Julia Friedman

  • picks July 13, 2010

    William Eggleston

    “Paris-Kyoto” brings together William Eggleston’s scenes from Europe and Asia in the surroundings of a Bauhaus-style Art Deco building set in the midst of a Tokyo city block. The photographs, commissioned over the past decade by the Fondation Cartier, are presented alongside twenty-two drawings. Appropriately, Eggleston’s first museum exhibition in Japan includes a selection of images from his canonical book William Eggleston’s Guide, which accompanied his groundbreaking show at New York’s Museum of Modern Art in 1976.

    This exhibition is built on contrasts and comparisons, both between photography

  • Miwa Yanagi

    Last year was Miwa Yanagi’s annus mirabilis—the year of three solo exhibitions that included the installation Windswept Women: The Old Girls’ Troupe, 2009, at the Japanese Pavilion of the Fifty-third Venice Biennale. This new show combines several photographs from the “Fairy Tales” series, 2004–2006, and a brand-new video, Lullaby, 2010. The artist’s trademark games of scale, which were also important to her Biennale installation, are in evidence here; only now, instead of confronting viewers with giant keepsake frames holding life-size portraits of scantily clad amazons, Yanagi has contained

  • picks April 06, 2010

    Ohad Matalon

    Unlike the usual photography exhibition, where primly mounted images passively await the viewer’s gaze, Ohad Matalon’s latest show makes the unwitting visitor part of the installation. Ten giant projections of photographic negatives overlaid on positives become metaphoric passageways into ten different locales chosen by the artist from an ever-growing bank. The photographs—which were taken in countries including Israel, Jordan, Taiwan, Germany, and Austria—present a variety of uninhabited landscapes, and the featured locations are rotated every few days.

    In a departure from the ubiquitous color

  • picks March 20, 2010

    MeeNa Park

    “BCGKMRY,” MeeNa Park’s debut solo exhibition at this gallery, indexes the artist’s resolve to establish her own, nonarbitrary visual order. Consistent with her ongoing engagement of a playful, rule-bending encryption of colors and symbols, the title of the show is an alphabetized anagram of the four subtractive primary colors in commercial printing (cyan, magenta, yellow, and key black) and their secondaries (blue, green, and red). Here, and throughout the exhibition, Park follows her favored paradigm of laying bare the familiar to show its unreliability, then restructuring it into her own

  • Tamotsu Ikeya

    Tamotsu Ikeya’s most recent, aptly titled show, “Basic Lesson Preparation and Review,” indexed both the artist’s earlier investigations of color and his current (and evolving) interest in actual space. Ikeya put these lessons to use attempting to conceptualize color as a means of generating space. The first glimpse of the gallery’s vast interior presented a pair of large untitled two-tone canvases (all works 2009)—one red and orange, the other blue and green; ten more paces toward the back wall opened up a view of a third painting (the same dimensions as the first two and also untitled) in black

  • picks January 20, 2010

    Kosuke Ichikawa

    Nothing in “Murmur,” Kosuke Ichikawa’s first solo exhibition at this gallery, can be taken for granted. The images, which look like high-contrast photographs when reproduced, are not only done by hand but are created through pigmenting and burning sheets of washi paper with incense sticks—a decidedly involved technique that intensifies the significance of the artist’s touch. The content is similarly illusory: Ostensibly generic depictions of woods turn out to be the imprints of Ichikawa’s memories, spontaneous flashbacks allegorically burned into his subconscious, then literally onto the paper.

  • picks November 08, 2009

    Shinro Ohtake

    “Shell & Occupy 4” features the latest examples of Shinro Ohtake’s “stickering” method—the white noise of found objects strewn together, then contained by oil paint. The resulting effect is simultaneously gritty and sleek. The exhibition’s highlight is the wall-size multimedia assemblage Latitude of the Memory of Color/Galaxy, 2009, whose title indexes Ohtake’s two key preoccupations: color and memory.

    The “Beach” cycle, created this past year, just as Ohtake was designing a public bath in Naoshima, emphasizes the memory component of his work. Here, vintage reproductions of swimsuit models are

  • picks October 15, 2009

    Seiji Aruga

    Paper, Seiji Aruga’s medium of choice, is ideally suited to his spatial and tactile art. In Aruga’s latest works, his earlier, intricate constructions give way to equally intricate subtractions. From afar, le, 2009, conjures up a partially teleported version of Malevich’s Black Square on a White Ground, 1914–15. The square appears to be carved into the middle of the vertically arranged composition, but a closer look reveals a side view of laterally stacked paper. The perimeter edges and the surface of this recessed inner square are uneven, adding to the concrete and physical texture of the piece.