Maya Harder-Montoya

  • Betye Saar, Weight of Persistent Racism (Patented), 2014, mixed media assemblage, 25 x 9 x 7”. Courtesy of the artist and Roberts & Tilton, Culver City, California.
    interviews March 01, 2016

    Betye Saar

    An icon of assemblage art whose work has stood proudly at the intersection of the personal and political since the 1960s, Betye Saar draws from such broad references as the work of Joseph Cornell and occult traditions of palmistry and voodoo. In her groundbreaking 1972 sculpture The Liberation of Aunt Jemima, for instance, Saar issues a challenge to stereotypes of race and gender by reclaiming the power of historically charged materials. Here, as Saar approaches what she calls her “ninetieth revolution around the sun,” she discusses her current retrospective, which brings together works from

  • View of “Wavelength,” 2014.
    picks August 12, 2014

    Matthew Ronay

    Biological and psychological ritual are the backbone of Matthew Ronay’s latest exhibition, which presents a series of intimate gouaches rendered in a palette of vivid blues, purples, and reds. These amorphic exercises in what Ronay refers to as “muscle memory” were composed daily and focus, as does the practice of meditation, on the undulating of the human respiratory system. Unlike some of Ronay’s previous work, the erotic component of this series is nonexplicit, the focus instead on the intersection between the stimulating and the spiritual. There is the delicately sexual 12.10.13, 2013, which

  • Bill Jenkins, Cistern 1, 2014, ductwork, basin, dimensions variable.
    picks June 16, 2014

    Bill Jenkins

    The premise of “Wet Light,” Bill Jenkins’s second solo show with Laurel Gitlen, establishes a lofty, almost fantastic goal: the transfiguration of light into a malleable, containable substance. Taking on the primary element of Brian O’Doherty’s white cube, Jenkins sets a glittering prelude, with twisted metallic sheets in the gallery windows, and he offers his viewers a disclaimer for his poetic intentions: “Technically it’s not going to work very well.”

    Apprehension aside, his initial goal materializes in a series of vents, which Jenkins calls “ductwork,” unceremoniously duct-taped under inky