Lloyd Wise

  • Vincent Fecteau, Untitled, 2014, resin clay, acrylic paint, 24 × 26 × 8".

    Vincent Fecteau

    “My continuing struggle is that I want to express this cheesy emotion that I know isn’t cheesy,” said Vincent Fecteau in 1995. “And I don’t know how to do it.” Such a mission is difficult, but if the solution is elusive, the struggle has been generative. Almost twenty years later, he’s still going at it. In the press release for this recent show, Fecteau states: “I feel like I’m always trying to figure out the same thing. . . . I can’t define what that thing is. It’s a feeling or a sound or a song. Maybe it’s a kind of mood.”

    At Matthew Marks, Fecteau’s attempts to home in on the nameless emotion

  • Charlotte Posenenske, Rasterbild (Grid), 1957, casein on paper, 17 1/4 x 12 1/4".

    Charlotte Posenenske

    It is somewhat difficult to believe, but until quite recently, Charlotte Posenenske was little more than a footnote, effectively forgotten by the art-historical literature until a modest installation of her reliefs and participatory sculptures at Documenta 12 in 2007 brought her memory roaring to life. Since then, the late German artist has been exhibited widely in Europe and the United States, celebrated as much for the way in which she married a sculptural practice to “the social” as for her work’s coolly industrial mien. But Posenenske’s sculpture is only part of the story. This small show

  • Carissa Rodriguez, It’s Symptomatic/What Would Edith Say?, 2013, permanent ink marker on ink-jet print mounted on Plexiglas, wood brace, 60 x 35 1/2". From “Looking Back: The 8th White Columns Annual.”

    “Looking Back: The 8th White Columns Annual”

    In the eight years since its inception, the White Columns Annual has emerged as one of the more anticipated events of the New York art calendar. The premise—a curator’s selection of artworks on view in the city in the year preceding the show’s opening—reliably yields a specific kind of exhibition, one that tends to be vaguely nostalgic and introspective, less a presentation of art objects than a display of semipersonal keepsakes or aide-mémoire. This year’s edition was organized by Pati Hertling, a lawyer and curator known for, among other endeavors, the now defunct but fondly remembered

  • Simon Evans, Notes, 2014, mixed media on paper, 88 1/4 x 64".

    Josephine Halvorson

    In this show—her second solo exhibition at the gallery—Josephine Halvorson presented ten formidable paintings portraying artful decay. All created freehand and most in plein air, the canvases depict flattish or relief-like surfaces found in the vicinity of her studio and home in rural western Massachusetts: a boarded-up window frame, a panel used as a mold to pour a cement foundation, a shallow fireplace, a woodshed door. As in Halvorson’s earlier work, the application of paint reveals keen powers of observation married to an impressive facility with her medium. A person could spend

  • Robert Bechtle, Bob’s Sebring, 2011, oil on linen, 41 3/8 x 59 3/8".

    Robert Bechtle

    By now, the once-provocative innovations of Photorealism are so embedded in contemporary art that they barely register at all. Take a photographic image, paint it faithfully from a projected slide: This method is ubiquitous, deployed in a wide range of ways to a variety of effects. So it is surprising to be reminded just how offensive this practice once was. Promulgated by OK Harris gallery in the late 1960s, Photorealism, for artists such as Richard Estes, Ralph Goings, or John Baeder, was a logical extension of Pop art. But, at that moment of high Minimalism and Conceptualism, its emphasis on

  • Larry Poons, Jessica’s Hartford, 1965, acrylic on canvas, 80 x 120".

    Larry Poons

    The strangest item in this small exhibition of early work by Larry Poons was a brief, grainy audio recording of a short-lived rock ’n’ roll group called the Druds. Formed by Andy Warhol in 1963, the Druds released no records and never once performed live, yet they are remembered today for a lineup that is almost comically auspicious: Walter De Maria on drums, La Monte Young on saxophone, Poons on guitar, and Jasper Johns, Patty Oldenburg, Lucas Samaras, and Warhol himself singing. A star-studded cast, indeed, but even illustriousness can fall flat. The track, “No More Apologies,” is a case study

  • Patricia Treib, Accoutrements, 2013, oil on canvas, 66 x 50".

