Jordan Kantor

  • 1000 WORDS: DAVID SALLE

    MICHELANGELO IS A TOUGH ACT TO FOLLOW—and pinch-hitting for Andy Warhol probably isn’t much easier—yet these were precisely the challenges presented to David Salle when Roman art collector Carlo Bilotti recently asked him to execute a commission on the theme of the Sistine Chapel (a recast version of an unrealized Bilotti project once slated for the Pop master). Salle, who splashed on to the scene twenty-five years ago with a brazen brew of postmodern pictorial eclecticism and New York School–scale, capital-P Painting, would seem a natural fit for such an epic return to art history, having spent

  • Georg Baselitz

    This exhibition, which features some 110 paintings and works on paper from four decades, provides ample occasion to see the span of the artist’s career and perhaps even to learn something about this moment’s attitudes toward painting, too.

    For more than forty years, Georg Baselitz’s work has served as a screen on which the art world has projected its feelings about figurative painting. In the ’60s, his moody, expressionistic canvases exploded the unspoken consensus in his native Germany that representational painting had been forever polluted by fascism. In the ’80s, however, Baselitz was derided by many critics for insufficiently problematizing his neo-expressionistic practice. But in today’s climate of painterly promiscuity, his complex oeuvre seems ripe for reassessment. This

  • SPRINGTIME ON STAGE: A PORTFOLIO BY THOMAS SCHEIBITZ

    AS ALMOST ANY ARTIST WILL TELL YOU, one of the most important qualities of a studio is its light, and the best kind (at least for those in our hemisphere) comes through north-facing windows. Northern light is desirable because it illuminates the space throughout the entire day and changes hour by hour as the sun glides westward, altering the impression of works as they are being made. I mention this by way of introduction, because Thomas Scheibitz’s studio on Boxhagenerstrasse in Berlin has large north-facing windows, and, judging from the photographs he has taken there—seven of which are

  • Jan de Cock

    While there have been several opportunities to see Jan de Cock’s sculptures and photographs over the past few years, the twenty-eight-year-old Belgian’s particular brand of site-specific art first made an international splash last summer at Manifesta 5 in Donostia-San Sebastián, Spain. For that remarkable installation, de Cock took over an abandoned ship-building warehouse, erecting a large structure that, as is typical for his work, mined the fecund territory between art and architecture. Part sculpture, part building, de Cock’s supersized piece filled the interior of the warehouse space and

  • THE TUYMANS EFFECT: WILHELM SASNAL, EBERHARD HAVEKOST, MAGNUS VON PLESSEN

    Luc Tuymans has been the European painter of the moment—for several years. With a national pavilion at the 2001 Venice Biennale, a prominent place in the 2002 Documenta, and a full-scale retrospective co-organized by the Tate Modern and K21 Kunstsammlung Nordrhein Westfalen, Düsseldorf, where it is now on view, the forty-six-year-old Belgian is, by all accounts, a midcareer artist in full stride. Yet a slew of top-tier exhibitions does not fully measure the impact of his painting on the artistic landscape today. Perhaps even more revealing is the pervasiveness of different aspects of his art

  • Manifesta 5

    WHEN IT WAS HELD two years ago in Frankfurt, Manifesta’s fourth incarnation offered art pilgrims little more than a dry, somewhat nonvisual exhibition in a lackluster banking town—right down to a catalogue printed in black and white. This time around, both the organizing committee of Europe’s peripatetic biennial and its curators, Massimiliano Gioni and Marta Kuzma, seem to have taken that experience to heart, opting for a good-looking exhibition in Donostia–San Sebastián, Spain, a sunny resort town. While there are certain advantages to these choices, some of Manifesta’s gritty experimental

  • Andrea Bowers

    Andrea Bowers’s art wears its influences on its sleeve. References to Minimalist dance and sculpture abound in the Los Angeles–based artist’s third New York solo exhibition: Robert Morris, Yvonne Rainer, and Simone Forti were all touchstones here, though Donald Judd seemed the true guiding spirit. Indeed, in a grid of source material Bowers framed as part of the show, a quotation by Judd looms large: “Form is a wobbly word to use because form and content is a false division derived from another false division, thought and feeling.” Following this logic, Bowers has made the investigation of “

  • Jack Goldstein

    In a 1972 film by Jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera’s lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein’s oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early ’80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought

  • Nedko Solakov

    Over the past several years, Nedko Solakov has been working to dispel the aura that still seems to linger around fine art. Using irony as his dominant rhetorical mode, the Bulgarian’s interventionist installations expose many of art’s historical myths and undermine accepted conventions of its display, often to witty and poignant effect. For example, in 1999, Solakov put large black velvet quotation marks around several prominent paintings at the Museum for Foreign Art in Sofia, raising questions of authorship and originality in a single, elegant gesture. More recently, in 2001, he replaced a

  • Paul Shambroom

    Paul Shambroom's “Nuclear Weapons” photographs—images of soldiers climbing on and around nuclear warheads—introduced the Minneapolis-based artist to a national audience at the 1997 Whitney Biennial. The series, which was impressive for Shambroom's ingenuity in gaining access to these classified spaces as much as for its formal rigor, toed the line between reportage and art, engaging a kind of watchdog politicism that characterizes much contemporary photography. In his second New York solo show, Shambroom showed a new series, “Meetings,” begun in 1992, that continues his “documentary”

