Keegan Brady

  • picks September 25, 2018

    “Under Construction: Photography, Video, and the (Re)presentation of Identity”

    It could be said that the human condition demands a perpetual attempt to define oneself. As luck would have it, societal expectations will mostly do the job for you. This group exhibition probes the ways our external selves are perceived. Consisting of photographs and single-channel video works from the 1970s to the present, the show proffers an insightful subversion of the norms and narratives that dominate our everyday existence.

    Cindy Sherman’s Untitled Film Still #32, 1979, classically posits her as both artist and subject. Here, she’s a solitary film-noir starlet surrounded by abyssal

  • picks July 19, 2018

    “Extra”

    There are no white walls in “Extra,” the Hole’s current group exhibition. The show’s nineteen works are hung on vast expanses of lavender with black polka dots—a lucid indication of what is already bursting at its thematic seams. “Extra” is an audacious, no-holds-barred celebration of womanhood in its many forms. A lusciously full depiction of femininity, the vibrant, tongue-in-cheek collection of paintings subversively renders signifiers of beauty—that is, whiteness, thinness, submissiveness—as entirely irrelevant. These women, in all their sexy, self-possessed, and full-figured gloriousness,

  • picks April 20, 2018

    Martin Roth

    A scraggly, drought-resistant shrub native to Nevada grows in the middle of a small gallery in Chinatown. This plant—the desert holly—is the unlikely centerpiece of Austrian artist Martin Roth’s installation here, In November 2017 I collected a plant from the garden of a mass shooter., 2018. Framed by the artist’s belief in the restorative power of nature, Roth takes an unusual approach to gun reform by offering an oblique portrait of Stephen Paddock, who shot and killed fifty-eight people in Las Vegas last October.

    A defining characteristic of Roth’s practice is what he calls a collaboration