print July/August 2020

Chloë Bass

I’ve gotten to know Wayfinding well. Every day I walk by some, if not all, of the twenty-four signs that compose Chloë Bass’s meditative, ever-unfolding, treasure hunt–like installation in Harlem’s St. Nicholas Park. (It has taken months for me to spot them all.) The project, commissioned by the Studio Museum in Harlem and curated by Legacy Russell, appeared last fall as part of the institution’s series of off-site community programming, which continues while its new building is under construction.

The Conceptual artist, who grew up in New York City, has placed most of her messages along a

print May/June 2020

Juanita McNeely

The wailing wreckage of Pablo Picasso’s Guernica, 1937, the necrotic wrist stump in Ernst Ludwig Kirchner’s Self-Portrait as a Soldier, 1915, and the hellscapes of Otto Dix’s series “Der Krieg” (The War), 1924, all echo in Juanita McNeely’s pained visions. For her exhibition at James Fuentes, presented in collaboration with Mitchell Algus Gallery, the eighty-four-year-old artist showed two epic multipanel paintings from previous decades of her career, rendered in a sui generis expressionist style. The shell-shocked tricks of European modernism find new life in these complex works, depicting the

print January 2020

SO DIFFERENT, SO APPEALING

NOTHING CAPTURES the imagination quite like a period room. At the Museum of Modern Art, you can’t hope to stumble on anything with the transporting, cinematic force and decorative ferocity of, say, the Metropolitan Museum of Art’s Bedroom from the Sagredo Palace, of course. But it’s a heart-quickening surprise to encounter, in the refreshed and reshuffled fifth-floor collection galleries, Margarete Schütte-Lihotzky’s Frankfurt Kitchen. The alluring time capsule appears as a freestanding lemon-chiffon bunker, its neatly drab, graphite-gray interior beckoning through a sliding-door aperture. You

print December 2019

Johanna Fateman

Johanna Fateman is a writer, a musician, and a co-owner of Seagull Salon in New York. She writes art criticism regularly for 4Columns and the New Yorker and is a Contributing Editor of Artforum. She is a 2019 Creative Capital Awardee and is currently at work on a novel.

1

MARTHA ROSLER (JEWISH MUSEUM, NEW YORK; CURATED BY DARSIE ALEXANDER WITH SHIRA BACKER)

Rosler’s unmatched ability to wield consumer culture’s opulence against itself made for a visually festive retrospective. But sober critique unites the Semiotics of the Kitchen star’s half century of uninhibited Conceptualism; her early

print Summer 2019

Hannah Black

The five large screens of Hannah Black’s video installation Beginning, End, None—a new iteration of a work from 2017—were suspended from the ceiling of the long, darkened gallery. They formed an austere procession of loosely edited montages, assembled from images of motes, slowly churning like stardust: ghostly computer-generated architectural renderings, scientific illustrations, a scorpion illuminated by a UV flashlight, and other found or casually shot material. While the configuration lent the space a hallowed ambience and gave the fragmented work a sense of order, it also had a disquieting

print May 2019

WHITNEY BIENNIAL 2019

Curated by Rujeko Hockley and Jane Panetta

THE WHITNEY BIENNIAL, always a flash point for controversy, is front-loaded with it this year. As we witness the rapid consolidation of America’s oligarchy, art institutions flush with its cash have become subject to fresh activist scrutiny. Whitney-board vice chair Warren B. Kanders’s ownership of Safariland—the maker of tear-gas canisters used by border agents against migrants this past November—is a high-profile, hard-to-swallow fact, even if it is only the tip of the iceberg. But the show must go on, and fortunately, among the seventy-five artists

