Lori Cole

  • picks March 11, 2016

    Silvia Gruner

    In the photographic diptych How to Look at Mexican Art, 1995, Silvia Gruner displays a punctured molcajete, or Mexican grinding mortar, atop bright-red plastic. Her hand grips the object from above in the first image and playfully penetrates it from below in the second. Not only does she juxtapose something typically associated with indigenous Mexican culture with a strictly contemporary material, but Gruner also inserts her body into her work to challenge assumptions about her artistic heritage. Similarly, in the adjacent film Centinela (Sentinel), 2007, the artist, her head shaved due to her

  • picks January 15, 2016

    Penelope Umbrico

    Fifteen archival prints of photographs of sunlight streaming into Grand Central Station, watermarked with their sources—sites such as Art.com, Easy Art, Picasso.com—greet visitors to Penelope Umbrico’s latest exhibition, playfully drawing attention to her process of appropriation while offering the prosaic material a more profound afterlife. Adjacent is a video of all the variations of the four source photographs of Grand Central that Umbrico found online, demonstrating slight differences in contrast and graininess. Interested in the way images circulate and are valued, Umbrico previously culled

  • picks January 25, 2015


    An exhibition whose works share only a lack of color, “Cromofobia” asks the viewer to look closely at each object’s texture, material, and scale. Many pieces reveal affinities through their placement, as in the case of Leandro Katz’s photograph Máquina de escribir, 1979–2011, a close-up of a typewriter whose letters have been replaced with cycles of the moon, which echoes Erica Bohm’s Chapter IV/NASA, Astronaut, 2011, from her Galàctica series, a digital photo installed across from Katz’s that features an astronaut, yellowed, disconnected, and floating in space. Suspended from the ceiling between

  • picks January 15, 2015

    “Speaking of People”

    In “Speaking of People,” artists cut, collage, and repurpose Ebony and Jet—two magazines launched in the mid–twentieth century for black audiences—to draw attention to representations of race in print. In her inventive sixty-piece grid, DeLuxe, 2004–2005, Ellen Gallagher has added googly eyes, Plasticine, and paint to models’ faces in magazine ads to distort and transform the figures, as well as the promises that they advertise. Lorna Simpson further points to the fantasy of mutability inherent in such images in Riunite & Ice, 2014, a series featuring a floating female head on which she has

  • picks April 28, 2014

    Eleanor Antin

    From 1972 through 1991, Eleanor Antin invented personas of different races, genders, and professions to destabilize any single identity. Her role-playing was then documented in photographs and videos, which are displayed here alongside various props, notably large-scale flattened paper dolls, the companions with whom Antin enacted her performances. The exhibition, guest-curated by Emily Liebert, begins with perhaps the most discomforting of these personas: Eleanora Antinova, an African American ballerina who Antin claims was once a dancer in Diaghilev’s celebrated Ballet Russes, and is now lost

  • picks August 08, 2013

    “(Re)presentaciones: Fotografía Latinoamericana Contemporánea”

    Installed in La Tabacalera, a crumbling former tobacco factory, as part of the PhotoEspaña festival, this exhibition considers the effects of political change on everyday life in Latin America via the traditions of landscape, portraiture, and documentary photography. Several of the fourteen artists on view confront fluctuating political and economic policies, as in Eduardo Giménez’s series “Espacios de control” (Control Spaces), 2011. Giménez critically displays the architecture of Mexico’s new economy through images of large cafeterias filled with empty rectangular tables where workers in new

  • picks June 28, 2013

    “Abstract Generation”

    The artists in “Abstract Generation” update Minimalism’s depersonalized geometry by emphasizing the hand of the artist and playfully engaging with the technology of printmaking. In Ryan Gander’s I’ve Got the Money If You’ve Got the Time, 2011, eighteen lithographs form a block of white pages framed by thick black lines. The black frames are prints of duct tape that the artist had laboriously mounted onto the walls of his studio, revealing the imperfections of the tape while invoking the logic of the grid. Wade Guyton also riffs on the vocabulary of Minimalism by producing an ink-jet print on a

