Mary Rinebold

  • View of “Cally Spooner: He wins every time, on time and under budget,” 2016.
    picks November 15, 2016

    Cally Spooner

    Cally Spooner tells us a deceptively subjective story here. In Self Tracking (the five stages of grief) (all works cited, 2016), a series of graphite and colored-pencil lines on a wall represent the artist’s identity through analytical means. One line charts Spooner’s metabolism; another, her market and career ranking according to Artfact.net, a paid service that reduces artists’ lives to assorted output and financial indices. Another line aggregates the strength of the British artist’s home currency, the pound, and compares it against the Euro. And then there’s an uninterrupted horizon line of

  • Channa Horwitz, Language Series II, 1964–2004, casein paint on graph paper, 64 x 72”.
    picks March 31, 2016

    Channa Horwitz

    Channa Horwitz combined formal rigor and intuitive perception like few others within her Minimalist and Conceptualist milieu. At this exhibition’s entrance is Language Series II, 1964–2004, an expansive collection of orange squares painted in casein on graph paper, each one mathematically related to the number eight. (Horwitz used the numbers one through eight in constraints for the making of her works—in this piece, embedded within a square, sits an eight-by-eight-inch grid of smaller squares.) This painting serves as a blueprint for the artist’s large-scale installation Displacement, 2011/16,

  • Pascal Vonlanthen, Untitled (Seulemnt FR 970), 2014, felt-tip pen on colored paper, 24 x 18".
    picks October 01, 2015

    Pascal Vonlanthen

    Pascal Vonlanthen’s output accomplishes a contradiction: layered references to the analytic practices of concrete poetry, conceptual writing, and geometric abstraction, all produced intuitively. To begin with, Untitled (LALIBERTE), (all works 2014), made from Vonlanthen’s own handwriting using color markers and pen on paper, is a copy of a front page taken from the Fribourg newspaper La Liberté. While appropriation of media clippings and oscillating between the genres of fiction and art has a well-established history, these works on paper or cardboard—residing somewhere between drawing and

  • View of “Daiga Grantina,” 2014.
    picks November 30, 2014

    Daiga Grantina

    In psychoanalytic terms, a visual or a literary preoccupation with abject forms, such as sludge or refuse, is a manifestation of the death drive—an instinctive, often repressed aspiration to return to formless, corporeal material. Daiga Grantina obliquely explores this fascination with indescribable matter via diverse references and an abstract, plastic lexicon. For instance Crashino (all works 2014), which references J. G. Ballard’s 1973 novel Crash, consolidates scrap materials: a repurposed red plastic automobile brake light; slot-machine ribbons that depict iconic fruit shapes. Patches of

  • Émilie Pitoiset, Object little-a, 2014, leather gloves, clay, 4 x 6 x 7”.
    picks October 14, 2014

    Émilie Pitoiset

    Émilie Pitoiset produces artworks that trace a collection of characters through an ongoing narrative articulated across multiple platforms, including exhibition, film, and performance, the latter of which is often in collaboration with critics and writers such as Sinziana Ravini and Catherine Robbe-Grillet. This exhibition is composed mainly of sculptures, one of which is a fur coat attached to the gallery wall by a band of black tape, titled When have you imagined, met, reseen this character? (all works 2014). Nearby are several pairs of black-leather-gloved clay hands. One of the pairs, Duelle

  • View of “Gilbert & George: Art Exhibition,” 2014.
    interviews August 01, 2014

    Gilbert & George

    “Art Exhibition” comprises forty works by British artists Gilbert & George at the Villa Paloma of the Nouveau Musée National de Monaco. The show closely traces the history of the duo’s artistic creation, including rare, early prints and drawings. Here, the artists talk about some of the pieces included in this exhibition, which is on view through November 2, 2014.

