Lori Cole

  • Jesús Soto, Sans titre (Étude pour une série) (Untitled [Study for a Series]), 1952–53, paint and paper on wood, 40 1/4 x 40 1/4 x 2 3/8".
    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

  • View of “Antonio Manuel: I Want to Act, Not Represent!,” 2011.
    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

  • Lyle Ashton Harris, Untitled (Back #17 Mystery), 1998, unique Polaroid print, 20 x 24”.
    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 #

  • Erwin Blumenfeld, Fashion Collage, ca. 1950, gelatin silver print, 12 x 8 1/2".
    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

  • Alfred Stieglitz, Old and New New York, 1910, photogravure, 13 1/16 x 10 1/16”.
    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

  • View of “Following the Whisper of My Shadow,” 2010.
    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

  • Guillermo Kuitca, Le Sacre, 1992, acrylic on fifty-four mattresses, 47 1/4 x 23 5/8 x 7 7/8" each.
    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

  • Terry Fox, Resurrectine, 2007, glass bottle, 9 x 3 7/8”.
    picks May 26, 2010

    “Resurrectine”

    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

  • Vivienne Griffin, Untitled, 2009, water bottles, found table, car spray paint, metal rings, key rings, light fixture, dimensions variable. Installation view.
    picks May 22, 2010

    “Solid-State”

    For Bureau’s inaugural group show, proprietor Gabrielle Giattino carefully selected six works by five artists that interrogate the space between liquid and solid, as mediated by the banal object. Intent on repurposing the obsolete, Barb Choit solicits, wraps, and catalogues broken cups and ashtrays as if they were rare archaeological specimens, photographing the saran-wrapped shards atop black velvet. The tenderness and attention with which Choit treats her material contrasts with Daniel Lefcourt’s Untitled, 2005, a six-by-eight-foot painting of a textured black rock resting imposingly on raw

  • Hélio Oiticica, Cosmococa—Programa in progress, CC1 Trashiscapes, 1973, mixed media, dimensions variable. Installation view.
    picks March 09, 2010

    “Beyond Participation: Hélio Oiticica and Neville D’Almeida in New York”

    If Hélio Oiticica’s installations offer a utopian, playful retreat from the outside world, such an ambient space is even more inviting in the nook of an institutional facility such as Hunter College’s Leubsdorf Art Gallery. Curated by Jocelyn Meade Elliott, “Beyond Participation” showcases the artistic collaboration between filmmaker Neville D’Almeida and Oiticica in New York that spawned five installations, of which Cosmococa—Programa in progress, CC1 Trashiscapes, 1973, is on display, alongside D’Almeida’s 1967 film Jardim de Guerra (Garden of War) and reproductions of Oiticica’s notebooks.

  • View of “Avant-Guide to NYC: Discovering Absence,” 2009.
    picks November 28, 2009

    “Avant-Guide to NYC: Discovering Absence”

    The artists in “Avant-Guide to NYC: Discovering Absence” at once excavate art history embedded in city space and map themselves onto it. Xaviera Simmons locates all of Vito Acconci’s early street works, recording the sites that correspond to his movements during these actions and performances, thereby adding geographic specificity and her own gloss to the piece. In BOOM CRASH!, 2009, Pia Lindman also reinvents a predecessor by acting out words culled from comic strips that imply sound or movement, referencing Allan Kaprow’s Words, 1961. These remade cartographies allow artists to situate

  • Agnes Denes, Human Dust, 1969, black-and-white photograph, 8 x 10".
    picks November 23, 2009

    Agnes Denes

    Agnes Denes’s photographs are independently evocative, elegant compositions, yet they also serve to document a complex series of philosophical inquiries. The rigorous spiritual underpinnings of her projects are collected in the artist’s 2008 book, The Human Argument. In the project “Study of Dust (An Investigation Involving the Philosophy of Change),” Denes reads man through his bones, as a set of statistics, and from the viewpoint of the universe, all connected by the binding force of dust. Accordingly, her Human Dust photographs from 1969 portray stark, textured piles of calcified human remains