Lumi Tan

  • Diane Simpson, Formal Wear, 1998, spunbond polyester, poplar, cotton webbing, 47 x 50 x 7".
    picks November 13, 2013

    Diane Simpson

    Though Diane Simpson’s work has been frequently exhibited in her hometown of Chicago, her last solo exhibition in New York was more than thirty years ago. Her debut at this gallery—which presents an acute selection of sculptures made between 1992 and 2013—brings an urgency for a broader recognition of her oeuvre. Simpson begins with a specific clothing garment, like an Amish bonnet or Japanese armor, creating an isometric drawing to plot out the composition for the final structure. While this may sound like standard procedure for fabricating sculpture, she complicates our predictable

  • Will Rogan, Laced, 2013, wood, paint, book pages, 6 x 5 3/4 x 3 1/2".
    picks September 23, 2013

    Will Rogan

    Will Rogan’s latest work does not stray far from the explorations of time’s passage that he has successfully displayed in previous exhibitions at Laurel Gitlen. Yet, the gallery’s new expanded space allows the artist to spread out and thus extends the viewing time, directing our pace to align with the meditative subjects of his work. Nowhere is this more evident than in a series of black-and-white photographs documenting a mural in Berkeley, California, that Rogan regularly bikes past. The mural depicts a familiar timeline: the human-driven progression from a barren landscape in The Beginning

  • Lorraine O’Grady, Landscape (Western Hemisphere), 2011, still from a color video, 19 minutes.
    picks May 09, 2012

    Lorraine O’Grady

    The centerpiece of Lorraine O’Grady’s exhibition “New Worlds” is Landscape (Western Hemisphere), 2011, a video that leads the viewer to initially believe its nineteen minutes of black-and-white footage depict something akin to a thicket upswept by the wind. An ambient sound track features birdcalls and cicada songs, but it hints at a more developed land through the distant rumble of train tracks. In actuality, what we see is O’Grady’s own hair in extreme close-up, shaking and swaying between two fans. The intentionally misleading title is an extension of O’Grady’s long-standing examination of

  • Corin Hewitt, Medium/Deep, 2011, apron, concrete, cosmetics, I-beam, 80 x 40 x 36".
    picks December 07, 2011

    Corin Hewitt

    On entering Corin Hewitt’s first solo show at Laurel Gitlen, the viewer is confronted by five cast dirt screens. It soon becomes clear that these works are part of a double act; each of the chromatic and texturally uniform screens is a deadpan stooge, shielding a highly detailed, playfully self-reflexive sculpture. These are actors in various states of preparedness, set against plain plywood backsides constituting the wings of an abstracted theater. In the most obvious example, a steel I-beam is covered in patches of makeup, with half-empty bottles of foundation and powder strewn about its

  • View of “Van Hanos,” 2011. From left: Painting for Daniel, 2011; Golden Mean for Eileen, 2011; Flowers for Talia, 2011.
    picks May 25, 2011

    Van Hanos

    There is an easiness to Van Hanos’s latest exhibition, which comprises eleven twenty-by-twenty-four inch paintings; the pacing of the show, dimensions of the work, and domestic scale of the gallery relay a deliberately slow rhythm. Each canvas presents a detailed view derived from older, larger paintings by Hanos, and each one is intended as a gift for a person who has played a significant role in his life. The works vary from intimate portraits to abstract compositions, and the stark formal differences between the works contribute to the feeling that this is a miniature retrospective of Hanos’s

  • Sascha Braunig, Eyes Peeled, 2010, oil on linen, 16 x 14”.
    picks April 08, 2011

    Sascha Braunig

    The nine portraits that make up Sascha Braunig’s first solo exhibition are small but electric. Each painting holds its subject captive in unyielding patterns of intense colors, often with unsettling modifications of presumably human, and possibly female, faces. The generic features and bare shoulders suggest that these figures are merely masks, or grounds for scientific experiments: Eyes are more objects than organs, and mouths are shut tight, expressionless. This is most disturbing in Eyes Peeled, 2010, in which bulbous, exaggerated eyes stare straight out at the viewer. The figure’s pink shock

  • Left: David Horvitz, Border Field State Park, California (Mexico-California Border), 2010, color photograph, 4 x 6.“ Right: David Horvitz, Pelican State Beach, California (California-Oregon Border), 2011, color photograph, 4 x 6.” From the series “Public Access,” 2010–11.
    interviews March 17, 2011

    David Horvitz

    David Horvitz has made books, photographs, posters, and websites, which have been exhibited and shared internationally. His collaboration with poet Zach Houston and writer Ed Steck for the exhibition “As Yet Untitled: Artists & Writers in Collaboration” at SF Camerawork is on view until April 23, and will be published as a forthcoming book by Publication Studio. A volume of Horvitz’s 2009 Tumblr site was recently produced by Mark Batty Publisher as Everything That Can Happen in a Day.

