Kim Córdova

  • View of “Entanglements: Louise Bonnet and Adam Silverman at Hollyhock House,” 2023. Foreground: Adam Silverman, Entangled (Reading Room), 2022. Background: Louise Bonnet, Hollyhock Gold, 2022.
    picks April 04, 2023

    Louise Bonnet and Adam Silverman

    Louise Aline Barnsdall’s Hollyhock House was intended to be a temple to artistic invention. But the oil heiress and arts patron, who commissioned Frank Lloyd Wright to design it, found the architect so exasperating she fired him, forcing the project manager, Rudolph M. Schindler, to finish the troubled job, Schindler brought along Richard Neutra to help design the garden terrace. Barnsdall never completed the full plan for the project. She lived in the home only for a handful of years—her dissatisfaction made it less a temple to art or architecture than to forces at odds.

    “Entanglements: Louise

  • Tamuna Sirbiladze, untitled, 2005–2006, gouache and oil pastel on paper, 24 × 33 1⁄2".

    Tamuna Sirbiladze

    Presented in three vignettes, Tamuna Sirbiladze’s exhibition “Sculpting in Color” eschewed the vibrant palette, scale, and imagery most readily associated with the late artist’s work—typically energetic, abstracted female figures caught menstruating, vomiting, shitting, or in other moments of banal excretion. Curated by Nina Kintsurashvili, the show focused instead on a contemplative selection of smaller-scale, abstract compositions that Sirbiladze made between 2005 and 2014 on her annual summer visits to see her family in Georgia.

    Born in Tbilisi in 1971, Sirbiladze found success abroad with

  • View of “Slavs and Tatars, Giorgi Khaniashvili,” 2022.
    picks November 22, 2022

    Slavs and Tatars, Giorgi Khaniashvili

    Giorgi Khaniashvili’s greatest fear may be turning into a stray dog. In the eight-panel ceramic relief Transformation, 2017, the artist depicts his metamorphosis from man, to jackal-headed humanoid, to masterless canine whose feral instincts compel him to abandon domestic life. For Khaniashvili, the threat isn’t in being a dog per se. It’s a figuration of the paranoia around what happens when one’s existence ceases to hold meaning for others.

    Organized at Atinati by peripatetic project space Kunsthalle Tbilisi, this exhibition sets Khaniashvili’s figurative ruminations against Slavs and Tatars’