Johanna Burton

• previews May 2015

  “Be a Place, Place an Image, Imagine a Poem: Ree Morton: A Retrospective”

  “BE a place, PLACE an image, and IMAGINE a poem” are lines of verse taken from one of Ree Morton’s notebooks. A repository of her thinking, the notebooks offer an unexpectedly intimate way to get close to a figure who died in 1977 at the age of forty-one, early in both life and career. A fierce, generous, and unique voice, Morton produced affectively complex, gendered engagements with post-Minimalism and Conceptualism. This survey of some 150 works, accompanied by a catalogue with essays by Manuela Ammer, João Ribas, and the curators, will feature early

• previews September 2014

  “The Passion According to Carol Rama”

  The title for Carol Rama’s upcoming survey borders on the tautological, as, indeed, the Italian artist’s career, and her very person, have become so deeply aligned with the twin poles of eros and pathos that her name alone triggers delicious shudders. In this much-needed consideration of Rama’s oeuvre, nearly 200 works take viewers through the artist’s complex trajectory. While exploring, from the mid-1930s through the mid-2000s, all manner of forms, techniques, and vocabularies, she remained committed to deconstructing conventions of

• previews May 2014

  Barbara Kruger

  In 1984, Barbara Kruger wrote “Job Description,” a short piece that begins, “Your work is about,” and then proceeds with a formidable list of such things as “formula and the elegant solution,” “desire and the prolongation of stasis,” and “pleasure and the proper name.” Three decades later, the operations Kruger named in this cheeky CV, a meditation on her work’s engagement with the public sphere, seem no less urgent. The artist’s signature style—which mimics the language of advertising to invert the power dynamic that that language imposes—no longer produces the

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  print December 2012

  Zoe Leonard

  Moving. It’s a word that, used to describe artworks, risks cliché, to say nothing of dangerously separating affective responses from intellectual ones. Yet for the past three decades, Zoe Leonard has honed a practice that calls for and complicates this slippery denomination: In her first solo show in a New York gallery since 2003, she even employed the literal valence of the word. She rendered Murray Guy’s newly expanded Chelsea space a giant camera obscura, conjuring a vast, continually changing image. Emptying the room while filling it lushly to the brim, she shuttered its windows, refusing

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  print October 2012

  Annette Messager

  In interviews, Annette Messager has spoken of her admiration for Roland Barthes and, in particular, for his Fragments d’un discours amoureux (A Lover’s Discourse: Fragments, 1977). It makes sense that the artist, perhaps best known for her portrayals of literal and figurative dismemberment, would be attracted to this volume. An account of things come undone (a love affair, a life, the body, discourse itself) written, appropriately enough, in parts (some that feel like shards), Barthes’s book not only echoes formal and conceptual elements of Messager’s forty-year career but interestingly was

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  print Summer 2012

  Harry Dodge

  Intro to Logic, freshman year, college. I recall these sentences on the blackboard: “God is love. Love is blind. Stevie Wonder is blind. Therefore Stevie Wonder is God.” The example was given as the epitome of fallacy, illustrating, that is, a breach of reason while appearing to maintain reason’s very form. Such sleights of hand, we learned, are identified easily enough yet are surprisingly pervasive (and persuasive). While nonsensical, they can be steeped in such emotional or affective content that their inaccuracy goes unnoticed or, more to the point, feels inherently correct despite obvious

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  print May 2012

  Stephen Prina

  One might reasonably wonder whether or not the review you are now reading is warranted. Though the press release accompanying Stephen Prina’s seventh exhibition at Friedrich Petzel Gallery announced the presentation of “new paintings,” the exhibition nonetheless closely mirrored one staged at Barbara Krakow Gallery, Boston, in 2009.

  It’s a fair question. In Boston, as in New York, the paintings were gestural monochromes, executed on the surface of commercial blinds—the bland, single-piece-of-fabric type that rolls up and out of sight when not in use. The double meaning of “blind paintings”

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  print March 2012

  Doug Ischar

  Doug Ischar’s presentation of work at Golden Gallery might have appeared, to a visitor first walking in, a modest affair. Indeed, the gallery itself is no more than a slim slice of storefront in SoHo. Yet the seven works assembled in “Sleepless” all deftly challenge any notion of modesty, wholly bucking that word’s association with conventions of decorum and bodily restraint even while utilizing antispectacular formal elements and means. While quiet—clandestine, one might say—Ischar’s work opens to the eye like a clenched orifice to the right touch. If that metaphor sounds more than

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  print February 2012

  Justin Vivian Bond

  It’s by no means a comparison with strict symmetry, but thinking recently about Justin Vivian Bond’s work and person, I was reminded of Adrian Piper. Finding herself the object of various misrecognitions and slights, Piper took to entering all social situations armed with small, printed messages; handing them out, she could expediently address many unfortunate scenarios without having to deliver again and again the time-consuming, awkward clarifications face-to-face. My Calling (Card) #2, 1986, for instance, opens with: “Dear Friend, I am black. I am sure you did not realize this when you

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  previews January 2012

  “Rineke Dijkstra: A Retrospective”

  One learns, over time, to look confidently at images by Rineke Dijkstra. But when first encountering them (say, for instance, those pictures of arrogant-prudish-awkward adolescents on the beach), a genre-based vertigo ensues.

  One learns, over time, to look confidently at images by Rineke Dijkstra. But when first encountering them (say, for instance, those pictures of arrogant-prudish-awkward adolescents on the beach), a genre-based vertigo ensues: Are these photographs following legacies of social documentary, or do they, instead, unapologetically address the scopophilia lurking in all of us? Critics are quick to assign a lineage to Dijkstra’s oeuvre, tracking her roving lens to predecessors from Dutch portrait painters to Diane Arbus. But there is something to be

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  print January 2012

  Nan Goldin

  Scopophilia, according to the press release for Nan Goldin’s recent show at Matthew Marks Gallery (her eighth there since 1992), means “the love of looking.” While such a benign definition is more or less etymologically correct, we know—via legacies of psychoanalytic theory and feminist critique—that it hardly does the word justice. Indeed, as Goldin herself narrates during her twenty-five-minute video projection of that title (dated 2010), scopophilia simultaneously stirs and satisfies desire in the looker, a quite remarkable feat. Yet for its pleasures there is a price: As Laura

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  print December 2011

  Haim Steinbach

  In an interview published in Artforum’s April 2003 issue, Haim Steinbach discussed what he saw as the ideal system for pricing what he made: “I devised a formula by which there would be a price for the work—plus the price of the objects. Let’s say a shelf has three cornflakes boxes and six ceramic ghosts on it. If the ceramic ghosts are $10 apiece, that’s $60; the boxes, at $2 each, would make $6, bringing the total of the objects to $66. So if the price of a given work is $12,000, that’s $12,066.”

  The artist’s mode of reaching a price point is worth remarking on, because it lays the foundation