    I’VE TRAVELED SINCE I GRADUATED FROM HIGH SCHOOL, and somehow that’s contributed to my suspicion that it’s actually

  • Left: Dealers Cory Nomura and Andrea Rosen. Right: Swiss Institute director Gianni Jetzer and Vogue's Stella Greenspan. (All photos: Esther Michel)
    diary November 29, 2010

    Talking Trash

    TRYING TO SQUEEZE into an elevator next to a bone-thin, mangy white dog right out of the landscape of Julien Donkey Boy seemed utterly apropos in anticipation of “Shadow Fux,” the first collaborative exhibition by New York downtown staples Rita Ackermann and Harmony Korine. The combination of Ackermann’s gritty, multilayered painting and filmmaker Korine’s ever-expanding cast of off-the-grid characters made a perfect pairing at last Tuesday’s opening.

    Though the two have been casually collaborating since meeting seventeen years ago in (then still artist-friendly) SoHo, they had been looking for

  • Left: ArtParis's Jérôme Lefèvre. (Except where noted, all photos: Lumi Tan) Right: Choreographer Jonah Bokaer. (Photo: Guillaume Ziccarelli)
    diary March 26, 2010

    Guest Host

    Paris

    AFTER AN UNUSUALLY LONG, cold winter, spring finally made its way to Paris last week, attended by a much needed injection of energy and an optimism that is rare among the city’s typically unimpressed inhabitants. On Wednesday afternoon, a sizable crowd gathered at the Grand Palais for the opening of ArtParis+Guests. In its previous incarnations, ArtParis was a relatively sleepy affair, overshadowed by its bigger and more glamorous rival, FIAC, which is held in the same space each October. This year, the spring event received a major makeover (no doubt prompted by the involvement of former Art

  • Manon de Boer, Dissonant, 2010, still from a color film in 16 mm, 10 minutes 23 seconds.
    picks March 14, 2010

    Manon de Boer

    Following Manon de Boer’s examination of silence and memory in 2008’s Two Times 4'33“—a performance of John Cage’s 4'33” presented with and without recorded sound—the 16-mm film Dissonant, 2010, the centerpiece of this exhibition, is a similar investigation of music and memory. Depending on when one enters the screening room, one will see either dancer Cynthia Leomij improvising alone in the studio only to the sound of her heavy breathing, a black screen as de Boer changes the film in her camera every three minutes, or Leomij listening to an excerpt of Eugène Ysaÿe’s Sonatas for Solo Violin,

  • Marijn van Kreij, Hey Hey, My My (Into the Black)—Take 16, 2008–, still from a color video, 6 minutes 30 seconds.
    picks September 15, 2009

    Marijn van Kreij

    Marijn van Kreij’s solo debut in London is crowded with phrases, lyrics, and images, which are multiplied in each work to demonstrate a persistence of repetition. The exhibition’s title, “The Passenger,” is borrowed from Iggy Pop’s eminently catchy 1977 song, here represented by a silent karaoke video clip wherein only its chorus (LA LA LA) is displayed in a hypnotic twelve-second loop. For Untitled (Messages), 2009, the artist provides a photocopier so that viewers can create their own unlimited edition of a sheet of colored paper that features linguistically related remarks––one taken from

  • View of “The Actuality of the Idea,” 2009. Foreground: Leonor Antunes, MMM, 2009; Background: Carl Andre, Graphite Cube Sum of Eight, 2006.
    picks April 30, 2009

    “The Actuality of the Idea”

    A traceable evolution of tempered restraint is apparent in this multigenerational group exhibition: The oldest works are drawings that share a sense of moderation with several recent sculptures, despite the distinct physicality of the latter. The title recalls a quote by Fred Sandback, leaving much room to reflect on these indefinite terms, as well as on the intentions of his work and other artists in the show, such as Carl Andre and Agnes Martin. New works from younger artists also offer a formal elegance and subtlety in their exploration of form, materiality, and the shape of space. Stark