  • picks March 25, 2013

    “PAINT THINGS: Beyond the Stretcher”

    At what point can a painting become sculpture? The deCordova Sculpture Park addresses this question in “PAINT THINGS,” an exhibition that features work by eighteen artists who blur the boundaries between media by incorporating painting into expansive installations, videos, and performances. Jessica Stockholder’s [JS 492], 2009, anchors the show by imposing clashing décor on the gallery’s walls and floors. Loosely parodying a room, she includes a rug, shower curtain, table, and lamp covered in orange plastic, fake fur, copper foil, and daubs of colorful, garish paint, suggesting that paint is

  • picks January 21, 2013

    Mickalene Thomas

    Comprising five glittering, large-scale paintings, Mickalene Thomas’s latest exhibition flaunts both the presence and the absence of her African-American female subjects in boldly patterned domestic interiors. Sandra: She’s a Beauty, 2009, centralizes its sitter, the artist’s mother, whom she posed and photographed amid clashing fabrics and cushions; Thomas then cut and reassembled the photograph into a collage that served as the basis for the painting. Swarovski rhinestones affixed to the canvas accentuate the jewels on Sandra’s arms but also the skin of her neck and the shape of her makeup,

  • picks January 11, 2013

    “Contemporary Cartographies: Drawing Thought”

    By subverting the conventions of mapmaking, the seventy-five artists in “Contemporary Cartographies” imagine new ways of organizing the world. The exhibition begins with maps of Spain made by the royal geographer Tómas López between the 1770s and 1790s, underscoring the map’s foundational purpose, to demarcate territory. Joaquín Torres-García at once reveals and upends the map’s political function in América invertida (America Reversed), 1943, a drawing that reorients Latin America upward to emphasize the importance of the south. Similarly, the Surrealist Map of the World, 1929, which was

  • picks December 28, 2012

    “America in View”

    By mapping the history of landscape as both subject and site for photographers, “America in View” also tracks the establishment of photography as art. The show begins with the work of government surveyors who used photography to control and commemorate history. In George Barnard’s Nashville from the Capitol, 1864–65, the building’s pillars and ornate lights cut into the sky and overlook a hazy cityscape. Exploiting the form’s commercial potential in the 1880s, Henry Hamilton Bennett produced stereographs of the bucolic Wisconsin dells as souvenirs, which you can peer at in the gallery. Pictorialists

  • picks August 24, 2012

    “Revolution Not Televised”

    Drawing its title from Gil Scott-Heron’s 1970 song-poem, the exhibition “revolution not televised” demonstrates how the phrase takes on new meaning in postrevolutionary Cuba. The word Revolución, for instance, is repeated over a thousand pages of a book until it becomes at once monumental and illegible in Reynier Leyva Novo’s Revolución una y mil veces (Revolution a thousand and one times), 2011. Angel Delgado demonstrates that the repression of political art merely begets new practices, as his abstract “Pañuelos” (Handkerchiefs) series, 1999–2000, was made using found materials during his

  • picks February 17, 2012

    Jesús Soto

    A focused show featuring forty-seven works from the two-decade period after the Venezuelan artist Jesús Soto moved to Paris, this exhibition tracks Soto’s experiments with abstract painting as a lively, embodied act of perception. Soto relied on ordered matrices of Schönberg's twelve-tone system as a point of departure for early work like Sans titre (Étude pour un série) (Untitled [Study for a Series]), 1952–53, a grid of colorful indentations on wood. Playing with the surface and depth of his paintings during this period led Soto to his singular innovation: augmenting his surfaces using Plexiglas

