, gave lectures, and lived for a time in the mountains with the Tarahumara, witnessing their rituals and experimenting with peyote. As was the case for so much of his short life, Artaud’s time in Mexico was framed by his search for ecstatic authenticity and revolutionary potentiality.

print December 2017

Bernadette Mayer

A self-described “emotional science project,” Bernadette Mayer’s Memory—1,100-odd photographs made by shooting a thirty-six-exposure roll of 35-mm color slide film on each of the thirty-one days of July 1971, accompanied by six-plus hours of diaristic narration that the artist later revised into a book—is one of those conceptual pieces from the 1960s and ’70s that have been better known as anecdote than as physical fact. The work was first shown in its entirety in February 1972 at Holly Solomon’s 98 Greene Street space and has been re-created in various partial arrangements over the

print November 2017

Tom Sachs

Predictably winking but at times also unexpectedly personal and even wistful, Tom Sachs’s recent solo show was figured as a kind of material autobiography: a trip down an artistic memory lane paved with a thousand different things, each subsumed within the systematizing logic of his famously relentless, tongue-in-cheek didacticism. The exhibition showcased the ways his artistic persona can both charm and chafe—it was maniacally overstuffed with objects and language, rich in obsessive-compulsive tics, and marked by a cultivated mash-up of gravitas and juvenilia, of amiable self-deprecation

slant October 2017

Michel Houellebecq

THE MAP AND THE TERRITORY, Michel Houellebecq’s Prix Goncourt–winning 2010 novel, takes its epigraph from the fifteenth-century nobleman and poet Charles d’Orléans: “The world is weary of me, / And I am weary of it.” The sentiment will be instantly familiar to anyone acquainted with the celebrated, controversial French author’s work, which teems with an apparently inexhaustible array of sad sacks and misanthropes—the damaged, the soul-sick, the emotionally stunted. Among other things, The Map and the Territory is the story of an artist and a satire of a particular kind of cosmopolitan

previews September 2017

“MARK DION: MISADVENTURES OF A 21ST-CENTURY NATURALIST”

Although the title of Dion’s first major US museum survey might imply a certain waywardness, in fact few artists can match the concentrated single-mindedness of his intrepid, polymorphously curious three-decade-long practice. Yes, Dion’s hands-on critiques of the protocols of cultural institutions—assays of the ideologies that shape collection and display, just as they shape our larger senses of history, value, and meaning—are often framed within a wry mode of address that would seem to subordinate the artist to the eclecticisms

previews September 2017

“MONA HATOUM: TERRA INFIRMA”

Mona Hatoum has spent her nearly forty-year career sharpening the edges of the everyday. The London- and Berlin-based artist was a signal figure in the turn toward a conception of both the bodily and the domestic as sites of political complexity and psychic menace that stretched across the 1980s and 1990s; this exhibition will be her first major museum survey in the US in two decades, showcasing some thirty sculptures and installations, including such signature works as the electrified household space of Homebound, 2000. In recognition of the often uncanny estrangements

print September 2017

Allan D’Arcangelo

It’s no great trick to locate signs of American culture in Allan D’Arcangelo’s work. The paintings on which he made his reputation in the 1960s and ’70s are, of course, filled with them: road signs sleekly abstracted into directional tangles, advertising logos floating with uncanny serenity along the dark edges of empty highways. But even as D’Arcangelo, who died in 1998 at the age of sixty-eight, began to move away from these early signature motifs, he continued to conjure a kind of echt American landscape, producing enigmatic environments populated with elegantly stripped-down infrastructural

print Summer 2017

Walead Beshty

With an intermittent soundtrack provided by the futile jittering of wrecked office equipment displayed like broken bodies skewered on pikes, and colossal flat-screen displays that had been mortally injured and then strung up in the fashion of cold-room carcasses, the opening rooms of Walead Beshty’s recent exhibition at Petzel suggest a Dr. Moreau–style project updated for the digital age—a ruthless program of mechanical vivisection designed to forcibly bestow an organic bearing on a set of captive entities. Yet if this ambitious show initially seems to wear its high-tech-abattoir vibe a

print May 2017

Morgan O'Hara

Across the past three decades, Morgan O’Hara has produced more than five thousand examples of what she calls her Live Transmission works, a strand of her practice situated between performance and drawing. These renderings are the product of a process whereby O’Hara “records” movement—of musicians, orators, actors, and fellow artists; of workers of all sorts, from gardeners to bakers to stonemasons; of bees and carp and turtles—in real time with only pencils and paper, tools that function for the septuagenarian artist as a mediumistic interface between herself and the world of space

Jeffrey Kastner