Kat Herriman

  • Valerie Keane, Afterburner (detail), 2016, stainless steel, acrylic, 68 x 14 x 2".
    picks September 30, 2016

    Valerie Keane

    Hung in the gallery’s large windows, Valerie Keane’s futuristic whirligigs demand streetside attention. Made of opaque and transparent acrylic sheets, the trio of sculptures—Afterburner, The Enemy (Long Armed Sun), and Skinsuit at the Castle (all works 2016)—glimmer as they spin. Inside the gallery, the fluorescent lights add a sci-fi luminosity to the installation; their blaze highlights the details. Inlaid with iridescent Matisse-esque cutouts, and corseted with wires, Keane’s dangling lures resemble little galaxies, scaffolded with steel.

    The press release excerpts Thomas Pynchon’s almost

  • Larry Poons, Tantrum 2, 1979, acrylic on canvas, 5' 5“ x 13' 5”.
    interviews September 23, 2016

    Barbara Rose

    Art historian, filmmaker, and curator Barbara Rose is a force of nature with a penchant for the rarified fine arts. Her latest undertaking, “Painting After Postmodernism: Belgium – USA,” features sixteen painters—half of them Americans, half Belgians. An exhibition that encourages exchange, the show asserts a need for a new discussion surrounding the condition of contemporary painting, as Rose discusses here. “Painting After Postmodernism” is on view in the historic Vanderborght building and Cinéma Galeries in Brussels through November 13, 2016.

    THE ONLY THING anybody knows about me is that I

  • View of “Meriem Bennani: FLY,” 2016.
    picks July 08, 2016

    Meriem Bennani

    To be a fly on the wall at Meriem Bennani’s first institutional solo show is to adopt her perspective of contemporary culture. Her video installation FLY, 2016, mimics the mosaic structure of a fly’s eyes with a patchwork of projectors, creating an immersive experience. Resembling a concept room that a first-year architecture student might draft in SketchUp, the irregular, multiscreen theater requires the viewer to construct a strategy for digesting the seventeen-minute film. Seating is not a problem; Bennani provides benches.

    The story centers around a wedding set in Bennani’s native Morocco.

  • Left: Christian Dettloff performing at the “Transformative Pain Conference” at Signal. Right: Signal’s “Transformative Pain Conference.” (Photos: Kat Herriman)
    diary March 31, 2016

    No Pain No Gain

    THE FACEBOOK PAGE advertised “light electro-shock therapy” and “metal ball treatments,” so I guess I had fair warning going into Signal’s “Transformative Pain Conference” on Saturday night. Tucked away in a former rug warehouse a block away from the Morgan L stop, the four-year-old Bushwick gallery has become a de facto clubhouse for a new generation of Brooklyn artists thanks to its natural resources and solo show–driven program. As a result, alternative activities like the “Transformative Pain Conference” are surprisingly or not so surprisingly prevalent.

    I hopped off the train at 8 PM ready