Kriston Capps

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  diary May 29, 2010

  Washington Heights

  Washington, DC

  SOME TWO HUNDRED well-wishers, friends, colleagues, and descendants of art collector and philanthropist Olga Hirshhorn gathered last Friday night at the Hirshhorn Museum and Sculpture Garden for the benefactor’s ninetieth birthday party, a black-tie affair that began with opera tributes and modern dance and concluded with heavy-metal covers and Kanye West shutter-shade handouts. Over the interim, Hirshhorn’s friends and family—including tennis partners and Cove Inn regulars from Naples (Florida), fly-fishermen from Martha’s Vineyard, and diplomats from Washington, DC—enjoyed a private, twilight

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  picks March 23, 2010

  Mia Feuer

  Two trends in sculpture that emerged in the first decade of the twenty-first century––isotropy and radiality––figure prominently in Mia Feuer’s installation of a controlled explosion of foam girders that fills this gallery. Like the wooden beams and fluorescent tubes of Björn Dahlem’s sculptural installations, Feuer’s girders in Suspended Landscape, 2010, follow along mostly straight radial lines from an origin point that appears to shift based on the viewer’s vantage in the room. Yet from any perspective, the crystalline lattice of booms, jibs, and sheaves that the artist has based on industrial

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  picks February 18, 2010

  Jeremy Kost

  The JPEG has largely supplanted the analog photograph as the preferred medium for party documentation, conveyed through endless image streams dedicated to the fleeting and residual impressions of last night’s party. In his exhibition “Anyone Other than Me,” Jeremy Kost strives to reclaim lost ground for the photograph, capturing one thousand (and then some) celebrity and nightlife portraits using Polaroid instant film. In this effort, he is partly successful. The Polaroid deliberately signals to the viewer an effort at displacement: The vernacular, democratic camera stands at odds with the access