Mara Hoberman

  • Mel O’Callaghan, En Masse (blue and black iridescent pull), 2017, acrylic on glass, 63 × 47 1/4". From the series “En Masse,” 2017–.

    Mel O’Callaghan

    For the better part of the past decade, Mel O’Callaghan has produced large-scale performances and installations for venues including the Palais de Tokyo in Paris (2016 and 2017) and the Sydney Biennale (2014), all the while quietly making paintings in the privacy of her studio. The artist’s recent exhibition at Galerie Allen (which she cofounded in 2013 with curator Joseph Allen Shea) marked the first public glimpse of this heretofore unseen body of work. While representing a significant material departure for the Paris-based Australian—whose better-known work typically combines elements

  • Ricardo Brey, Mono-no-aware, 2016, ink-jet print, aged silver metallic paper, mirror, metal objects, and coins on canvas board, 20 5/8 × 28 1/2".

    Ricardo Brey

    Ricardo Brey’s recent exhibition, “All that is could be otherwise,” comprised mainly recent collages on drawings and photographs, but its physical and conceptual centerpiece was a sculptural work that dates to the dawn of the millennium. For those unfamiliar with the Cuban-born artist who rose to prominence in the 1980s as a founding member of the avant-garde Volumen I collective, Birdland, 2001—a large nest made of old coats cradling several ostrich eggs and a swanlike saxophone—introduced two of Brey’s hallmarks: a strong association between nature and music (specifically Afro-Cuban

  • Inji Efflatoun, Untitled, 1942, oil on canvas, 23 5/8 × 31 5/8".

    “Art and Liberty: Rupture, War and Surrealism in Egypt (1938–1948)”

    THE PROLIFIC EGYPTIAN SURREALIST COLLECTIVE Art and Liberty has been directly inserted into the center of its European counterpart this winter. In Paris, the Pompidou’s “Art and Liberty: Rupture, War and Surrealism in Egypt (1938–1948)” demonstrates the vibrant contemporary interest in Egyptian modernism, paralleling a similarly themed exhibition this past fall at the Palace of Arts in Cairo. Framed in the city of Breton et al., the work drove home the relationship between anticolonialism and antifascism, East and West. (Indeed, the group’s manifesto, with which the show opens, makes a pointed

  • Shana Moulton, Life as an INFJ, 2015–16, HD video, mixed media, dimensions variable.

    Shana Moulton

    The latest chapter in Shana Moulton’s ongoing video and performance saga “Whispering Pines,” 2002–, is Act One from Whispering Pines 10, 2016, a nine-minute video based on an opera she developed and performed with composer/vocalist Nick Hallett. In the live version, which premiered at the Kitchen in New York in 2010, Moulton’s alter ego Cynthia, a hypochondriac introvert with a wild imagination, mimes and dances in front of projections of mountains, forests, and her wacky home, which is decorated with a Himalayan rock-salt lamp, a yoga mat, a crystal pyramid, and other assorted New Age tchotchkes,

  • Jay DeFeo, Untitled (Tripod series), 1975, acrylic, graphite, grease pencil, collaged paper on vellum and paper, 23 1/4 × 19 5/8".

    Jay DeFeo

    In 1951, just after graduating from the University of California, Berkeley, and before settling into San Francisco’s vibrant Beat community—where her cohorts included Allen Ginsberg, Wallace Berman, and Bruce Conner—Jay DeFeo traveled to Europe and North Africa on a fellowship. Bringing attention to rarely seen works from this prolific period, DeFeo’s first solo show in Paris featured two drawings made in this city in 1951, presented in the company of twenty-two paintings, collages, drawings, and photographs made between 1972 and 1987 (all lent by the Jay DeFeo Foundation). The budding

  • View of “Robert Breer,” 2016. Photo: Aurélien Mole.

    Robert Breer

    In the early 1950s, Robert Breer, at the time a geometric abstract painter living in Paris, came to the realization that his interest lay in “the process of painting rather than any fixed composition.” This epiphany, which would eventually lead the artist to abandon painting altogether, inspired his first films, a tetralogy of short animations in which forms previously locked down on canvas were freed to morph and dance about the frame. Thematically bookended by Form Phases 4, 1954, and a 16-mm film from Breer’s mature period, Fuji, 1974, the recent exhibition “Between Cinema and Fixed Imagery”

  • Adam Cruces, Watermelon, 2016, acrylic on canvas, 15 3/4 × 11 3/4".

