Mara Hoberman

  • 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

  • Sarah Sze, Checks and Balances (detail), 2011, stone, string, and ink on archival paper, 75 x 18 x 2".
    picks February 02, 2012

    Sarah Sze

    Occupying adjacent galleries on the Asia Society’s second floor, eight new installations by Sarah Sze, all from 2011, meet with a selection of her works on paper from the past fifteen years. The juxtaposition of Sze’s installations with her prints, drawings, paper cuttings, and collages flaunts the artist’s fluidity working in both two and three dimensions and highlights the consistency of her peculiar aesthetic despite significant shifts in scale and means of production. In the installations and on paper, Sze’s spiraling vertical landscapes swarm with imagery (representational and invented)

  • David Brooks, Desert Rooftops (detail), 2011, mixed media, dimensions variable.
    picks January 09, 2012

    David Brooks

    There’s a housing crisis in New York City. On a touristy theater district block behind a chain-link fence, an assembly of asphalt-shingled rooftops pokes up from the ground. No windows, doors, or signs of inhabitants are visible at street level, but the distinctive peaks summon up the negative associations of suburban sprawl. At first glance, the odd perspective—confronting roofs head-on instead of from below—is pleasantly disorienting, offering Midtown pedestrians a Jack and the Beanstalk moment.

    David Brooks’s Desert Rooftops, 2011, is the first installation to grace the Last Lot, an otherwise

  • View of “Signed, Sealed, Delivered,” 2011.
    picks December 18, 2011

    “Signed, Sealed, Delivered”

    This lively show features nine artists whose work references or engages directly with various systems of correspondence, such as telegram, FedEx, and e-mail. The pieces range from illustrated and collaged envelopes to handmade postcards to an abstract interpretation of a Twitter feed. The selection, which spans the past six decades, reveals the impact of technology on written communication and also demonstrates the influence of mail art, the genre Ray Johnson is credited with fathering in the 1960s, on artists who wrestle with issues of temporality, intentionality, and authorship.

    The earliest