Mara Hoberman

  • Michael DeLucia, Atom, 2012, plywood, safety enamel, 96 x 96 x 3/4".
    picks December 03, 2012

    Michael DeLucia

    Michael DeLucia’s latest wall-mounted and freestanding sculptures, collectively titled “Projections,” combine DIY aesthetics (planks of plywood fastened with visible screws) with a high-tech—and, to a certain extent, hands-off—process. Employing a computer-controlled wood router, DeLucia engraves intricate patterns of gouges, which, when painted, create illusions of depth and dimension on the plywood’s raw surface. The results suggest CAD outputs made from construction-site scraps. A hybrid of minimalist sculpture and new media, DeLucia’s work does not fit neatly in either genre.

    Though his

  • Elsa Sahal, Fontaine, 2012, 
sandstone,
 118 x 47 x 31”. (Photo: Maurice Loy)
    slant December 02, 2012

    Mara Hoberman

    AMID GENERAL TIGHTENING of purse strings in Europe, 2012 was a big year for Paris museums. The Palais de Tokyo unveiled a $26 million renovation that tripled its size in April, the Louvre opened a new Islamic wing (its largest expansion since I. M. Pei’s glass pyramids) in September, and “Hopper fever” made the Grand Palais’s retrospective (the American painter’s first in France) a true blockbuster this fall. However, the Musée de l’Art Moderne still has on view the best show of the year. Honoring MAM’s seventieth anniversary, “L’Art en guerre” (Art at War) delivers on its ambitious objective

  • Eija-Liisa Ahtila, Horizontal, 2011, 6-channel digital projection with 5.1-channel audio, six minutes, 10 x 34 1/2'.
    picks November 07, 2012

    Eija-Liisa Ahtila

    A portrait of a tree is a fairly straightforward concept. Realizing this image photographically, Finnish video artist Eija-Liisa Ahtila discovered, is easier said than done. While filming The Annunciation, 2010—wherein an all-female cast rehearses and enacts that biblical scene—Ahtila wanted to include a shot of a single tall tree. This vision, however, proved problematic. At close range her camera would capture only a section of the tree, from afar she would wind up with a landscape, and a wide-angle lens would cause distortion. Her solution, Horizontal, 2011—a lateral presentation of six

  • Loris Gréaud, The Snorks: A Concert for Creatures, 2012, 35 mm, color, 28 minutes.
    interviews October 27, 2012

    Loris Gréaud

    The Snorks: A Concert for Creatures is a new twenty-eight-minute film by French artist Loris Gréaud, starring David Lynch and Charlotte Rampling. The film is currently playing on several screens in Paris and will be shown as part of an international concert tour with Anti-Pop Consortium (who created the film’s subaquatic sound track) this fall and winter. Here Gréaud discusses how he came to make a movie about deep sea creatures’ glowing reaction to an underwater hip-hop concert.

    MAKING A HIP-HOP CONCERT FOR SEA CREATURES was an incredible challenge—not least of all I had to explain to my parents

  • Charlotte Moth, Study for a 16mm film, 2011, 16 mm, color, 11 minutes 28 seconds.
    picks October 14, 2012

    Charlotte Moth

    Charlotte Moth’s photographs and films emphasize the complex relationship between these media and their subject matters. For Moth—who often shoots her own sculptures, assemblages, and staged events and habitually conducts extensive research before setting her camera in a particular location—content and methodology are as much the medium as a digital or analog capture.

    The titles of the two films on view underscore Moth’s elastic understanding of what constitutes a “final” artwork. The subject of In Unexpected Places, in Unexpected Lights and Colours (a Sculpture Made to be Filmed) (all works

  • Michael Wilkinson, Crackdown Triptych, 2012, mixed media, 12' 6“ x 13' 2” x 3".
    picks September 27, 2012

    Pas Encore

    The writing’s on the wall (and hanging from the ceiling, and encased in brick): A conceptual and material exploration of language, the group exhibition “Pas Encore” (Not Yet) addresses the muscle and frailty of the written word.