    Adam Cruces

    Sometimes moving forward requires looking back. This seems to be the case for Adam Cruces, whose recent exhibition “Pastel” was spawned from one of the artist’s earliest works. Still Life, 1993, 1993/2016, a remake of a pastel done when Cruces was all of eight years old, is a far cry from the slick multimedia art for which the Houston-born, Zurich-based artist is known. Presented in a traditional gilded frame, Cruces’s textbook still life features an overflowing fruit basket with a knife and a metal pitcher arranged on red drapery. The studious composition conjures a vision of the young artist

  • View of “Thomas Fougeirol,” 2016. Foreground: Untitled, 2016. Background, from left: Untitled (detail), 2016; Untitled, 2016; Untitled, 2016; Untitled (detail), 2016. Photo: Rebecca Fanuele.

    Thomas Fougeirol

    Thomas Fougeirol is a painter who paints as if he were printing, meaning he uses paint to take imprints of actions and objects rather than using it to represent them. Channeling another French artist, Yves Klein, who famously attached canvas to the roof of his car in order to capture the effects of wind, rain, and dirt, Fougeirol has left paintings out in the elements. Whereas the moonlike cratered surfaces of his “Tableaux de pluie” (Rain Paintings), 2010–, document natural phenomena—rain falling on wet oil paint—the artist’s most recent works chart an intimate universe: his own

  • View of “Larissa Fassler,” 2016. Photo: Nicolas Brasseur.

    Larissa Fassler

    Writing about “pickpockets and paranoia in France” for the New Yorker in 2014, Adam Gopnik described Paris’s Gare du Nord as a place where tourists, “looking for a week’s pleasure, mingled with travellers recently arrived from Bulgaria and Romania, looking for a job or a new life.” This same crossroads—the French capital’s oldest and, notoriously, unruliest train station—became the focus of Larissa Fassler’s attention while on a residency in Paris in 2014. Over the course of three months, the Berlin-based Canadian artist spent hundreds of hours, day and night, surveying and documenting

  • Jean-Marc Bustamante, Aperture II, 2015, LightJet print, 99 1/2 × 75 1/2". From the series “Aperture,” 2015–.

    Jean-Marc Bustamante

    Having begun his artistic career well over three decades ago as a photographer, Jean-Marc Bustamante has since worked across diverse media to produce sculptures, prints, paintings, and installations. His tellingly titled series “Aperture,” 2015–, is the latest reminder that no matter what materials, tools, or processes Bustamante employs, his work remains conceptually rooted in photography.

    The nine large-format ink-jet prints on silver photographic paper that were featured in Bustamente’s recent show are based on scans of his colored-felt-tip-marker drawings. Installed in numerical order across

  • Peter Shire, Parallel Parallel, 2006, ceramic, stainless Steel
34 x 17 x 13".
    picks February 04, 2016

    Peter Shire

    Peter Shire’s current show is the result of long-distance conversations between French curator Julie Boukobza and the Los Angeles–born and –based artist. Via email and Skype, together they selected drawings and small three-dimensional works in metal, ceramics, and wood from the 1980s through 2015. The resulting miniretrospective celebrates Shire’s multifaceted oeuvre with a mix of functional design objects and decorative objets d’art.

    Nearly forty three-dimensional works are informally arranged on a large, custom-built table that leaves the viewer just barely enough space to navigate the gallery’s

  • View of “Ugo Rondinone: I ♥ John Giorno,” 2015–16. Photo: André Morin.

    “Ugo Rondinone: I ♥ John Giorno”

    Living up to its impassioned title, “Ugo Rondinone: I ♥ John Giorno” was an adulation of the American counterculture icon as a poet, artist, friend, lover, activist, archivist, muse, and inspiration. Conceived by his longtime partner, Swiss artist Ugo Rondinone, and curated by Florence Ostende, Giorno’s first-ever retrospective was an exhaustive yet intimate showcase comprising more than three hundred artworks, six hundred audible poems, and fifteen thousand archival photos and documents. It was also a tribute show featuring works by Rondinone, Angela Bulloch, Anne Collier, Verne Dawson, Judith