Jeffrey Kastner

  • Shirazeh Houshiary

    Poised between aestheticism and asceticism, Shirazeh Houshiary’s delicate, elusive new canvases are marvels of formal restraint and rigor that manage to generate extravagantly seductive perceptual effects. Her recent show—dominated by a suite of large-scale black or white monochromes illuminated with feathery passages of contrasting pen or pencil—is evidence of progress in a conceptual program the artist once characterized as following a trajectory “from form to formlessness.”

    The Iranian-born, London-based Houshiary is usually associated with the British “New Object” sculptors (including Tony

  • Barnaby Furnas

    In his second New York solo show in as many years, painter Barnaby Furnas continues to operate in a productive zone between figuration and abstraction, surface and spatiality, narrative and structural modes of imagemaking. The seemingly limitless fodder for formal discourse produced by his practice seems likely to make Furnas something of poster boy for the next installment of the “Whither painting?” debate. Yet for all its theoretical availability, the proof of the artist’s work is decidedly in the viewing: His skillful and occasionally flat-out dazzling paintings reward extended engagement.

  • Adam D. Weinberg

    “IT’S FUNNY HOW THINGS HAPPEN to one in life,” says Adam D. Weinberg. “Doors just open and you go through them.” For Weinberg, the door in question would appear to be a revolving one—one that keeps bringing him back to New York’s Whitney Museum of American Art. This October, almost exactly five years after he stepped down as the Whitney’s senior curator to run the Addison Gallery of American Art at Phillips Academy in Andover, Massachusetts, Weinberg returns to the Whitney, this time as its director. He replaces Maxwell L. Anderson, who resigned in May following clashes with the museum’s board

  • “Watershed”

    Three hundred years ago, discriminating travelers in the European countryside might have carried with them an optical instrument called a “Claude glass” after the seventeenth-century French landscape painter Claude Lorrain. A small, tinted mirror, it lent the scenes it reflected a painterly quality evocative of Claude’s idealized landscapes. By the early nineteenth century, a set of colored lenses that could be held to the eye was available to American sophisticates searching for scenery on steamboat trips through the Hudson River Highlands. Voyagers used their filters to sweeten the vistas (

  • Clockwise from top left: Milica Tomic, Remembering, 2000, color photograph, 59 x 59“. Zwelethu Mthethwa, Mother and Child, 2000, color photograph, 49 1/4 x 70”. Shahzia Sikander, SpiNN, 2003, still from a color digital animation, 6 minutes. Willie Doherty, RE-RUN, 2002, still from a two-screen color video installation, 30-second loop.

    the Istanbul Biennial

    THE ORGANIZERS OF THE 8th International Istanbul Biennial could be forgiven for looking over their shoulder as the show’s opening approaches later this month. After all, the last two installments of the exhibition coincided with tragic circumstances—the 1999 show, curated by Paolo Colombo, debuted only a month after one of the most devastating earthquakes in Turkish history, while Yuko Hasegawa’s 2001 edition had the misfortune of kicking off just ten days after the World Trade Center attacks. Despite these unhappy coincidences, Istanbul has managed over the last decade and a half to successfully

  • John Snyder

    John Snyder transformed the studiously blank setting of his first solo museum show into a kind of funky chapel. Sporting a nave, aisles, and a transept, and dotted with nichelike shelves bearing vases full of fresh flowers, the painter’s mystic gallery-cum-basilica also included a soaring, barrel-vaulted apse dolled up like some apocryphal Victorian parlor. This idiosyncratic layout chosen by Snyder for his presentation—with formal origins in ancient Christian and secular architecture, cheerfully injected with a healthy dose of down-home kitsch—aptly symbolizes the various tensions he balances

  • Mel Chin

    Like the material Mel Chin employed in his recent works—mud and mahogany, olive wood and Hebron marble, dirt from a Minneapolis landfill and African grass—his conceptual perspective dances between the lyrical and the mundane, into a realm where the global and the personal dovetail. Marked by the complex symbolism viewers have come to expect from this multimedia conceptualist, Chin’s recent sculptures are sensual, romantic takes on geopolitical strife and cultural dissonance. Rather than adopt conventional historical perspectives, these works frame alternative views that are simultaneously lyrical