  • picks October 18, 2011

    Antonio Manuel

    As one of the few artists who remained in Brazil under the military regime of 1964–85, Antonio Manuel made work that provoked the artistic and political worlds alike. Viewers of this exhibition are confronted with controversy immediately on entering the gallery, wherein five black cloths are fastened to ropes that, when pulled, uncover red-paneled silk screens of police violence. Using graphics culled from newspapers, Repressão outra vez—eis a consequência (Repression Once Again—This Is the Consequence), 1968, tantalizes spectators with censored images while simultaneously inviting us to expose

  • picks September 19, 2011

    Lyle Ashton Harris

    Lyle Ashton Harris’s “Self/Portrait” presents a selection of twenty-two images from the “Chocolate Polaroids” series shot between 1998 and 2008, juxtaposing images of the artist with those who surround and inspire him—ranging from Al Sharpton to Tony Kushner to “Mystery,” a man the artist met at a gay club. Closely cropped and hung at eye level, the portraits command the viewer’s gaze. Although all are sepia-toned and positioned identically, the subjects reveal their singularity through a curved lip, furrowed brow, or their accessories; Shirin Neshat, for instance, appears in Untitled (Face #

  • picks February 08, 2011

    Erwin Blumenfeld

    A Dadaist collagist–turned-photographer, Erwin Blumenfeld began publishing his fashion shoots in magazines like Vogue and Cosmopolitan in the late 1930s. Working with print solarization and superimposition, and using mirrors and gauzy fabrics to divide photographic space, Blumenfeld transformed both the models and their clothes into collagelike elements. In Fashion Collage, ca. 1950—which depicts a woman laden with boxes, her head covered by a blank white spot, standing against a backdrop of New York City—he flaunts each fragment that makes up the work. In Nude in Stockings, New York, 1945, he

  • picks November 08, 2010

    “Alfred Stieglitz New York”

    The turn-of-the-century cameras included in this exhibition contextualize works such as Winter Fifth Avenue, 1893, which took Alfred Stieglitz hours in inclement weather to capture. Clearly Stieglitz also obsessed over the printing process for this image, as a photogravure, carbon print, and gelatin silver print are all on view, in which he tweaked the texture of the snow and the scale of the shadowy coachman within the image. Snow, steam, and smoke soften many of Stieglitz’s photographs, giving a scene like Icy Night, New York, 1897, an atmospheric sheen.

    Stieglitz’s technical prowess is reinforced

  • picks November 03, 2010

    Martin Soto Climent

    Using only found objects, Martin Soto Climent creates artistic interventions with feminine accessories, whose playful transformation he initiates and then suspends in tableaux that fill his first solo exhibition at Clifton Benevento. Inspired by the myths of the Babylonian goddess Ishtar and the Dance of the Seven Veils, the logic of the striptease governs the installation Luminous Flux (all works 2010). Seven arrangements of items on a long wooden table each allude to a different article of clothing removed, including a hat cradling an egg and a pair of high heels wrapped in pantyhose. The

  • picks October 07, 2010

    Guillermo Kuitca

    Guillermo Kuitca revisits his repertoire of abstract architectural motifs in recent paintings that inaugurate the new multifloor Sperone Westwater gallery space on the Bowery. Gray prisms cut across an opaque dark background punctuated by hints of color in the large-scale Untitled, 2009. In Philosophy for Princes IV, 2009, spindly silver thorns that resemble barbed wire huddle atop thin lines suggestive of a blueprint. These two elements— thick gray angles and a tangle of spiky, slate-colored lines—compete for space in Philosophy for Princes III, 2009, with neither element fully dominating the

  • picks May 26, 2010


    To commemorate the tenth anniversary of Creative Capital, board member Ronald Feldman and the organization’s director of artist programs, Sean Elwood, have put together an exhibition that addresses transformation, reenactment, and rebirth. Several politically inflected pieces restage historic moments, such as video documentation of Mark Tribe’s Port Huron Project: The Whole World Is Watching, 2010, wherein actors deliver protest speeches including Angela Davis’s 1969 “Liberation of Our People.” Tribe’s focus on Davis complements The Capture of Angela, 2008, Carrie Mae Weems’s photograph marking