Mara Hoberman

  • 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

  • Dominique Gonzalez-Foerster, Splendide Hotel (annexe), 2015, mixed media. Installation view. Photo: Grégoire Vieille.

    Dominique Gonzalez-Foerster

    In 1977, a twelve-year-old Dominique Gonzalez-Foerster visited Marcel Duchamp’s exhibition at the newly opened Centre Pompidou. Evoking this seminal experience at the threshold to her own Pompidou survey thirty-eight years later, Gonzalez-Foerster adhered a life-size transparent photograph of Duchamp’s show to a street-facing glass wall and retrofitted the abutting exhibition space with elements of the museum’s original decor. Inside this installation, Espace 77, 2015, viewers stand on period gray carpeting amid Michel Cadestin’s President armchairs and look through ghostly images of Duchamp’s

  • View of “Julien Prévieux, Schematic Bodies,” 2015–16. Photo: Julien Prévieux. Courtesy Galerie Jousse Entreprise, Paris.
    interviews December 07, 2015

    Julien Prévieux

    Julien Prévieux, winner of the 2014 Marcel Duchamp prize, here discusses his current solo exhibition at Espace 315 at the Centre Pompidou in the context of the recent terrorist attacks in Paris. Focusing on a particular body of work included in the show, “Atelier de dessin - B.A.C. du 14e arrondissement de Paris” (Drawing Workshop: Anti-crime Police Officers from Paris’s Fourteenth Arrondissement), 2011–, a collaboration with Parisian police officers, Prévieux addresses the unintended political implications of this series. The exhibition is on view through February 1, 2016.

    AMONG MY WORKS

  • Mike Nelson, A7 (Route du soleil), 2015, tires, iron, concrete. Installation view, La Sucrière. Photo: Blaise Adilon.

    the 13th Biennale de Lyon

    IN HIS CATALOGUE ESSAY for “La vie moderne,” the thirteenth edition of the Biennale de Lyon, curator Ralph Rugoff points out one of modernism’s most enduring paradoxes: If the desire for rupture is, as he puts it, “the modernist gesture par excellence,” then the urge to break free from the modern era is “merely a symptom of the modernity it aspires to bury.” Modernism, in other words, is very much with us still—whether we admit it or not. Indeed, as Rugoff argues, its myriad impulses and effects continue to thread their way through contemporary culture in complex and contradictory ways. To

  • Bettina Samson, Kink (More Honour’d in the Breach) IV, 2015, terracotta, 17 3/4 × 16 1/4 × 13".

    Bettina Samson

    Facing off from opposite ends of the gallery, two small wall-mounted sculptures in Bettina Samson’s recent show bookended a wide spectrum of three-dimensional works. At the entrance was the cratered, amorphous, and mottled More Honour’d in the Breach 1, 2014. The informe incarnate, this hole-riddled green-glazed earthenware object was in stark contrast to the minimalist Bauspiel, 2015, directly across the room. Titled after a Bauhaus building-block set, this orderly construction of wooden letterpress blocks resembles a miniature of a David Smith “Cubi,” 1961–65. Arrayed between these two

  • Jim Dine, City of Glass #3, 2014, bronze, glass, stainless steel, found objects, lacquer, 77 × 45 × 56".

    Jim Dine

    At eighty, Jim Dine still has a few tricks up his sleeve. Five recent sculptures featuring the artist’s toolbox staples—hammers, wrenches, pliers, hooks, saws, C-clamps, and so on—include a material he has rarely worked with before: glass. Souvenirs of his family’s hardware store as well as extensions of his own hands, Dine’s tools have been an autobiographical motif since the 1960s, showing up in drawings, paintings, sculptures, prints, and photographs. Literally and figuratively breathing new life into his personal iconography, Dine’s foray into glassblowing (a collaboration with

  • View of “Florian and Michael Quistrebert,” 2015. From left: Overlight S2E3, 2015; Overlight S2E4, 2015; Overlight S2E5, 2015; Overlight S2E6, 2015. From the series “Overlight,” 2013–.

    Florian and Michael Quistrebert

    In dialogue with a long history of painters’ attempts to represent light and harness its dematerializing effects—from Vermeer to Monet to Rothko—the latest works by Florian and Michael Quistrebert sparkle and shine, thanks to the iridescent car paints and tiny, battery-powered lightbulbs used in many of them. In contrast to the brothers’ previous muted geometric compositions, their new paintings are characterized by thick gestural strokes and flashy jewel tones. “Hyperdelia,” the first exhibition dedicated to the “Overlight” series begun in 2013, introduced this body of work with a