Lillian Davies

  • Installation view at Galerie Yvon Lambert, 2006.
    picks November 14, 2006

    Anselm Kiefer

    Anselm Kiefer’s monumental canvases and sculptures, a constant tribute to material and accumulation, are, in this manifestation, an homage to the Jewish poet Paul Celan. While the sheer number of works included in this exhibition require not one, but two Marais galleries, this split allegorizes Celan’s constant displacement as he was forced to move around Europe in times of tyranny, war, and revolution. Kiefer has situated his dedication to the poet in the landscape surrounding Salzburg; despite the persecution of the Jewish people by the German state during Celan’s lifetime, the poet remained

  • Coué, 2006.
    picks November 10, 2006

    Alain Sechas

    In his first exhibition at this gallery, Alain Sechas pays tribute to the legends of twentieth-century art history with a series of paintings and sculptures that mischievously quote a parade of iconic modern masterpieces. In Barnett, 2006, Sechas casts one of his noodly cat people (who inhabit many of the works here) in a cartoonish scene, depicting the sprightly creature peeling a piece of tape from between two fields of color in a playful allusion to Barnett Newman’s revered paintings. For Alberto (petite famille) (Alberto [little family]), 2006, Sechas has painted, in his quick, comic-strip

  • Installation view, 2006.
    picks November 09, 2006

    Delia Gonzalez and Gavin Russom

    Delia Gonzalez and Gavin Russom’s black Formica structures, situated within a cohesive environment of light and sound, completely transform this gallery. For the installation, organized by Heidi Fichtner, the walls and ceiling have been painted black, allowing the tangible darkness of the work to fill the space. The title of the installation—For I Was like One Dead, like a Small Ghost, a Little Cold Air Wandering and Lost—is taken from that of an Edith Sitwell poem, but the work itself was conceived as a potential set for Luigi de Rossi’s 1647 Baroque opera based on the myth of Orpheus. Gonzalez

  • The Romantic, 2006.
    picks October 25, 2006

    Mathew Weir

    Mathew Weir’s small, secretive paintings have a mysterious and almost numinous presence. As if creating votive images, he takes solitary subjects, among them a robed figure carrying a cross, Abraham Lincoln, and an exhausted farmhand, and locks them into a rich field of colors. Around many of the figures, he crafts intricate wreaths that channel both the rich border designs found in illuminated manuscripts and fading chintz. For The Voyeur, 2006, he cradles a swaddled infant on a shaped canvas—a narrow rectangle topped by a convex arch. Suggestive of both an open doorway and a tombstone,

  • On Translation: Stand By, 2005.
    picks October 20, 2006


    With the text WARNING: PERCEPTION REQUIRES INVOLVEMENT emblazoned across the gallery’s glass facade, Antoni Muntadas declares the premise behind his ongoing project, “On Translation.” Inside, those increasingly ubiquitous retractable-fabric barriers dictate a crisscrossing path through the space; the path guides visitors on a slow and prescriptive tour past five color photographs glowing in large light boxes, each titled On Translation: Stand By, 2005. The images capture people forming lines at the Doge’s Palace in Venice, an international airport, a cinema in France, outside an administrative

  • Nu (lissant), 1942–43.
    picks October 20, 2006

    Francis Picabia

    Christening the gallery’s new exhibition space, Francis Picabia’s glossy nudes flash painted lips, penciled brows, and soft flesh in a string of practiced poses. Appropriating images from magazines, postcards, and illustrated romance novels rather than engaging with life models, Picabia gives his women a vulgar air of repeated exposure. On pieces of cardboard and wood, the painter copies the distinct postures and props that mark each figure with an erotic identity and narrative. He re-creates the dramatic lighting used to maximize the impact of shadows beneath collarbones, reflections off of

  • Still from The End, 2006.
    picks September 26, 2006

    Mark Wallinger

    Distilling epic stories into their nominal signifiers, Mark Wallinger proposes a beginning and an end for complex religious and political histories. The alpha, A ist für Alles, 2005, draws on the work of Edward Said, specifically his collaboration with Daniel Barenboim in the organization of the West-Eastern Divan Orchestra, which brings together musicians from Arab and Jewish communities in the Middle East. The pregnant sound of the orchestra uniformly tuning to the A note bathes the physical element of Wallinger’s installation—a black Mies van der Rohe day bed positioned in the center of

  • A Bigger Puddle near Kilham, November 2005.
    picks September 26, 2006

    David Hockney

    Coming home to the English countryside, David Hockney has recently painted his native Yorkshire with the rigor and fascination he first bestowed upon the shimmering swimming pools of LA. In almost all of the twenty-five canvases on view here, Hockney includes a dirt road, muddy, shaded, or overgrown. The windy trails, including Rudston to Sledmere, August 2005 and Path Through Wheat Field, July 2005, stand in for the artist’s journey, the evolution of his identity and work. Meanwhile, Hockney’s lush fields, village rooftops, trees, and a distant church steeple appear heavy and permanent, suggesting

  • Some Translations: Andrea, 1999–2006.
    picks September 18, 2006

    Harrell Fletcher

    Asking his students, friends, and fellow artists to share their skills and imagination, Harrell Fletcher generously incorporates interpretations of a list of project ideas into this collaborative exhibition. For Some Translations: Andrea, 1999–2006, Fletcher uses a display unit by Andrea Blum to realize his plan to present an artist’s source material on an existing sculpture. Fletcher turns Blum’s lean structure into a sort of frame for itself, covering the sturdy metal shelves and screens with the books, films, and newspaper clippings that filled Blum’s studio (and mind) at the time she conceived

  • Storm in a Teacup, 2006.
    picks September 15, 2006

    Julie Verhoeven

    A veritable decadence, Julie Verhoeven’s installation saturates this intimate and precious space with fantastical designs and textures. Referencing the historical milieu of central London’s Soho neighborhood yet offering a trendy contemporary appeal, Verhoeven has set up a series of dressing screens decorated with Victorian decoupage, soft fabric, and dozens of her iconic fashion sketches. These folding structures divide the space into a series of small chambers, granting visitors privacy in which to savor the dreamy atmosphere. The installation comes alive with Graham Coxon’s pulsing sound

  • Installation view, 2006.
    picks August 21, 2006

    Mike Kelley

    Mike Kelley's multimedia installation, nestled amid the remnants of the Louvre's medieval foundations, resurrects two prominent American paintings that the artist discovered during his youthful forays into the Detroit Institute of Art. Immersing audiences in atmospheric sound and luminous film projections, Kelley revisits the formal compositions of John Singleton Copley's Watson and the Shark, 1777, and Thomas Wilmer Dewing's The Recitation, 1891. Animating these historic works, Kelley's films zoom in on the paintings’ details, exaggerating Copley's vicious shark jaws and Dewing's haughtily

  • Cover of Documents (issue 1, 1929).
    picks July 27, 2006

    “Undercover Surrealism”

    Guided by Georges Bataille’s avant-garde journal Documents, Dawn Ades has orchestrated an exhibition that hews close to the publication’s diverse range of playful, often subversive content. Published in Paris from 1929 to 1930, Documents juxtaposed reviews of contemporary art, music, and film with academic studies of numismatics and linguistics. Ades has picked up on the political resonance of the journal (expressed by the dissenting voices of Bataille, Robert Desnos, and Joan Miró, among others). For example, André Masson’s painting The Abattoir, 1930—reproduced in the journal and included