    Text appears vulnerable and choked in two works by Jorge Méndez Blake. The ragged right edge of his wall painting—whose shape is based on a page of text from T. S. Eliot’s “The Waste Land”—alludes to verse, but the words themselves are concealed. Resembling a horizontal bar graph, the lines of text are rendered as solid blocks. In Monument à T. S. Eliot, 2012, a paperback

  • Sophie Ristelhueber, Sans Titre, 2011, color photograph, pigment print, 39 x 59".
    picks September 17, 2012

    Sophie Ristelhueber

    Sophie Ristelhueber imbues her photographs—typically unpeopled war-torn landscapes and cityscapes—with a sense of humanity that belies her troubling subject matter. Whether dramatic aerial views of Kuwait in the aftermath of the Gulf War (“Fait,” 1992) or close-ups of improvised road blockades in the West Bank (“WB” 2004–2005), Ristelhueber’s images focus on physical evidence in order to emphasize the social ramifications of conflict and disorder.

    In the two series that make up the current exhibition—“Beirut,” 1982–2012, and “Sans titre,” 2011—Ristelhueber uses contrasting methods to

  • Amy Sillman, Untitled (01′21, right), 2012, ink-jet print on rice paper, 44 1/8 x 61".
    picks June 25, 2012

    Amy Sillman

    The centerpiece of Amy Sillman’s first solo exhibition in France is a six-minute digital animation comprising 2,000 drawings, which Sillman made on an iPad, accompanied by a voice-over of the artist reading a 2009 poem by Lisa Robertson. Draft of a voice-over for split screen video loop (all works 2012) reprises Sillman’s signature mix of abstract and representational imagery as well as her luscious candy-colored palette—proving that her skill and style as a painter are well adapted to the new technology of digital finger painting. Marrying two of her preferred subjects—language and sexuality—Sillman’s

  • View of “Buried Works,” 2012.
    picks June 04, 2012

    Davide Balula

    By piling several tons of dirt onto the gallery floor and covering the mound with a custom-built deck—upon which visitors are invited to climb and walk—Davide Balula has created a large-scale vivarium in Le Marais—a district whose name translates as “the marsh,” which is exactly what this now chic and gallery-laden Parisian neighborhood was, prior to the twelfth century. Grasses and other weeds have already sprung up through the slatted wood flooring and around its edges, hinting at the fecundity of this historically reminiscent ecosystem. Yet there is more than plant matter germinating here.

  • R. Crumb, The Playful Attitude of the Model, 2002, ink on paper, 14 x 10 1/2".
    picks May 29, 2012

    R. Crumb

    As the father of comix, R. Crumb is a near-mythical figure in American counterculture. The illustrated escapades of Mr. Natural, Fritz the Cat, Big Baby, and other memorable characters are droll sociopolitical commentaries that flout American puritanism. From underground comics championing the hippie movement (free love! LSD! women’s lib!), to a solicited yet never published New Yorker cover featuring a hand-holding lesbian couple in front of a squirming marriage license clerk (Marriage License, 2009), Crumb’s style and cultural references are distinctly American. It is not surprising, however,

  • Charles Long, Pet Sounds (detail), 2012, mixed media, dimensions variable.
    interviews May 11, 2012

    Charles Long

    For Pet Sounds at Madison Square Park, California-based artist Charles Long has installed an interactive installation consisting of colored pipe railings. The project was organized by Madison Square Park Conservancy and will be on view until September 9, 2012.

    I WANTED TO CREATE SOMETHING THAT PEOPLE WOULD LOVE. An artist can use the invitation to make public work as an opportunity to critique mass consumerism, but that kind of critical relationship does not appeal to me. What led me to the idea for Pet Sounds was in fact my connection to pop culture. The title of my project is also the title of

  • Josephine Meckseper, Manhattan Oil Project, 2012, steel, plastic, hardware, paint, 25 x 23 x 6'.
    interviews March 06, 2012

    Josephine Meckseper

    For the Manhattan Oil Project, the German-born, New York–based artist Josephine Meckseper has installed two twenty-five-foot-tall sculptures inspired by mid-twentieth-century oil pump jacks in The Last Lot, a project space in Times Square organized by Art Production Fund. The project is on view from March 5­ to May 6, 2012.

    THIS IS technically my first large-scale public sculpture. In the 1990s I produced a conceptual magazine, FAT, which was kind of like public art because it was distributed at local newsstands. Similar to the magazine, the oil pumps are art disguised as something real. Both