print April 2019

WISE GUYS

ONE MORNING IN FEBRUARY, Nicole Eisenman introduces me to the enormous plaster guys in her studio. Guys is her word; she clarifies right away that she means it in a gender-neutral sense. The first one we look at sits sideways, legs crossed at the ankle, on the back of another who’s on all fours, head down, hands and knees planted resolutely to form a stable seat. The sitting guy’s big palms are outstretched in a beatific pose; they (singular) have a diamond-shaped thatch of wormlike hair growing from their flat chest, and nothing definitive at their crotch. But the uneventful meeting place of

print December 2018

Johanna Fateman

1 GARY INDIANA, VILE DAYS: THE VILLAGE VOICE ART COLUMNS, 1985–1988 (SEMIOTEXT[E]; EDITED BY BRUCE HAINLEY) Intellectually generous and casually eviscerating, Gary Indiana, in his three years as an art columnist, embraced the pretension and debasement inherent to the weekly gig. This demi-doorstop of uncensored observations, high compliments, and serious shade reads like Bleak House as much as it does a collection of criticism—it’d make a great Christmas gift for someone who loves the former and wishes they could make it through the latter, as well as for those mourning the Voice (may it

print December 2018

Ree Morton

Ree Morton’s first large-scale US museum exhibition since 1980, “The Plant That Heals May Also Poison,” at the Philadelphia Institute of Contemporary Art, captures the unparalleled, heartbreaking hot streak, from 1971 to 1977, that constitutes her brief career. She got a late start: She was married with three kids by age twenty-five, and her subsequent pursuit of an art education was as arduous as it was anomalous. And then she died tragically, in a car accident, when she was just forty. So all of her work is early work, and in this show curated by Kate Kraczon, we see her in flux, forging her

previews May 2018

“Cheryl Donegan: GRLZ + VEILS”

Gingham is both motif and material in Cheryl Donegan’s boundless multimedia oeuvre, which since the 1990s has famously included performance and video as well as object making. In her paintings—the focus of this exhibition—the workaday checked print conjures the modernist grid as well as a pixelated expanse. untitled⎽jade green⎽neon red, 2016, one of the forty or so canvases that will be on view, is representative of Donegan’s sensibility (and sense of humor): It takes the name of a digital file but, with its appealingly

print March 2018

Judy Chicago

In one startling painting from Judy Chicago’s show “PowerPlay: A Prediction” at Salon 94’s Bowery space this winter, a proud nude—a muscled and hairless man with his dick out—pisses deep into the ground. Thanks to the psychedelic, multi-perspectival composition of the scene, we can see a cross-section of the earth and his amber stream of pee flowing and widening until it runs out of canvas. His silhouette glows as the sun sets on a strange desert. It’s almost as if he stands at the base of the viscous formation in Georgia O’Keeffe’s Rust Red Hills, 1930—as if, were we able to zoom

print February 2018

Yayoi Kusama

The experience of standing in line for hours in the cold, on the blustery West Side, in order to be immersed for forty-five seconds each in three successive environments by Yayoi Kusama falls somewhere, culturally speaking, between waiting to skate beneath the Christmas tree at Rockefeller Center and staying out all night at a club in the hope that Grace Jones will show up. On the one hand, it’s tiring, touristy, and probably not worth it; on the other hand, it’s Yayoi Kusama. When the eighty-eight-year-old phenom signs her name with the regal title Avant-Garde Artist after a comma—as she does

print January 2018

FULLY LOADED: POWER AND SEXUAL VIOLENCE

IN 1973, Ana Mendieta, then an art student at the University of Iowa enrolled in Hans Breder’s Viennese Actionist–inspired Intermedia Program, staged an imprecise reenactment of the aftermath, as reported in the press, of the brutal rape and murder of her fellow student Sarah Ann Ottens. Mendieta invited her class to her small apartment, where she had left the door cracked open, so they could walk in and discover her tableau vivant of a corpse. You could say she wanted to trigger them.

