Kriston Capps

  • Left: Arts patron Olga Hirshhorn. Right: Hirshhorn Museum director Richard Koshalek. (All photos: Eric Uhlir)
    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

  • Mia Feuer, Suspended Landscape, 2010, foam, zip ties, aircraft cable, dimensions variable. Installation view.
    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

  • Jeremy Kost, Life Ball 2009 (the Party Don't Stop) May 18, 2009: 9:30pm to 4am (Vienna, Austria), 2009, 130 Polaroids, 47 x 61".
    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