  • Lee Bul

    Lee Bul gained prominence in the late '90s with a series of “Cyborg” sculptures. These hybrid forms, composed of seamlessly fused organic and mechanical motifs, spoke to the increasingly tenuous boundary between body and machine. At once referencing prosthesis and cosmetic surgery, Lee's silicone cyborgs addressed, among other things, the age-old fantasy of eternal youth. Her recent exhibition “Live Forever” built on many of these themes in an installation of biomorphic karaoke chambers and projected videos. Although it was engineered for fun, the show sought to elicit a critical response from

  • Barnaby Furnas

    For his recent solo debut, Brooklyn-based painter Barnaby Furnas tackled life’s grand themes head-on. Love, death, and war are the subjects of the nine large canvases here, all of which brim with narrative and pictorial action. Yet the real drama lies not so much in the kissing, shooting, and running figures that populate Furnas’s pictures as in the artist’s knowing investigation of painterly form. Revisiting the dichotomies at the heart of modernist painting, Furnas manipulates the boundaries between figure and ground, form and formlessness, and figuration and abstraction, working in an

  • picks August 09, 2002

    Endcommercial®

    Lampposts doubling as kiosks, milk crates serving as seats, folding card tables transformed into mobile vending spaces: These are some of the opportunistic and impromptu urban appropriations documented by Florian Böhm, Luca Pizzaroni, and Wolfgang Scheppe in their ongoing photographic project “Endcommercial.” Previously seen this summer in Berlin at Kunst-Werke, “Endcommercial” adopts the spirit of an architectural case study, archiving guerrilla uses of the city and its detritus. The work on view here, culled from more than 60,000 images that constitute the project as a whole, focuses on New

  • Sabine Hornig

    In Germany modernism arguably found its fullest expression in architecture. In a land without a Picasso or a Matisse, a Malevich or a Rodchenko, it was figures like Mies and Gropius who supplied the Teutonic part in the great avant-garde fugue of the twentieth century. This may be one reason that contemporary German artists have consistently trained their cameras (postmodernism's favored tool) on the built environment. Architectural photography has been coming out of Germany steadily for decades now, first from Bernd and Hilla Becher, then from the procession of star graduates from their master

  • picks May 28, 2002

    Stuart Hawkins

    Stuart Hawkins

    Now that the globalization of capitalism is complete, the vernacular of advertising seems to have become the twenty-first century’s lingua franca, “spoken” even in the farthest reaches of the Himalayas. For her latest project, Appearing In, Stuart Hawkins both documents and ironizes this phenomenon, enlisting a cast of Nepalis to play-act as American movie stars and advertising characters before her lens. An untitled photograph of a man standing in sassy contraposto—half-empty glass in hand with a milk moustache mocking the recent “Got Milk?” ad campaign—is typical of Hawkins’s project. The

  • picks May 09, 2002

    Eberhard Havekost

    Eberhard Havekost

    Like a great many contemporary figurative painters, Eberhard Havekost works from photographic source material, exploiting the tension between the highly mediated image and the visceral immediacy of a deliciously painted surface. Havekost’s painterly facility, cinematic ambition, and dynamic compositional strategies transform consciously banal subjects into forceful paintings. Yet given the heavy dose of large canvases here, it is perhaps ironic that Havekost’s approach works best on a modest scale. Diminutive images like Slide and Face (all works 2002) are cropped almost to illegibility, making

  • Annika Larsson

    In her 1974 essay “Fascinating Fascism,” a biting critique of the rehabilitation of Leni Riefenstahl, Susan Sontag outlines how certain elements of fascist aesthetics—notably choreographed domination, pageantry, and an insistent glamorization of death—have entered the vocabulary of contemporary culture. Nearly thirty years later, this diagnosis seems more appropriate than ever. Co-opted for their appeal to powerful, largely latent desires, fascist aesthetics can today be found in both conservative and liberal contexts: eroticized in fashion photography and advertising on the one hand,

  • picks April 18, 2002

    Marjetica Potrc

    Marjetica Potrc

    How felicitous that Marjetica Potrc’s New York solo gallery debut opened the very same evening we set our clocks ahead for daylight saving time. The forty-eight-year-old Slovene, who deals explicitly with the slippages between official representations and “other” versions of reality, doubtless appreciates the special irony of “losing” an hour. Well known among international art cognoscenti, Potrc was the 2000 Hugo Boss Prize–winner and a standout at the recent Armory Show. Here, she presents new sculptural and photographic works that continue her investigation of the grassroots architectures

  • “Loop”

    About halfway through this selective survey of formal and conceptual circularity in contemporary art, one encountered a large wall text reading IT'S ONLY JUST BEGUN. This proclamation (a 1993 “instruction” work by Douglas Gordon) would have served nicely at the show's entrance as a kind of deadpan slogan, but its placement in the middle of the installation is both sly and appropriate. Keenly reflexive, Instruction (#4) exemplifies the way in which all the works here seamlessly repeat, merging beginning and end in cyclical continuity.

    Organized by chief curator Klaus Biesenbach (and traveling to

  • Tacita Dean

    Flea markets are famously fecund places. Treasure troves of detritus, they offer a rich archaeology of abandoned objects, each with its own mute, often melancholy history. For Tacita Dean, an artist deeply engaged with time’s ravages and lost or imagined narratives, the flea market has become a hunting ground for source material of all kinds. Here, in her debut as a printmaker, Dean showed three portfolios from 2001, two of which consist exclusively of images she found in flea-market photo bins.

    An artist’s book is the main work of a two-part piece titled Floh (German for “flea”; Dean, a Briton,