Mark Harris

  • Evelyn Taocheng Wang, Cheongsam No. 4 – Gossip, 2019, digital C-Print, 12 1/2 x 16 1/2".
    picks July 04, 2019

    Evelyn Taocheng Wang

    Evelyn Taocheng Wang’s annotated montage drawings, titled “Eight View of Oud-Charlois, No. 1–No. 8,” 2019, are nonplussed, if sympathetic, dissections of her very ordinary suburban Rotterdam neighbors: an elderly man walking his melancholic Pekingese, a puffer-jacketed family entering a supermarket, an indistinct group converging on a snowy street corner. Vignetted comments like “How come . . .” jar with the delicacy of these affectionately rendered banal scenes to indicate Wang’s uncertainty as to whether or not this is a world in which she ought to take part.

    This ambivalence toward the quotidian

  • Untitled (artist seated on bed), ca. 2004, graphite on paper, 21 5/8 x 27 1/8”.
    picks October 18, 2018

    Paul Anthony Harford

    More by choice than out of neglect, Paul Anthony Harford rarely exhibited during his seventy-three years. Unwilling to part with anything, he accrued piles of meticulous drawings that candidly depict a melancholic and unassuming life in Southend-on-Sea and Weymouth, England—portrayals, perhaps, of Morrissey’s 1988 lyrics, “This is the coastal town / that they forgot to close down.” All but four of the twenty-seven graphite drawings here illustrate a thickset, jowly artist at home, sketching, lounging, cleaning, and sometimes haplessly venturing along the seafront. As if these were insufficiently

  • Faith Ringgold, Coming to Jones Road Part II n.2 We Here Aunt Emmy Got Us Now, 2010, acrylic on canvas with fabric border, 68 x 63".
    picks April 04, 2018

    Faith Ringgold

    M. NourbeSe Philip’s book Blank (2017) asks if the lack of words in English—and other colonial languages—that account for slavery’s depredations has led to white anger and incomprehension at Black Lives Matter. Enter Faith Ringgold, whose painted quilts are visual equivalents to anticolonial subversions of the English language. These meticulously crafted and celebratory banners combine piecework quilting, figurative acrylic painting, and written stories to recount African American histories and rich narratives of her own family life. Such hybrid visual approaches are so far outside the orbit of

  • John Riddy, New York (Black Star 1), 2016, archival pigment print, 53 x 48". From the series “New York (Black Star),” 2016.
    picks March 27, 2018

    John Riddy

    What poetics suits depictions of a metropolis aging through incessant change? For John Riddy, photography of intense detail and finely tuned, lugubrious ochres and grays is one way to apprehend this weathering of modern cities. His pictures of Lower Manhattan and the dank brickwork of London’s Victorian railway arches take on a cinematic melancholy. In the charcoal-black walls of London (Lambeth Road 1–3), 2017, a century’s accretions of grime and soot recall an Andrei Tarkovsky set. The images are exhaustive exercises in locating richness within the inappreciable qualities of forlorn masonry.

  • Mona Hatoum, Natura morta (bow-fronted cabinet), 2012, Murano mirrored glass, wood, glass cabinet, 51 x 24 x 12".
    picks January 22, 2018

    “Age of Terror: Art since 9/11”

    The “Age of Terror”—could there be a more dismal art show for the grimmest museum in London? And yet there are seemingly jaunty works to be found here, with Mona Hatoum’s Natura morta (bow-fronted cabinet), 2012, showing gaudy glass hand grenades resembling Christmas-tree decorations, and Jitish Kallat’s miniaturized security-line figurines—Circadian Rhyme 1, 2011—looking like an adult Playmobil set. Whether inadvertent or not, it is telling that this large fifty-piece show problematizes the representation of war. There is Cory Arcangel’s thrift-store find Bomb Iraq, 2005, an innocent-looking

  • Salvador Dalí, Surrealist Object Functioning Symbolically – Gala’s Shoe, 1931/1973, shoe, white marble, photographs, glass, wax, gibbet, matchbox, hair, wooden scraper, 19 x 11 x 4".
    picks December 19, 2017


    The Royal Academy is a step away from Soho, once the sleazy sex epicenter of London. Just when you’re struggling to find anything raunchy in that newly sanitized zone, along comes “Dalí/Duchamp.” This salacious pair make a good team. In the exhibition catalogue, we read Marcel Duchamp explaining that “eroticism was a theme, even an ‘ism.’” As if in hyperbolic response, Salvador Dalí fantasizes about oral sex, gazing at Duchamp as they vacation together near Cadaqués: “I eat Gala and an iron erection stops my copious peeing before it has finished.” Whoa! I just came in to check out the work, and