Forty-five years later, it’s not news that our culture is suffused with sexual violence, but, suddenly, the news

previews January 2018

Charles Atlas

Since the 1970s, Charles Atlas has worked at the limits of video technology with a range of luminous collaborators, from choreographers such as Merce Cunningham and Michael Clark to nightlife luminaries including Leigh Bowery, Dancenoise, and, recently, the raunchy leftist drag queen Lady Bunny. The Migros Museum, however, will present five multichannel installations that represent Atlas’s interests beyond performance-based work. One gallery will juxtapose Plato’s Alley, 2008, featuring an orderly black-and-white grid, with Institute for Turbulence Research, 2008, a

print December 2017

Kara Walker

Kara Walker made all of the works for her September show at Sikkema Jenkins & Co. this past summer. She offers this information as a kind of afterthought, along with a dry, technical description of her awesome, stomach-turning output (“This is a show of works on paper and on linen, drawn and collaged using ink, blade, glue, and oil stick”) in the concluding paragraph of her accompanying statement. The text, save for its matter-of-fact ending, is an artful paroxysm of frustration and despair. Walker, an African American woman artist, who has for decades merged historical fact and fable to depict

print November 2017

Carey Young

The quiet of Carey Young’s video Palais de Justice, 2017—also the title piece of her recent exhibition at Paula Cooper Gallery—is, in fact, an unrelenting roar. Footsteps and murmuring voices bounce off the endless marble surfaces of the eponymous domed, nineteenth-century court building in Brussels, reminding us of its architecture’s fearsome grandeur even in her closer shots. With Young, we spy on people, catching unguarded moments in corridors and peering into closed courtrooms to watch female judges at work. Shown as a large projection in a darkened room, the transfixing, dialogueless

picks October 06, 2017

“War and Pieced: The Annette Gero Collection of Quilts from Military Fabrics”

Hands with rifles in them seem like better playthings for the devil than just idle ones, but most of the devastatingly beautiful nineteenth-century quilts on view here are the products of assiduous busywork that likely kept the British Empire’s working-class soldiers and sailors out of trouble in their leisure time. Blood-red, blue, gold, and cream hues dominate the rich, matte mosaics, which are sewn from thousands of tiny hexagons, diamonds, triangles, and squares, excised primarily from the heavy wool of military uniforms. While some of these quilts are embroidered with heraldic or narrative

print October 2017

Travis Boyer

A fan who became a friend and an employee—and then an obsessed, disgruntled ex-employee—shot and killed the singer Selena Quintanilla-Pérez (known as Selena) in 1995, at a Days Inn in Corpus Christi, Texas, when the beloved “Queen of Tejano” was just twenty-three, and the Texas-born artist Travis Boyer was sixteen. He was a fan, too. For his exhibition at Signal Gallery in Brooklyn this summer, titled “Ahora y Nunca” (Now and Never), Boyer mined a long-standing daydream to present an array of Selena memorabilia, including an only partially visible treasure trove of Selena-related

previews September 2017

“CAMILLE HENROT: DAYS ARE DOGS”

Camille Henrot renders the dysfunctions and perversities of everyday life in an Umbrellas of Cherbourg palette that makes them all the more absurd. Her imaginative and often profound multimedia work—which includes such things as giant watercolors, cartoonish phones, and mesmerizing zoetropes—tends to be immersive and disorienting, so her takeover of the Palais de Tokyo’s entire exhibition space should be a thrill. Organized in seven thematic parts, one for each day of the week, her show promises frescoes, drawings, installations, sculptures, and video works,

print September 2017

Maureen Gallace

“Clear Day,” Maureen Gallace’s serene and dazzling retrospective at MoMA PS1, spans twenty-five years and includes more than seventy small oil paintings, though it seems there might be more like seven hundred of them, winding through the exhibition’s second floor in an airy parade. As you wander from room to room, the succession of white walls dramatizes not just the light-flooded intensity of Gallace’s canvases and their compact proportions (which hover around the intimate, sketch-book scale of nine by twelve inches), but the inexhaustibility and expansiveness of her narrow project. The artist