    WHEN WE STARTED as artists in 1968 and ’69, we didn’t want to run out of art school and buy a lot of canvases and oil paint, or a bag of plaster of paris, particularly since we didn’t want to go for traditional forms. When you take a

  • Vern Blosum, Ten Minutes, 1962, oil on canvas, 36 1/2  x 28 1/4”.
    picks July 02, 2014

    Vern Blosum

    The oeuvre of Vern Blosum manifests the limits of a persona. According to the press release of the artist’s retrospective exhibition, the thirty paintings made between 1961 and 1964 on view are ascribed to Blosum, the pseudonym of the (said to be) still-working anonymous painter, who was awarded the highest symbols of acceptance of the mid-twentieth-century New York art scene: a solo show at the Leo Castelli Gallery and inclusion in the collection of the Museum of Modern Art.

    Despite the latter having removed Blosum’s work from its catalogue when the artist’s identity could not be confirmed, the

  • View of “Ernst Caramelle: Untitled,” 2014.
    picks May 28, 2014

    Ernst Caramelle

    A dichotomous tension between expressive and conceptual responses to the walls of this institution is quietly provoked in this exhibition, beginning with the transitional doorways between exhibition rooms. Onto the wide walls of these doorframes, six of Austrian artist Ernst Caramelle’s signature wall paintings—or as the artist calls them, “quasi-frescoes”—have been applied and individually named Untitled (all works 2014). By mixing the painting pigments using minerals and water, each wall painting is formed of large, bright, if not translucent (owing to their high water content), colored

  • Philippe Decrauzat, Take/No Take, 2014, 16-mm black-and-white film, 6 minutes 25 seconds.
    picks March 24, 2014

    Philippe Decrauzat

    Like its trisyllabic title, “Notes, Tones, Stone,” this exhibition coalesces three distinct programs. The first is architectonic, following the grid of interlocking concrete slabs that form the floor of the extensive main room that Philippe Decrauzat’s work occupies. Using the slabs’ dimensions, the artist produced ten white plinths and vertical walls—“volumes,” as he calls them—and positioned them throughout the space.

    The second underlying program utilizes the work of scientist and cinematographer Étienne-Jules Marey, whose biological research is represented by undulating stripes in shades of

  • Michael Portnoy, THRILLOCHROMES , 2013, digital video, color, sound, 22 minutes.

    Michael Portnoy

    “There is a certain kind of ghost that can only materialize with the aid of a sheet or other piece of cloth to give it outline,” says William S. Burroughs in his 1953 novel, Junky. So too can the ephemeral, performing human body be traced by the materials associated with it. In performance or workshop settings, New York–based performance artist Michael Portnoy frequently probes the relationship between individuals and the things around them by using language and objects to provoke movement—both his own and that of his audience. This procedure is depicted in his HD-video film THRILLOCHROMES

  • Raymond Pettibon, Sir Drone (featuring Mike Kelley), 1989, color, sound, 55 minutes and 37 seconds.
    slant December 09, 2013

    Mary Rinebold

    THERE STILL REMAIN unexamined vestiges of American West Coast counterculture figure Raymond Pettibon, indicated in the exhibition “Human Wave: The Videotapes of Raymond Pettibon” (January 25–March 17, 2013) through a series of unedited, roughly shot VHS tapes that the artist made during 1989. Programmatically simple, this show at Space, London, consisted of two video viewing stations separated by primary-colored lighting schemes. The video subjects, ranging from the Weather Underground, Charles Manson, and the Symbionese Liberation Army to the 1980s southern California punk community, were

  • Nick Relph, Past Ten Past Ten, 2013, C-print, 48 x 30”.
    picks October 18, 2013

    Nick Relph

    For “Tomorrow There Is No Recording,” Nick Relph articulates the surface and construction of images using photographs and textiles. Starting with the wall of the gallery entrance, the vinyl lettering of the show’s title has been obscured by five framed C-prints. One of these, Responds to the Name (all works 2013), is a close-up rendering of an undulating stream of water frozen by the camera as it is poured into a basin—the work bears a flattened patina that introduces the exhibition theme.

    Two similar C-prints are installed on the wall of the main gallery; Past Ten Past Ten, for example, pictures