  • Guido van der Werve, Nummer veertien, home (Number fourteen, home), 2012, video, color, sound, 56 minutes.
    picks November 01, 2017

    “Melancholia. A Sebald Variation”

    From its visionary apologists we might think of melancholia as an exceptionally creative and redemptive form of despair. Yet the intense beauty of work by the likes of Walter Benjamin, Susan Sontag, Julia Kristeva, Laura Nyro, and, for this exhibition, W. G. Sebald, is barely salvaged from the crash into painful states of mourning. At the end of the day this is still a hazardous depression that you wouldn’t wish on an enemy.

    From Albrecht Dürer’s Melencolia I, 1514, on through books, documentation, and artworks, this show reveals the artist’s studio as a site of catastrophe. Dürer’s remarkable

  • Nicola Tyson, The Gaze, 2015, graphite on paper, 13 x 13".
    picks October 23, 2017

    Nicola Tyson

    Nicola Tyson’s forty-six figurative drawings and monotypes here radiate urgency from their fiercely scored lines, febrile contours, and abbreviated limbs. There are no aestheticizing filters here—the violent immediacy of scraped ink and obsessive pencil hatching is thrust against us in these pictures of uncomfortable, sometimes brutally modified bodies.

    The five large drawings along the back wall hit you first. Each shows a self-possessed and confrontational woman. In Great Pants, 2016, darkened whorls of scratchy pen lines suggest gouged eye sockets. Her mouth is a cancellation of broad slashes;

  • Grace Pailthorpe, May 16th, 1941, oil on canvas board, 15 x 19".
    picks August 10, 2017

    “Dreamers Awake”

    You happily loosen epistemological moorings in this labyrinthine show—including more than fifty artists—that focuses on women’s entanglements with Surrealism. Curator Susanna Greeves wants to find out what changed about the female body, once represented by men as fetishized or unknowable, when women became Surrealist image-makers themselves. Adapted from Freud, the title might better have suggested that those dreamed about have risen up to subvert the dream. So many of these astonishing pictures and objects issue from waywardly unconventional, and often mischievous, imaginations that could hardly

  • Sigrid Holmwood, Rasphuis, 2017, Maya blue, ochre, aliaga, ink, and gesso on mordant-printed calico, dyed with madder, logwood, and cochineal on board, 48 x 61".
    picks June 16, 2017

    Sigrid Holmwood

    Sigrid Holmwood’s three rules for reinventing painting come from the Dark Ages: produce your own pigments, paint peasants, and paint like a peasant. She is the insurgent serf, even performing dressed like the characters in her paintings. As in works such as Peasants fighting with scythes (all works cited, 2017), these precapitalist scenes of bulbous-nosed, combative women resemble the roughly crafted depictions on medieval tiles and manuscripts. Initially, they do indeed look a bit revolting. Thick, brushy outlines sketch in the chunky figures and isometric forms that dispense with perspective,

  • Vinyl Terror & Horror, Off Track (detail), 2016–17, mixed media, dimensions variable.
    interviews April 07, 2017

    Vinyl Terror & Horror

    Berlin-based Danish duo Vinyl Terror & Horror—Greta Christensen and Camilla Sørensen—are currently participating in the exhibition “Anger,” along with artists Martin Erik Andersen and René Schmidt, at the Horsens Kunstmuseum in Horsens, Denmark. For their installation Off Track, 2016–17, they present an untidy array of sounds and objects, which they discuss here. The show is on view through May 28, 2017.

    OUR APPROACH synchronizes well with the theme of this exhibition. We often work with ideas of destruction, violence, fear, and anger, which are usually expressed in a materially dark and humorous

  • Jo Brocklehurst, Ruber [sic] Angel, 1994, ink, fluorescent acrylic paint, collage, metallic pen, paper, 39 x 28".
    picks March 16, 2017

    Jo Brocklehurst

    Throw a visionary, abundantly talented, half–Sri Lankan fashion illustrator into London’s 1980s anarcho-punk and fetish milieus, and you get these brazen oversize drawings that Jo Brocklehurst effortlessly generated during a high-octane career—almost as marginal as the lives of her demimonde subjects. The prejudice her mixed origins had attracted, typical of the insular 1940s and 1950s England of her childhood, must have warmed her to these countercultures, including those of New York’s gay and s-m clubs where she drew in the late 1980s and early 1990s, as well as the theater and dance scenes