Margaret Kross

  • OPENINGS: ektor garcia

    ektor garcia’s work traverses the psychological and the political, quietly contending with the ways in which power structures invade the most intimate spaces of the self. Incorporating ancient craft techniques, found artifacts of personal significance, and allusions to Mesoamerican myths, his sculptures and installations might appear to retreat into the past or emerge from a solipsistic inner world. But through gestures that summon ancestral memory and systems of belief, he materializes a search for belonging in the present and in the liminal spaces between different cultural identities. Even

  • Colette, Love in Ruins, 1987–90, mixed media, dimensions variable.
    picks September 29, 2017


    In 1977, the shape-shifting artist who goes by Colette—or Colette Lumière since 2001—staged herself in Olympia-like repose at the center of an unwieldy installation in lavender satin and silk titled Let Them Eat Cake (Marie Antoinette au Petit Trianon). It was the same year Douglas Crimp’s exhibition “Pictures” identified the coolly conceptual vocabulary of artists who came of age in early 1970s New York, Colette’s adopted part-time home. Fashioning a decidedly more florid vision on the downtown scene, she remained an outlier for nomadic work produced under different personae and pseudonyms

  • View of  “Sondra Perry: Resident Evil,” 2016.
    picks November 25, 2016

    Sondra Perry

    Sondra Perry’s crucial exhibition “Resident Evil” registers systemic, racialized violence and viscous identities under surveillance. Against the chroma-key blue walls of postproduction and computer operating system screens of death, a majestic animation, which shares its title with the show, smears the artist’s skin cells like molten lava, giving shape to our structural meltdown. Perry seamlessly choreographs an unnerving network—Fox News Baltimore coverage, a YouTube relaxation trance, a televised exorcism—that offers possibilities for rewiring power relations. Deconstructing righteousness as

  • Caitlin Keogh, Renaissance Painting, 2016, acrylic on canvas, 84 x 63''.
    picks September 30, 2016

    Caitlin Keogh

    Caitlin Keogh’s current show, “Loose Ankles,” an antique term for a ligament injury exacerbated by high heels—and the title of a 1930 precode romcom—destabilizes conventional female constructs with demure criticism. Keogh, a sure-footed painter, renders mechanomorphic ladies into easy-on-the-eyes pictographs, though their innards are often exteriorized, severed. For Interiors (all works 2016), an invisible, tasseled sash slices delectably through a beheaded mannequin. We also have the distinct pleasure of eyeing a vacant suit of armor modeling female hormonal glands in Renaissance Painting. A