    Patricia Treib

    The open, airy abstractions in Patricia Treib’s recent exhibition at Wallspace—her first at this gallery—are marked by patches of color and a delicate, decorative line. Executed with a wide brush, the strokes are playful and improvisatory, appearing at times as patterned squiggles, zigzags, or loops, and sometimes resolutely defining a shape. Yet the abstractness of the compositions is undermined by vague intimations of representation—the suggestion of a head, or of a domestic interior. The peculiar indeterminacy of these images results from the fact that the works derive explicitly

  • Paul Feeley, Vespasian, 1960, oil-based enamel on canvas, 95 x 67".

    Paul Feeley

    Big, bold, and vibrant, Paul Feeley’s paintings are hard to miss. Rarely shown in the decades following his death in 1967, the artist’s sculptures and abstract canvases were given a major exhibition at Matthew Marks Gallery in 2002. Now we have this smaller show, featuring nine large paintings made between 1957 and 1962.

    Feeley’s style is distinctive. His forms hover on the cusp between biomorphic and severely geometric, consisting of a vocabulary of oblongs and rounded corners, simple shapes and curves informed by Moorish tile design and classical art. In the 1940s, Feeley broke with Abstract

  • View of “Erika Vogt,” 2013.

    Erika Vogt

    At the New Museum this past summer, Erika Vogt presented Stranger Debris Roll Roll Roll, 2013, a project at once austere and enigmatic. Related to her 2012 installations The Engraved Plane and Grounds and Airs, shown last year at Simone Subal Gallery in New York and at the Hammer Museum in Los Angeles, respectively, the work was framed in the exhibition wall text as an extension of the artist’s interest in the subject of exchange. Yet in actuality, this theme felt sidelined here, subsumed within a more wide-ranging, albeit oblique, poetic reflection on the transformative nature of the studio.

  • Mac Adams, The Whisper (Diptych), 1976–77, diptych, gelatin silver prints, each 36 5/8 x 40 1/8".

    Mac Adams

    To begin his essay published for Mac Adams’s exhibition this past summer, critic David Campany catalogues the many allusions to be found in the photographer’s work: “detective stories and news reportage, crime scenes and film noir, the Nouveau Roman and the photo-roman, movie publicity and film frames, snapshots and high art, advertising and the still life, voyeurism and exhibitionism, glamour and horror, sculpture and painting, literature and architecture.” That sounds about right. The eleven pieces that were in this show—all part of the “Mysteries” series, 1973–80—evince a deep,

  • Larry Bamburg, BurlsHoovesandShells on an Acrylic Rake, 2013, wood burls, animal hooves, turtle shells, mollusk shells, acrylic, 105 x 42 x 40 1/2".

    Larry Bamburg

    At the edges of Larry Bamburg’s recent show of works made this year were two sculptures composed of the rounded deformations that sometimes appear on tree trunks—burls. Having sawed the burls from their tree host, Bamburg has stacked them, one by one, to form slender and precarious columns that reached nearly to the gallery’s ceiling, and then augmented these constructions with mollusk and turtle shells and animal hooves. The results are earthy edifices that recall the work of idle campers, or cairns marking a hiking path. Yet the slapdash nature of the works belies the challenges inherent

  • Steffani Jemison, Maniac Chase, 2008–2009, digital video, color, sound, continuous loop. From “Fore,” 2012–13.

    “Fore”

    Intermittently over the past twelve years, the Studio Museum in Harlem has given over its galleries to large group exhibitions that survey the practices of young black artists in the United States. The first, “Freestyle” (2001), is remembered today for its coinage of the then-provocative term post-black, a descriptor proposed by the show’s curator, Thelma Golden, to encompass the heterogeneous sensibilities of African American artists of the post-civil-rights generation. That show was followed in 2005–2006 by “Frequency,” and then by “Flow,” in 2008. The latest installment, “Fore,” organized by