Meghan Dailey

  • Mary Esch

    Confronted with the human figure, a lot of artists anxiously adopt a defensively kitschy style. Sean Landers depicts himself and others as apes, Lisa Yuskavage unapologetically sexualizes her subjects, and Nicole Eisenman beats a path down the low road of scatology. The results are what we’ve come to appreciate as “bad painting,” painting that confounds technical acumen with a determined weirdness. This is the stance taken by Minneapolis artist Mary Esch, whose slightly exaggerated, cartoony painting and enigmatic vocabulary subvert familiar aesthetic categories—portraiture, illustration,

  • Unfinished History

    Not sure you’ve made adequate sense of such late-twentieth-century concepts as “techno-medievalization of society” or “the collapse of center and periphery”? Judging by his past efforts, guest curator Francesco Bonami’s show might be your last chance before the fresher hell of the next millennium. Bonami may be offering up more of his signature “endless conclusions,” but, as always, he chooses his artists well from a talented international pool. Among the twenty-one featured here are Doug Aitken, Shirin Neshat, Yutaka Sone, Maurizio Cattelan, William Kentridge, and Koo Jeong-a. Works will be in